Cinderella (Flip-Up Fairy Tales)

The secret of Danielle Steel's appeal: her Cinderella heroines are role models
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Following the late 50s debuts of Tony the Tiger, Mr. Clean, and the Trix Rabbit, demand was high for more original commercial mascots. In general, the trend in the 60s was to rely on new, or at the very least more recently created, pop culture icons. There are few places that better show this drastic change in U. At the beginning of the decade once powerhouse shows like The Ed Sullivan Show the show famous for introducing The Beatles to American audiences and Gunsmoke were canceled, effectively ending the reign of the Western as a TV genre.

American culture in the 70s as a whole was moving away from the strong societal pull of community that blossomed in the 60s towards a reframing of the individual as the basic unity of society. Again, we can turn to television programs to see this change, but this time in the advertisements airing between the original programming. In fact, television advertising has rarely worked as memorably or effectively as it did in the 70s. Advertisers doubled down on the value of the individual to unprecedented success. Pepper and Coke respectively. With these movements and shifts in mind we can turn our focus at last to the fairy tale figures still being heavily incorporated the ads of this era of self-consciousness.

In this ad Snow White is positioned as the head of a household who takes grocery shopping very seriously. The ad copy spoken by Snow White alternates back and forth from playful winking at the familiar story to speaking directly about her needs as an individual. A renewed push to secure social equality for women was well underway in the 70s and this movement helped women join the workforce in droves including women like Mary Tyler Moore.

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This campaign touches on a troublesome nerve of the antiquated gender roles in fairy tales that has only become increasingly problematic since second wave feminism of the s. There are plenty 70s commercials that skew heavily towards the awkward and primitive.

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In another ad, a weeping Cinderella deals with a Fairy Godmother who grants wishes in as literal a way as possible. Fairy tales and commercials mashup to show, through familiar faces, just how easily happiness can be bought. Earned or not, the 80s brought a renewed sense of enthusiasm through economic and technological advancements, reflected in media as what can only be described as an aggressive amount of energy. This was the decade MTV launched, the decade cable television became more accessible and popular, and the decade that saw video games go mainstream.

The ad was successful for many reasons, chief among them that it was such an outlier in the advertising conventions of the time. The trends Apple avoided include a hard resurgence of the jingle extended to commercial-length original songs, the co-opting of rock music heavy with synths, and a manic pace.

Look no further than the Kool-Aid campaign from the 80s for evidence of these tendencies. Pepper campaign from the 80s that dates itself in the first few frames with headbands and spandex See Figure 9. This first spot uses the story of Little Red Riding Hood with just small bits of originality.

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Another TV spot from this campaign uses a genie character with even less imagination, but features more blown-out hair. The fairy tale angle ends up being nothing more than bookends to a by-the-numbers diaper commercial.

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Sleeping Beauty is introduced as sleeping for years and dreaming of leak-free diapers, an inelegant combination of fairy tale jargon with straight ad copy. Some credit can be given, I guess, to the fact that no Disney-inspired design is used, but that might be more for copyright reasons than innovative ambition. Things just get more arduous with this Lucky Charms ad See Figure And saddest of all they are summoned into existence by the magic of the cereal pitchman and only speak to talk about everything they love about Lucky Charms. Their entire role in the commercial is to exist only to sell happiness through products.

Just check out the way Roger Rabbit is used in this commercial for Diet Coke and how Slimmer, of Ghostbusters fame, became the face of a new Hi-C flavor. From previous research it is becoming clear this is the disappointing pattern and 80s was no time for exception and maybe even had the worst showing. While fairy tales have a long history of corporate usage, it is during the s that the very DNA and nuclei of fairy tales became increasingly co-opted by media companies, by Disney in particular.

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Victorious in her new challenge, Faye seems as well to represent an updated, flip side of the old Horatio Alger characters who inspired the pre-Yuppie generation of men in gray flannel suits whose sisters were still being silver-spoon fed on the old version of Cinderella's tale. USPS does not guarantee a specified delivery time for Media Mail and deliveries may receive deferred service. New Quantity Available: 1. Returns: Returns are accepted up to 30 days after the sale. Shipped from UK. Storytelling is becoming a lost art.

Again, Disney had commercialized popular fairy tale figures before to great success, but the s was a unique decade of interrupted commercial and critical success. This decade has been described as the Disney Renaissance, a span of years where the studio released 10 animated films, including The Little Mermaid , Beauty and the Beast , Aladdin , The Lion King , and others.

During this decade, advertisers relying on fairy tale figures had to differentiate themselves stylistically from the Disney versions of the tales, both to establish their own unique place to sell products and presumably to avoid any legal action from the House of Mouse. A perfect example of this truncated style of storytelling can be seen in a Ford commercial featuring the Three Little Pigs See Figure This story is told without narration or dialogue, instead relying entirely on familiar iconography and recognizable animation styles.

The only narration comes at the end: simple ad copy naming the product and connecting it to the tale with a quick pun.

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Cinderella (Flip Up Fairy Tales) [Jess Stockham] on cusilleca.tk *FREE* shipping on qualifying offers. A beleaguered woman is forced to wear rags and serve. Cinderella (Flip-up Fairy Tales) - Kindle edition by Jess Stockham. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like.

