Running head: CINDERELLA: PAVING THE WAY FOR FEMINISM

Cinderella:

Paving the Way for Feminism

Bailey Austin

University of Colorado, Colorado Springs

Paving the Way for Feminism 1

Abstract

Cinderella. A classic fairytale that many people knew growing up. Cinderella was a

young lady who sadly became an orphan after both of her parents passed. She was then forced to

live with her stepmother; Lady Tremaine and stepsisters, Anastasia and Drizella, in her parent’s

home where she is treated more like a servant than a sister. Although there have been many

versions of Cinderella that have been created since the story began in 1697, the researcher will

be focusing on the first film to be released in 1950 and the newest film released just last year in

March of 2015. Using critical discourse analysis and the feminist method, the constant power

struggle between Lady Tremaine and Cinderella along with female representation within the film

and society as a whole will be the main focus of this analysis. Although analyzing female

characters portrayed in classic fairytales stories has been done numerous times, the researcher is

bringing in a newer artifact that has not had as much research done on it yet and will be speaking

about the similarities and differences between the two films when it comes to its depiction of

power dynamic between the two leading ladies, female representation and how this has evolved

over time.
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Cinderella: Paving the Way for Feminism

In 1950, Walt Disney blessed the world with the modern day version of Cinderella, a

fairytale that dates back to 1697. In 2015, the magic returned, but this time in a live-action film

of the same title. The original story of Cinderella (1950) follows a young lady who is forced to

serve her stepmother, Lady Tremaine and two stepsisters, Anastasia and Drizella in her home

after both of her parents pass away. In this faraway land ruled by a small kingdom, Cinderella

ends up meeting and falling in love with the Prince and is therefore, rescued from her days as a

servant working for her stepmother. When the film is remade in 2015, the authors kept true to the

beloved fairytale with some minor alterations allowing the audience the chance to be more

embedded in the story than the original.

Over the sixty-five year gap between films a lot had changed within society, especially the

representation of females in film due to the Women’s Liberation Movement throughout the late

1960’s into the 1970’s. This made way for the addition of bits and pieces of storylines

throughout the new live-action film that were able to allow a more accurate depiction of

characters, specifically Cinderella, or Ella as she is referred to in the 2015 rendition, and the

power struggle between the two leading ladies.

Literature Review

This literature review will supply the audience with enough information to comprehend

the discussion that will take place later on in this analysis. To start off, the image of a “Classic

Disney” film will be outlined. Followed by a discussion of historical context that is crucial in

understanding the story of Cinderella, in particular where it began and the first animated version

that was released in 1950. An interpretation of fairytales and how they evolve over time will then
Paving the Way for Feminism 3

be examined, followed by societal normality’s that differed in 1950, which lead to the Women’s

Liberation Movement, resulting in development of female representation in films as time went

on.

The “Classic Disney” Film

The term “Classic Disney” can be defined as either the typical physical look of Disney

animation that has been produced throughout the years or what elements within a Disney film

make it a classic piece of work. For this analysis we will be focusing on the second definition. In

Disney-Formulism: Rethinking ‘Classic Disney’ by independent researcher Chris Pallant, he

explains, “Perhaps the most common association that has developed around the term ‘Classic

Disney’ concerns the use, and co-option, of fairy tale narratives. As Maureen Furniss notes,

‘many of the studio’s features ... have been based on well-known stories: folktales, fables, myths,

and legends’” (p. 343). Later on in this analysis, the researcher will delve into how this

particularly relates to Cinderella due to how far back in history this fairytale traces. “Moreover,

the legion of identikit orphans (both human and animal) that dominate the studio’s animation,

frequently fulfill what Campbell terms the ‘nuclear unit of the monomyth’ (1993: 30)”. It is then

explained that this nuclear unit of the monomyth is where “a hero ‘ventures forth from the world

of common day into a region of supernatural wonder: fabulous forces are there encountered and

a decisive victory is won: the hero comes back from this ... adventure with [newfound] power’”

