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A Novel, Two Films: Women’s Stories

Snow White

Flore Chappuis, 3M2

From Snow White and the Huntsman

Gymnase Auguste Piccard, Lausanne

October 2013

Mentor: G. Zündel P.

Travail de maturité 2013, GAP, Flore Chappuis

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Contents 1. Critical Summary ........................................................................................................... 2

2. Introduction ................................................................................................................... 4

3. Analysis Sequence 1: “Mirror, Mirror on the Wall” .................................................... 6 3.1. Context and Summary ........................................................................................... 6 3.2. Cinematographic Analysis .................................................................................... 6

3.2.1. Chart of the Sequence ..................................................................................... 6 3.2.2. Light and Colours ............................................................................................ 9 3.2.3. Sound .............................................................................................................. 10 3.2.4. Acting .............................................................................................................. 11 3.2.5. Appearances of Actors and Decor ............................................................... 14

3.3. Comparison between the Three Different Versions .......................................... 16 3.3.1. The Mirror ....................................................................................................... 16 3.3.2. Snow White’s Death ....................................................................................... 17

4. Analysis Sequence 2: The Huntsman’s Kiss ............................................................ 20 4.1. Context and Summary ......................................................................................... 20 4.2. Cinematographic Analysis .................................................................................. 20

4.2.1. Chart of the sequence ................................................................................... 20 4.2.2. Light and Colours .......................................................................................... 23 4.2.3. Sound .............................................................................................................. 25 4.2.4. Camera and Actors’ Movements .................................................................. 26 4.2.5. Appearances of Actors and Decor ............................................................... 27

4.3. Comparison between the Three Different Versions .......................................... 30

5. A Feminist Perspective on Snow White and the Queen .......................................... 32

6. Conclusion ................................................................................................................... 36

7. Bibliography ................................................................................................................ 38

1:41:14 in the film


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1. Critical Summary

Once upon a time, a little girl is called Snow White. She is white as snow, her lips as red

as blood and her hair as black as ebony. After the premature death of her mother, the King

remarries. His new wife is stunning but cannot bear anyone else surpassing her in beauty.

One day, looking at herself in the Mirror, she asks: “Mirror, mirror on the wall, who is the

fairest of them all.” Unfortunately, she is not the most beautiful woman anymore. Indeed,

Snow White has grown up and is now the fairest in the world. The Queen is so irritated

that she orders a Huntsman to kill Snow White by tearing her heart out of her chest. The

Huntsman, however, has pity on her and let her escape. Left alone, Snow White suddenly

sees a small cottage, which is actually the home of seven dwarfs. Snow White’s

stepmother, angry that her daughter-in-law is still alive, tries several times to destroy her.

Finally, Snow White dies by eating a poisoned apple made by her enemy. Inconsolable,

the dwarfs lay her in a transparent coffin made of glass. One day, a Prince passing by,

sees Snow White in her coffin. He immediately falls in love and asks the dwarfs to bring

her back with him. During the chaotic transport, the poisonous piece of apple comes out of

her throat. Snow White is alive. She goes to the King’s castle and marries the Prince, his

son. The desperate wicked Queen goes to the wedding and is forced to dance with red-hot

shoes until death.

The 1812 original tale is in German, I thus first looked for a literal English translation of the

original text. The story has been transformed and adapted by Walt Disney and we quickly

realize that many elements were removed from the original version. Walt Disney has

embellished the tale to make children dream, creating an ideal of true love, particularly for

little girls. Indeed, the end is not the same: in children’s versions, Snow White is woken up

by a kiss from her Charming Prince, a kiss which is non-existent in the 1812 version. At

that time, it was certainly not accepted that a man kisses a woman publicly, at least

without being married. However, in Grimms’ fairy tale and the 1938 Walt Disney adaptation

Snow White and the Seven Dwarfs, the same stereotypical vision of the woman is present.

