type, introduces Robert Coover's novel Stepmother, which she . In Snow White and the Huntsman, the queen is so blindingly evil that she seemingly. Snow White and the Huntsman by Lily Blake - book cover, description, publication history. child as white as snow, as red as blood, and as black as the wood of The huntsman consented, and led her away; but when he drew his cutlass to pierce.
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Snow White & the Huntsman book. Read reviews from the world's largest community for readers. A breathtaking new vision of a legendary tale. Snow Whit. . “Snow White and the Huntsman” by Evan Daugherty. Notes by Christian Savage/ Scriptshadow. Note: This feedback is based on the draft Evan Daugherty sold. And the red looked pretty upon the white snow, and she thought to herself, " Would that I had . she knew that the huntsman had betrayed her, and that little Snow-white was still alive. And so she thought . book, Disney Press. Stone, K. ( ).
Young Cora: If the choice is love or power, then even having a heart is a liability. Thus, Regina is redeemable within her role as mother. Regina Mills in Once Upon a Time presents the viewer accustomed to the traditional Snow White storyline with a complex and very human revision of the characterization of the stereotypical evil Queen.
This is further complicated at the end of season two when Storybrooke is destined to be destroyed by the very device Regina invented when she created it: Regina Mills: You were right, you know.
I created this device.
Emma Swan: What am I supposed to tell Henry? Emma Swan: Regina, please. Regina Mills: Everyone looks at me as the Evil Queen - including my son. I may die as Regina. One questions if this preoccupation is selfishly based since this is the ultimate sacrifice a mother can make for her child, and in this case, for others - and if this is true, where does it leave Snow White?
What is her role now that Regina has given herself up for the greater good? What seems to emerge in these revisions are alternate and multiple perspectives on the same fairy tale, but still seemingly centered on the feminine question of beauty and social worth.
The mirror remains a common denominator in both the traditional tale and its revisions, a a metaphor that also affects the interpretation of the text by further emphasizing the concept of alterity - one looks at the mirror not only to see how one view others, but also to assess how one may be judged by the prejudices and preconceptions of others. Alternatively, the male figures blame their inadequacies on the magical potion or spell that the Queen forces them to ingest.
Yet, they are not sexually objectified as the Queen, and it is only the Queen that is defined as someone to be sexually used by others. This becomes the only form of escape from reality that predestines her to not being accepted as she is by her love and even by her own mother.
Do they not form the ever powerful value system that feeds the insecurities of the older Queen that she must fight to remain treasured within this phallocentric order? Once Upon a Time. Season 2, episode Gwyneth Horder-Payton. Original air date 3 March Season 3, episode 3. Alex Zakrzewski. Original air date 13 October Italics mine. Anne C.
Herrmann and Abigail J.
As can be imagined, this implied incest was very polemic for its Victorian society and thus is quickly eliminated in the edition when the Grimm Brothers replace the character of the mother with the stepmother so that not to offend their audience.
Lundell, Fairy Tale Mothers, Season 3, episode 9. Andy Goddard. Original air date 1 December Philadelphia: University of Pennsylvania Press, , Ralph Hemecker. Original air date 10 March David M.
Original air date 17 March Dean White. Original air date 12 May Knopf, ], Bibliography Almond, Barbara.
Berkeley: University of California Press, Arnold, Sarah. Maternal Horror Film: Melodrama and Motherhood. New York: Palgrave MacMillan, Bacchilega, Cristina.
Philadelphia: University of Pennsylvania Press, Baroja, Julio Caro. The World of Witches. Chicago: University of Chicago Press, Barzilai, Shuli. Signs The Second Sex.
New York: Vintage Books, Bettelheim, Bruno. New York: Alfred A.
Knopf, Boullosa, Carmen. Carter, Angela. Toronto: Penguin Books, Doughty, Amie A. Jefferson: McFarland, Friday, Nancy. London: HarperCollins,  Gaiman, Neill. New York: Avon Books, Lundell, Torborg. What we have in the rewriting is the solution of this devaluation of the older woman: outwit the younger woman with the wisdom of lived life experience.
The Countess then has to witness the Count have sexual intercourse with the child as his attempt to resuscitate her unsuccessfully since the child melts away leaving behind a blood red stain in the snow7.
Snow White has already replaced her birth mother she dies giving birth to her and now, in her maturation, is well on the way of replacing her second mother within the familial and social hierarchy.