(p. 343). Of course this journey does not have to be physical, a fairytale character can

metaphorically venture from their world, discovering outside forces that make them question all

they have ever known and returning stronger than they had left. This is a recurring event in

numerous Disney films that are still labeled as “classic,” for example, Snow White and the Seven
Paving the Way for Feminism 4

Dwarves (1937) or Pinocchio (1940). Chris Pallant then mentions researcher and writer Jack

Zipes, who studies fairytales, their evolution and their social and political roles on society, and

how he questions Disney’s renditions of old folktales, “What is most worrying about the studio’s

use of the fairy tale is the ability of Disney’s signature to obfuscate ‘the names of Charles

Perrault, the Brothers Grimm, Hans Christian Anderson, and Carlo Collodi’ (1996: 21)” (p. 343).

All of which have written or adapted folktales throughout history. It is important to define the

term obfuscate. Meaning to render obscure, unclear or unintelligible. Over the years, Disney has

taken these folktales and altered them, typically making them much more family oriented, in

order to sell to mass audiences. This makes it difficult for audiences to know whether or not

these fairytales are original or have been tampered with.

Historical Context: The Story Begins

“Fairy tales have been called historical documents (Darnton, 1999), cultural barometers

(Paul, 1998), and cultural artifacts (Gilbert, 1992). Each term alludes to the fact that fairy tales

are culturally specific and evolve according to the shifting values of a society” (Ella Evolving:

Cinderella Stories and the Construction of Gender Appropriate Behavior, 2004). This quote is a

prime example of the evolution of the story of Cinderella over time. This fairytale can be dated

all the way back to 1697 when Charles Perrault first wrote Cendrillon. Although stories

extremely similar to Cinderella can be dated all the way back to ancient times, Charles Perrault

was the first to devise the story that is most closely related to the modern tale depicted by Disney

in 1950. His portrayal of the story was the first to include a pumpkin that turned into a carriage

and a fairy godmother that assists Cinderella in her journey to the ball. It must be made clear that

fairytales do evolve over time, therefore the version that modern day society is familiar with now
Paving the Way for Feminism 5

may have been completely different when originally written. For example, in original Cinderella

stories, before Charles Perrault, Cinderella’s father is actually alive, the famous ball lasts for

three nights instead of one and the Prince devises a plan causing Cinderella to lose her shoe so

that he will later be able to find her. It is important to know that even thought there have been

multiple renditions of Cinderella throughout history; however, the researcher will only be

focusing on the animated Cinderella (1950) and the live-action Cinderella (2015).

Women’s Liberation

At first glance, Cinderella’s stepmother seems to be the head of the household due to her

status as a widow, however, this does not signify Lady Tremaine’s power but rather her lack

there of. In this particular time period, around 1950, woman did not have as much power as they

do currently. Five years before the release of Cinderella, The Second World War (WWII) ended

sending women back into their previously known household careers as wives and mothers. This

occurrence paved the way of what would later turn into the Women’s Liberation Movement

throughout the late 1960’s and early 1970’s. One might think that Cinderella is empowering

feminism by making this woman the head of the household however the audience can easily see

that she does not actually know how to run a household, hence the reason that she has Cinderella

do everything for her. This is the reason that throughout the entire film Lady Tremaine is

attempting to pawn her daughters off on the Prince so that they will no longer have to live in fear

of financial concerns. Overall, throughout this time period women were very dependent on men

especially when it came to economics. Although the 2015 film keeps the reason Lady Tremaine

wishes to have one of daughters marry the Prince the same, it is for reason of the storyline.

However, in the modern day adaptation, the Prince is much more focused on Cinderella’s
Paving the Way for Feminism 6

personality and her views on the world, which signifies this change in female representation not

only in film but also within society. This will be focused on later throughout the analysis in the

discussion section.