Snow White symbolizes the child, simplicity, innocence, beauty, and purity. She takes care

of the house and obeys the dwarfs. At that time, women’s role in society definitely

consisted in being a housewife. In contrast, the Queen is an older woman, to whom we

associate the stereotype of wickedness, ugliness, and jealousy. The 2012 film Snow White

and the Huntsman radically changes Grimms’ tale: Snow White is not innocent, she fights

for her freedom and becomes a warrior. This latest cinematographic adaptation concurs


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with the evolution of woman in society. Nowadays, women have more responsibilities and

have the theoretical possibility to become influential.


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2. Introduction

Evolution does not make any exception in the field of tales. These ones are written,

transformed, adapted to correspond to the values and morals of a culture or an audience.

As Zipes, author of Why Fairy Tales Stick: The Evolution and Relevance of a Genre,

notes, tales are “rarely retold in the same way, always adapting to the environment and

circumstances in which they were generated.” 1 Besides, there is no correct and exact

written version at the origin of a tale. The latter, indeed, appear from an oral tradition of the

lower and peasant classes. Often dark and violent, tales were not intended for children but

an adult audience. Furthermore, tales do not have the same function as fables. While the

purpose of a fable is to convey a moral lesson, a tale reflects human condition and

experience through emotions such as fear, anger or joy.

Jacob and Wilhelm Grimm did not invent Snow White’s tale. They knew it

from oral tradition and adapted it, by improving the level of language, to

preserve German oral tradition. As time went by, the

narrative changes appeared to have adapted the story for

a wider audience including a younger one. Moreover, the

historical and social context plays an important role in the changes made

in a narrative. Snow White and the Seven Dwarfs was Walt Disney’s first

major film. The Director took the essential elements of the tale to tell a story reflecting his

peers’ expectations. There are several adaptations but the 1938 Disney version is for most

of us the best known. The 2012 film, meanwhile, changes the whole tale even if all the

elements of the original story are present. This cinematographic adaptation recaptures the

darkness of the first Grimms’ version but for a 2012 audience. This new film, which

includes special effects, costumes and extraordinary sets, radically changes the child-

friendly Walt Disney version, seasoned with humour.

On the one hand, this research paper consists in analysing two sequences from the 2012

cinematographic adaptation of Snow White. Rupert Sanders directed the 2012 film

entitled, Snow White and the Huntsman. The main roles are played by Kristen Stewart,

Charlize Theron and Chris Hemsworth, respectively Snow White, the Queen and the

1 See John Hanson Saunders, p.7 http://fr.wikipedia.org/wiki/Wilhelm_Grimm

http://fr.wikipedia.org/wiki/Jacob_Grimm


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Huntsman. In order not to miss an essential element, issues such as lights and colours,

sound, camera and actors’ movements or acting, appearances of the actors and decor are

separated. In addition, the research paper includes a comparison between the 2012 film,

Grimms’ fairy tale and Disney's film. On the other hand, the paper focuses on Snow White

and the Queen in a part taking a feminist perspective on these two female characters.


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3. Analysis Sequence 1: “Mirror, Mirror on the Wall”

This sequence takes place from 20 minutes and 2 seconds to 21 minutes and 20 seconds

in the 2012 film.

3.1. Context and Summary During the harshest winter in living memory, Snow White’s mother passes away.

Benefiting from the King’s grief, a dark army appears and lures him into battle. The

mysterious army defeated, soldiers discover a young woman in the middle of the remains.

This desperate woman affects the King’s heart and, the very next day, they get married.

Unfortunately, it was a trap set up by the new Queen to take the power of the kingdom.

She, thus, murders the King. In addition, all animal and vegetable life is eradicated around

the kingdom. A short time later, her Mirror is brought to the castle. Anxious and worried,

the Queen however remains the most beautiful woman. But, this will not last. Indeed, high

up in the north tower, Snow White, the daughter of the

murdered King, is alive. Her physical attractiveness increases

whereas the Queen’s beauty fades and her powers wane.

Therefore, the evil Queen inhales the young woman’s beauty

and youth before questioning her Mirror again.