Neill Gaiman in "Snow, Glass, Apples"9 replaces "Snow White's perspectival dominance" with the Queen's first person narrative voice that is finally permitted to reveal the lies told about her by Snow White in the original fairy tale. Snow White here is not the innocent little girl but a very hungry vampire that feeds off her father and stepmother as well as local townspeople. One questions here Snow White's purity since, as a vampire, she is now the penetrator, penetrating her victim--and capturing patriarchy--with her fangs as evidenced by the bite marks on her father's penis.
In some cases an act of auto-protection the Queen looks to the male figure for affirmation of her self-worth and currency in the marketplace of male desire.
In Carmen Boullosa's Mexico, short story "Blancanieves"10, the forester admits to having disobeyed and tricked the Queen because of his love for Blancanieves. This cannibalism is the physical embodiment of the Queen's desire to recapture what she has lost: her youthful beauty.
Interestingly, in the film Snow White and the Huntsmen the Queen literally sucks the life out of young beautiful women so that she can remain youthful reminiscent of the stories surrounding the Bloody Countess Elizabeth Bathory. The Queen presents such a threat to other women that there is a whole tribe of women you purposely disfigure their faces with scars so that they may be safe from the Queen killing them for their beauty.
It seems to be inevitable that the characterization of the Queen is achieved primarily through language and in relation to the Other--insisting on the social structures that mediate her personal awareness of her self, body and sexuality and its value in her context. Her social environment makes her think she is expendable in order to be able to continue to control her female sexuality because the fact that she is no longer virginal nor impregnable, there are no social markers that prohibit her from having sexual encounters for pleasure and not being physically pregnancy, broken hymen or socially accountable.
In addition, the fact that the Queen does not have any biological children of her own makes her more evil, more monstrous, because she has not fulfilled this predetermined female biological role and been, thusly, marked by the phallocentric coding of the female body by the male. When her child is stillborn she suffers a psychological break and reverts to her knowledge of magic to kill the King and Snow White--the forces that are to blame for her losses.
Nevertheless, metaphorically, the mirror is the element that condemns the Queen because: authority remains vested in the male voice [or also the male desire] of approval in the mirror; the standard by which both mother and daughter are judged resides outside themselves, so that neither can claim true authorship.
The Queen's prescribed role, that she is predestined to fill, is to exist as the contrast to Snow White, even though both are entrapped by the same restrictive concept of idealized feminine beauty.
For the Queen, within the traditional patriarchal context of the fairy tale, there is no other conclusion for feminine sexuality other than death or perversity. There also exists a construction of a narrative of female desire in some of these revisions. These anxieties are verbalized by her mirror.
In recent filmic adaptations the mirror takes on a more centralized "role": in Mirror, Mirror the Queen's mirror is located in a separate dimension while in Snow White and the Huntsmen the mirror is a shiny copper plate that dissolves to form a three dimensional figure and in Snow White: The Fairest of them All the Queen is not subject to a mirror but rather to a room of wall-to-wall floor to ceiling mirrors.
However, in the television series Once Upon a Time Regina's mirror in Storybrooke is an actual persona that she is able to manipulate to her own needs. What seems to emerge in these revisions are alternate and multiple perspectives on the same fairy tale but still seemingly centred on the feminine question of beauty and social worth. As a result, the mirror metaphor extends to also affect the interpretation of the text by further emphasizing the concept of alterity—one looks at the mirror not only to see how one looks to others but also to assess how one may be judged by the prejudices and preconceptions of others.
On the other hand, the male figures blame their inadequacies on either the magical potion or spell that the Queen forces him to ingest. Yet, they are not sexually objectified as the Queen, and it is only the Queen that is defined as a being to be sexually used by others.
In both Once Upon a Time and "Blancanieves" the Queen speaks of her escape from the land of enchantment as her only way out. Regina admits that the only way to escape her own "evil" mother is to leave the fairy tale world altogether. This becomes her only form of escape from the reality that predestines her to not being accepted as she is by her love and even by her own mother.
But are these "absent" males the real monsters of this story? Do they not form the ever powerful value system that feeds the insecurities of the older Queen that she must fight to remain valuable within this phallocentric order? Notes 1 Amie A. Anne C. Herrmann and Abigail J.
Signs New York: Avon Books, Austin: University of Texas Press, Philadelphia: University of Pennsylvania Press, Knopf, ].
Bibliography Bacchilega, Cristina. Bettelheim, Bruno. New York: Alfred A. Knopf, Boullosa, Carmen. Carter, Angela. Toronto: Penguin Books, Dallery, Arleen B.