Purpose

The purpose of this analysis of both the 1950 and 2015 versions of Cinderella is to

understand why women are portrayed the way that they are within films. Why is Cinderella so

courageous, kind, and willful when it comes to believing the good in everyone? On the other

hand, why are her stepsisters and stepmother so cold-hearted? These questions will be analyzed

through a look at the power dynamic between Cinderella and her stepmother, Lady Tremaine,

through speculation of female representation within film, how it has evolved throughout the time

gap between the two films and how this has impacted society when it comes to feminism.

Methodology

This paper will be using the methodology of Critical Discourse Analysis (CDA) while

incorporating a feminist lens perspective in order to focus on the portrayal of numerous female

characters depicted throughout Cinderella. Based on the findings of Van Dijk, CDA focuses on

the role of discourse of both production and reproduction, while encountering the face of

dominance (Principles of Critical Discourse Analysis, 1993, p. 249). Van Dijk defines

dominance as the practice of social power by large groups and institutions that instigate multiple

occurrences of social inequality. Social inequality can pertain to a persons political or cultural

standings, social class, ethnicity, race or gender (p. 250). It is important to know that CDA does

not focus on personal power that an individual holds, rather the power that that individual holds
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within a group or institution. Van Dijk explains how members of these dominant groups have

particular roles in the organization of relations when it comes to power involvement. “These

(small) groups will here be called the power elites” (p. 255). These power elites are the holders

of socially valued resources, “such as wealth, income, position, status, force, group membership,

education or knowledge” (p. 254).

Along with power comes control. This control will typically be by a force of action,

cognition or both. Cognitive power is much more influential, using techniques such as

persuasion, dissimilation and manipulation in order to alter the minds of others to benefit

themselves. When, “…the minds of the dominated can be influenced in such a way that they

accept dominance, and act in the interest of the powerful out of their own free will” (p. 255) it is

referred to as hegemony. Once a person gets their hands on this type of control it is likely that

they will abuse it, and that is the main focus of CDA. While dissecting an artifact through the use

of CDA, a researcher’s overall purpose is to uncover a matter that is attempting to make a change

or question an issue in society. “Ultimately its success is measured by its effectiveness and

relevance, that is, by its contribution to change” (p. 253). Abuse of this power can be measured

by “…breaches of laws, rules, and principles of democracy, equality and justice by those who

wield power” (p. 255).

This paper will also being using the methodology of feminism. By picturing gender on

one long spectrum, one can see matriarchy on one end and patriarchy clear on the other.

Feminism is the search for gender equilibrium or the image of a balanced spectrum. “Clearly the

extraordinary explanatory power of the results of feminist research in the social sciences is due

to feminist-inspired challenges to the grand theories and the background assumptions of

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traditional social inquiry” (Harding, Feminism and Methodology, 1987, p. 10). In the previous

quote, Harding mentions that feminist research only exists because of feminist-inspired

challenges that existed in society at some point in time. Social power is capable of shifting over

time, as are those in control of said power. This is the purpose of CDA, to take these struggles

and alter the view of society. By using Critical Discourse Analysis with a feminist lens, the

researcher will expand on the power struggle of gender inequality, which will further support this

argument.

Rejecting Empiricism

The writer of this paper admits to bias through scope of analysis. The researcher of this

paper is a twenty-one-year old white female studying Communication Media Studies at the

University of Colorado at Colorado Springs. Being that the story of Cinderella originated so long

ago, the researcher is not able to have a direct perspective of events including the very first

rendition that most closely resembles the story Americans are familiar with today or the release

of the first film in 1950. Therefore, the researcher will be most closely concerned with the

modern rendition of the story, the live-action film released in 2015. Due to the race and gender

of the researcher, a Caucasian female, the writer is not likely to realize associations with male

perspectives as a male typically would or the subject of race as clearly as a non-white researcher

might. Naturally, there are numerous other implications that could be analyzed in relevance to

this film that are out of the scope of this study.