In a sense, Ford responded to the Disney takeover by featuring Looney Tunes and Sesame Street characters in their commercials for their latest Windstar minivans, a halfhearted attempt to set themselves apart. A Honey Nut Cheerios commercial uses a truncated version of the Little Red Riding Hood story, starting right in the middle of the familiar story without explanation, assuming audience familiarity with the tale.

The story is quickly and literally interrupted by a corporate mascot See Figure The commercial opens with an image of a clock striking midnight and cuts next to the image of a woman running down stairs, leaving behind a shoe. The iconography is unmistakable and immediately recognizable as a Cinderella story See Figure After 7 or 8 s of these kinds of traditional establishing shots, the story starts to take unfamiliar turns.

The prince charming figure chasing after Cinderella is scared away by another man on a motorcycle.

The motorcycle man leaves behind an article of clothing himself as he quickly exits, leaving Cinderella to pick up the pair of jeans and begin her search for this illusive man. The commercial digs into this subversive gender-swapped narrative, empowering Cinderella with active agency as she looks for her perfect match. The men in the commercial are increasingly objectified to the point where when we finally see the motorcycle man again he is shirtless, sweaty, and shot in slow motion.

Would that all fairy tale commercials were this innovative. In the new millennium the buzzwords of the first decade were globalization and technology.

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Across the globe the internet, computers, and cell phones were bringing people together and changing the way people lived their lives. Cell phone popularity surged as well, fueled by advances in text messaging and mobile internet accessibility. In a very real way the world was changing. And once again advertisers turned to fairy tale iconography to sell these new technologies. And one particular commercial from Nokia went long by comparing their phones to all the different kinds of magic in the fairy tale realm See Figure Cell phones are perhaps the best modern example of the product-as-magic pitch described by Zipes.

In the ad, Peter returns to a grown-up Michael and invites him come fly again. Smash cut to Peter riding shotgun while Michael drives a new Mercedes across the English countryside by moonlight. On the flip side, commercials like this 7 Up Red Riding Hood spot pushed back on those genre expectations by having Red head-butt the wolf stand-in at the end of the commercial.

And other commercials, like this one from Adidas, went for an artistically bold modernization with a stripped-down narrative See Figure The commercial is selling a personality and not a product. Product descriptions had been slowly become obsolete, as a result of branding becoming the main focus of commercials decade by decade.

Meanwhile, Disney was successfully branding their fairy tale heroines as a collected franchise targeted at young girls and other companies were looking to share in the profits. Barbie relaunched their direct-to-video film series with adaptations of the then-Disney free stories Rapunzel, Swan Lake, and Thumbelina, always releasing a new line of dolls to go along with the DVDs.

Fairy tales figures in popular media were becoming increasingly gendered while fairy tale stories were leaned on heavily to sell everyone on joining the new digital world. The s was a brave new world, but it still had room for fairies. Lessig recognized a trend in the rising popularity of derivative works that combine or edit together existing materials to produce something new.

What was a hypothesis in became a reality in the s—remix culture was everywhere. Sampling became an inescapable trend in music, Wikipedia became a de facto source of knowledge, and Hollywood was continually attempting to reboot old intellectual properties into new franchises. At the same time originality was still very much present.

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In the opening months of , Old Spice released a commercial that is still being adapted and repeated six years later. While Old Spice has doubled down on weird and funny ad campaigns, within a few years the tone-stealing derivatives have shown up less and less. Other brands like Geico settled back into controllable and innocuous humor, like this recent ad featuring Peter Pan See Figure But remix culture would manifest itself in television commercials with ads that featured half a dozen fairy tale types all at once, like this one from PNC Bank See Figure The ad depicts a wedding attended by unicorns, teddy bears, ballerinas, soldiers, hummingbirds, and magically blooming flowers.

The father, who walks his beautiful princess down the aisle, watches as his daughter marries prince charming. In the end it turns out the commercial takes place in the mind of a father watching his young daughter while she reads a book of fairy tales. The PNC Bank spot is perhaps a bit too Freudian as the father imagines what his grown daughter wants most as a fairy tale wedding, prompting him to open a new savings account to prepare for that eventuality.

This commercial is a paragon of remix culture, as the main character morphs into Alice, Red Riding Hood, Gretel, a carpet-riding beauty, and Dorothy from The Wizard of Oz. In the first minute alone the main character has five costume changes and two of them manage to present her slow-motion in just underwear. When women are unmistakably in charge of using fairy tale imagery to tell stories the gender representation issues tend to be much less problematic.

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Another playfully perverse challenging of these dubious genre tropes came from comedian Amy Schumer. In Denby logged themes in one day of television [ 12 ], p. In we live in a time described sometime jokingly, other times seriously as Peak TV. As more channels and online content providers attempt to stake out ground and cement their place in the media landscape, more and more television shows are being produced.

According to research done in from the television network FX, there has been an unprecedented rise in programming from all television networks and content producers in the last few years [ 13 ]. In there original scripted series, in , in , in , in , in , and in See Figure Nursery First Time - Jess Stockham.