Paving the Way for Feminism 9

Discussion

Because of the numerous similarities and differences from the Cinderella (1950) film to

the Cinderella live-action (2015) film that focus on the change of power, specifically the change

of feminist power over time, this analysis will begin with identifying the power dynamic

between Cinderella and her stepmother Lady Tremaine. Who really is more powerful and how

do they each wear that power? Then, it will address the female representation within film, while

analyzing how this representation has evolved over the past sixty-five years. And finally, how

society has been impacted by these changes throughout the years.

Cinderella v. Lady Tremaine

Ella lived a wonderful life living with her father and mother in a cottage on the edge of

the forest where her family had lived for generations. From a young age her mother had

embedded the importance of expressing sympathy and compassion for others, “You must always

remember this. Have courage and be kind. You have more kindness in your little finger than

most people possess in their whole body. And it has power. More than you know.” (Barron,

Kinberg & Branagh, 2015). Once her mother falls ill and passes, her father continues to raise her

with the same mentality that her mother possessed. But a few short years later, he decides to

remarry a woman who has become widowed by an acquaintance he once met on his travels. She

goes by the name of Lady Tremaine. Before Ella’s father leaves, for what will be his last

business trip, aware of the fact that his daughter and second wife do not get along in the slightest,

explains to Ella, “While I’m away, I want you to be good to your stepmother and stepsisters,

even though they may be trying at times” (Barron, Kinberg & Branagh, 2015). After receiving

the news of her fathers passing, Ella and Lady Tremaine’s relationship takes a turn for the worst.
Paving the Way for Feminism 10

Immediately after letting go of the staff within the home for financial reasons, which will be

mentioned later on in this analysis, Ella returns inside when her stepmother says, “Ella dear,”

putting her arms out gesturing that she come over to her, “now, mustn’t blub?” She responds

with a, “Yes stepmother.” Lady Tremaine replies with a smile, “You needn’t call me

that…“Madam” will do” (Barron, Kinberg & Branagh, 2015). When Cinderella’s stepmother

insists that she call her “Madam” she is actually using discourse in order to position herself at a

higher status than that of her stepdaughter. When one thinks of power, one thinks it must be

shown to the dominated in a blunt manner, Dijk disagrees stating, “On the contrary, dominance

may be enacted and reproduced by subtle, routine, everyday forms of text and talk that appear

‘natural’ and quite ‘acceptable’” (Principles of Critical Discourse Analysis, p. 254). Lady

Tremaine slips an empowering message into a simple conversation, leaving Ella questioning

what just happened. She then goes on speaking about how her daughters, Anastasia and Drizella

have always shared a room, and how they find the sleeping quarters rather confining, as they

begin arguing with one another. Ella, being the kind person she is, offers her bedroom for the

girls to share. Her stepmother then insists that Ella stay in the attic, with all of her “bric-a-brac”,

rather than one of the numerous bedrooms in the house. The reason for this being she plans on

redecorating the entire house, a house that Ella’s people have lived in for generations. Once Lady

Tremaine establishes her status and takes away a physical object that has belonged to Ella her

entire life, her home, she can now be identified as a power elite. This particular scene sets up the

relationship between Lady Tremaine and Ella for the entirety of the film.

“Her stepmother and stepsisters ever misused her. And by and by they considered Ella less

a sister than a servant” (Barron, Kinberg & Branagh, 2015). A little later on in the film a crucial

scene takes place that gives Ella a new identity. “Sometimes by the end of the day, the drafty
Paving the Way for Feminism 11

attic was too cold to spend the night in, so she [Ella] lay by the dying embers of the hearth, to

keep warm” (Barron, Kinberg & Branagh, 2015). Her stepmother and stepsisters screaming from

the dining room, wondering where their breakfast is, awaken Ella. With no time to clean off the

ember from the fire she slept by, she runs up the stairs getting breakfast prepared as quickly as

possible. Her stepmother inquires, “Ella, what’s that on your face? It’s ash from the fireplace. Do

clean yourself up. You’ll get cinders in our tea!” This is when Drizella comes up with the

brilliant idea to call Ella, Cinderella. When Cinderella begins to set a fourth place at the table,

her stepmother then asks who the place is for with Cinderella replying “It’s my place,” Madam

responds, “Oh it seems to much to expect you to prepare breakfast, serve it and still sit with us.

Wouldn’t you prefer to eat after all the work is done, Ella? Or should I say, Cinderella?”

(Barron, Kinberg & Branagh, 2015). Immediately after this comment the scene switches to Ella

in the kitchen, finally broken down by her new “family.” The narrator of the film states,

“Cinderella. Names have power like magical spells. And of a sudden, it seemed to her that her

stepmother and stepsisters had indeed transformed her into merely a creature of ash and toil”

(Barron, Kinberg & Branagh, 2015).

After seeing how awful Cinderella’s stepmother and stepsisters have treated her throughout

the entirety of the film, an audience member may question why Cinderella did not just leave?

Lady Tremaine, Anastasia and Drizella were certainly not forcing her to stay so why did she?

Cinderella was brought up to have courage and be kind no matter what life threw at her. The

reason that Lady Tremaine was not successful in breaking down Cinderella’s character was

because she was never successful in the art of mind management, or “Changing the mind of

others in one’s own interest” (Principles of Critical Discourse Analysis, p. 254). The only point

in the film that Cinderella’s stepmother is almost successful in mind management is the night of
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the ball. After Cinderella goes through enormous effort to fix up an old gown of her mothers, her

stepmother rips it apart. When Cinderella questions how she could do such a thing, Lady

Tremaine replies, “How could I otherwise? I will not have anyone associate my daughters with

you. It would ruin their prospects to be seen arriving with a ragged servant girl. Because that is

what you are. And that is what you will always be. Now mark my words! You shall not go to the

ball!” (Barron, Kinberg & Branagh, 2015). Lady Tremaine attempts to change Cinderella’s

identity from a good, honest, country girl to a ragged servant, but she is unsuccessful thanks to

Cinderella’s fairy godmother.

In the final scene between Cinderella and Lady Tremaine, her stepmother finds the glass

slipper hidden beneath the floorboards of the attic and explains how their lives will go on after

Cinderella marries the Prince. Lady Tremaine will be made head of the royal household and she

shall manage the Prince, or “that boy” as she refers to him. When Cinderella stands up to her

stepmother telling her no, Lady Tremaine smashes her glass slipper against the wall. Cinderella

questions, “Why are you so cruel? I don't understand it. I've tried to be kind to you. And though

no one deserves to be treated as you have treated me. Why do you do it? Why?!” She responds,

“Why? Because you are young, and innocent, and good. And I...” (Barron, Kinberg & Branagh,

2015). Although after this Cinderella’s friends (mice) must rescue her from upstairs so that she

may meet the Prince and live happily ever after, this ends the power struggle between her and her

stepmother. When Lady Tremaine walks away from Cinderella without a clear explanation of

who she is, she gives up her power. The power that Cinderella has mentally overrides the power

of the stepsisters and stepmothers because mental power is a lot stronger than action.
Paving the Way for Feminism 13

Female Representation in Film

“Women are divided with the designation “good” or “evil.” There is controversy among

feminist readers about the portrayal of feminine power and agency in fairy tales. Karen Evans

(1996) notes that in the traditional canon, a powerful female is most often ugly if not evil” (Ella

Evolving: Cinderella Stories and the Construction of Gender-Appropriate Behavior). The article

Exploring Media Culture by Michael Real focuses on this female representation in film. In this

particular chapter Real explains the main focus will, “…bring together a range of feminist

thought on a linked sequence of issues moving from female stereotyping/exclusion in patriarchal

Hollywood to feminist theory and film making” (Exploring Media Culture, 1996, p. 171).

Particularly focusing on premises of “female muteness”, the lack of females having a voice

within media and the “male gaze” which he explains, “With moviemaking an exclusively male

preserve for generations, the very way that movies view the world has been from a male point of

view…particularly so in the way that movies have viewed women” (p.185). There have been two

major stages of classical feminist film criticism, the first being the critique of images of women.

Referring back to the article Ella Evolving: Cinderella Stories and the Construction of Gender-

Appropriate Behavior, Lady Tremaine and her daughters are referred to as ugly, evil or “lacking

skills in any art.” The reason they are so “evil” is because they are powerful and power is not

something a man wishes to see in a potential wife. Real explains that, “Gender analysis indicated

that female representations in film consisted of only mothers and sex objects, or even worse, the

femme fatale, most strikingly depicted as…a woman who is evil, powerful, and seductive” (p.

174). When the audience is first introduced to Lady Tremaine, Anastasia and Drizella, also

known as, Cinderella’s stepmother and stepsisters, they are presented as three women who have

complete power within their household and those who live there. This could easily be mistaken
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for society’s way of showing that women can also have power. However, when examining this a

little closer it is obvious that the creator of these characters portrays them as dreadful, ugly

women; the reason being so that the audience relates this sense of power to women who are

completely hideous on the inside and out. Laura Mulvey, a researcher of sexism in film unveiled

the reason for “male gaze.” “She uses this psychoanalysis ‘as a political weapon, demonstrating

the way the unconscious of patriarchal society has structured film form’” (p. 186).

Throughout the chapter, the author refers multiple times to the 1993 film The Piano, which

centers around a mute woman. Real explains this as, “This symbolic muteness, the lack of female

voice…” (p. 173). Female muteness can also be witnessed within the first rendition of Cinderella

(1950) during the most infamous scene, in which Cinderella enters the palace and is immediately

whisked away by the Prince, dancing through the night until the clock strikes midnight. During

this scene very minimal dialogue is exchanged between the two characters. The only time that

Cinderella speaks to the Prince is when she tells him she must leave. How exactly are these

characters supposed to fall in love with one another when they have merely exchanged a total of

50 words? In the article Principles of Critical Discourse Analysis, Dijk states, “For our

discussion, it is especially interesting to note that such elites also have special access to

discourse: they are literally the ones that have the most to say.” (Principles of Critical Discourse

Analysis, p. 255). When stating “elites” he is referring to the power elites, mentioned previously,

the holders of socially valued resources, in this case Lady Tremaine and her two daughters. The

simple looks and dialogue within the first film give the impression that women who physically

have less to say are more desirable than women who hold power within an institution declaring

this a far more patriarchal society.

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The representation of women throughout Cinderella (2015) has taken a slight turn for the

better. Although Lady Tremaine and her daughters have not evolved when it comes to how

outrageously dreadful their actions are towards Cinderella, the progression of the character of

Cinderella has. The authors of the modern day film gave Cinderella a much more influential

voice allowing the audience to understand her as a character as opposed to the previous animated

film where the audience was only able to witness her working for her superiors or in disbelief

over what her life has become. One of the greatest scenes added to this film that assisted in this

development of her character, was the first meeting between Cinderella and the Prince. After

Cinderella’s stepmother and stepsisters degrade her to the point of tears, she rides off into the

forest where she stumbles upon a group of hunters, one of which being, the Prince. They

converse for several minutes about how they are treated at home, with Cinderella’s response

being, “They treat me as well as they’re able…it’s not so very bad. Others have it worse, I’m

sure. We must simply have courage and be kind, mustn’t we?” (Barron, Kinberg & Branagh,

2015). Cinderella carries on asking her new friend Mr. Kit, as he introduced himself, not to harm

the stag that him and his retinue were hunting. He responds with, “But we’re hunting, you see.

It’s what’s done.” She then responds with a line that will personally be quoted later on in the

movie by Kit himself, “Just because it's what's done doesn't mean it's what should be done”

(Barron, Kinberg & Branagh, 2015). When Kit quotes this line while he is speaking to his father,

the interpretation that males and females are closer to being equals on a feminist spectrum arises.

The sixty-five year gap between cinematic release of these films gave way for the progression of

female rights within society, causing female characters to evolve as well. Said best by Cinderella

towards the beginning of the film, “We ladies must help one another.”
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The Prince’s Power:

While viewing both films, the differences between the royal families immediately stand

out. In the original animated film, the King speaks about the reason why he wishes for his son to

marry, “It’s high time he married and settled down…I’m not getting any younger you know? I

want to see my grandchildren before I go. You don’t know what it means to see your only child

grow farther and farther and farther away from you” (Disney, Geronimi, Jackson & Luske,

1950). It is made clear that the Kings intention for his son to marry is so that he may have

grandchildren, there is no mention of any other reason. However, in the 2015 rendition the

purpose of marriage has altered quite a bit. After the Prince meets Cinderella for the first time in

the forest, he immediately falls for her intelligent outlook on life and kind nature. Once returning

back to the castle, he mentions this mysterious maiden to his father.

King: “You've only met her once. How could you know anything about her?”

Prince: “You told me you knew right away when you met Mother.”

King: “That's different. Your mother was a princess.”

Prince: “You would have loved her anyway.”

King: “I would never have seen her, because it wouldn't have been appropriate”

(Barron, Kinberg & Branagh, 2015).

This is when the audience learns that the King wishes that the Prince marry a princess and will

not allow it any other way. The prince questions this logic, “If I must marry, could I not wed,

say, a good, honest country girl?” The Grand Duke retaliates with, “How many divisions will

this, “Good, honest country girl” provide us? How will she make the kingdom stronger? We are

a small kingdom amongst great states, Your Royal Highness. And it’s a dangerous world.”

(Barron, Kinberg & Branagh, 2015). This alteration in storyline explains how society has
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changed over the past sixty-five years. Back in 1950, the American Dream was a way of life and

family meant a lot. However, as times have changed, it seems that the desire of society has

shifted towards who has the most power and dominance in the world rather than the family

aspect. The King wishes for the Prince to marry a princess in order for their Kingdom to grow in

size and ultimately become more powerful. Ironically every common woman in the Kingdom

wishes to marry the Prince for that same reason, to gain power, stability and financial support.

Conclusion

This analysis took a good look at both the original Cinderella (1950) film that enhanced

Walt Disney’s career and the modern day adaption of the film from 2015. The researcher

analyzed the power struggle between Cinderella and her stepmother Lady Tremaine through

critical discourse analysis and the use of a feminist lens. Both of these methodologies assisted

with viewing the representation of women throughout film and how it has grown to go hand-in-

hand with society. Then, taking those adaptations of society and applying them to how the story

of Cinderella was able to adapt throughout sixty-five years.

Cinderella (2015) attempts to break the stereotypes of woman that were originally

portrayed in the 1950 film at a slow and concise pace. The ideology of evil women being

powerful and good, kind women having no power was erased by the modern version of

Cinderella.

Implications for Future Study

Cinderella is a widely known story that dates back to 1697, not including the multiple

stories that bare many similarities to Cinderella far before this. Hence, there are numerous
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directions that a critical discourse analysis of Cinderella could have gone rather than only

focusing on the 1950 and 2015 renditions. However, the reason the researcher decided to go this

route instead of another is because of the modern element versus the past element, which seemed

like there could have been major influences from society that impacted differences within the

films. Therefore, this particular study is refutable. Although this would take a tremendous

amount of time, and likely multiple researchers, it would be interesting to analyze how the entire

character of Cinderella has evolved throughout time because of its long history. It would also be

provoking to see if whoever came up with this story intentionally designed the characters to

portray the ideal and non-ideal woman.

Paving the Way for Feminism 19

References

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