The Queen speaks to her Mirror, which actually is her soul’s personified reflection. As she

cannot bear growing old, she asks the Mirror “who is fairest of them all” 2. Unhappily, she

discovers that the King’s daughter, from now on, is the most beautiful. To become

immortal and, thus, young and beautiful forever, the Queen must take Snow White’s heart

in her hand. Without losing one second, she orders her brother Finn, who was spying on

the Queen, to bring her the young woman.

3.2. Cinematographic Analysis 3.2.1. Chart of the Sequence

The angles, lights, sounds, camera movements and contents of the sequence are

presented in the following chart. These details offer a springboard for a thematic analysis.

The essential elements of the twenty shots of the sequence are explained here:

2 See film, shot 2, 20 minutes and 7 seconds

19:19 in the film


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Shot Time Angle Light Sound Camera movements Content

1 20:02-20:07 Long shot

Fire to the left of the shot and candles arranged in

front of the Mirror. The latter reflects some light. There is a window above the Mirror, which lets a little daylight

enter the room

Queen’s voice None

The camera is placed behind the Queen who speaks to her Mirror raised in front of

her

2 20:07-20:13 Close up

Fuzzy and dark behind her. However, her face is

enlightened

Queen’s and Mirror’s

voice None

Queen’s detailed portrait including her multiple jewels

and a little bit of her hair. She is on the left of the shot

3 20:13-20:19 Close shot

Two golden coloured Mirrors shine. Two candles

are on the right of the human shape Mirror

Mirror’s male voice None

Viewers are behind the fuzzy Queen’s right-hand side.

The Mirror thus is in front of the camera and the Queen’s face is reflected in this one

4 20:19-20:25 Close shot

The Mirror is fuzzy and the Queen is clear. There is the

extremity of the flame behind the Queen and a

rose window letting glimpse daylight

Mirror’s and Queen’s

voice None

Queen’s more detailed portrait including her multiple

jewels, her hairstyle with a black pike crown and the top of her dress. The camera is behind the Mirror’s left-hand

side and viewers see the Queen’s face

5 20:25-20:28

Close shot (same shot as shot 3)





The Mirror thus is in front of the camera and the Queen’s face is reflected in this one

6 20:28-20:30 Close up

There is the extremity of the flame behind the Queen.

Her face is also illuminated by the Mirror



and a little bit of her hair. Right half shot is occupied

by the fuzzy Mirror’s personification. On the other side of the visual field is the

Queen’s face

7 20:30-20:33 Close shot

Finn is in the shade, stone are lit to the right of the shot and there is the bottom of a

candle on the other side


Finn goes out of the shade to spy on his sister, the

Queen

8 20:33-20:36 Long shot

Candles arranged in front of the Mirror on the wall, which shines. Viewers guess the

fire behind the Queen because her shadow is between the Mirror and

herself

Queen’s voice

Travelling: the camera goes to the left to show

the Queen

The camera broadcasts Finn’s vision. He does not see the personified Mirror.

He sees only the one which is on the wall. For him, his sister is speaking to herself

9 20:36-20:42

Close up (same shot as shot 6)



Queen’s and Mirror’s

voice None




Queen’s face


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10 20:42-20:49






The Mirror thus is in front of the camera and the Queen’s face is reflected in this one. She turns her head a little to

the left

11 20:49-20:53


Fuzzy and dark behind her. However, her face is

enlightened


Queen’s detailed portrait including her multiple jewels and a little bit of her hair and crown. She is in the centre

of the shot

12 20:53-20:58 Close up

One candle on the left and shine of the Mirror to the

fuzzy background

Mirror’s male voice None Mirror’s face where the

Queen’s face is reflected

13 20:58-21:02




Mirror’s and Queen’s

voice None




Queen’s face

14 21:02-21:05 Long shot


front of the Mirror. The latter reflects some light


The camera broadcasts Finn’s vision. This time, the fire appears on the left side

of the shot

15 21:05-21:08


Finn is in the shade, stones are lit to the right of the shot and there is the bottom of a


Queen’s voice None Finn goes back in the shade

16 21:08-21:09


The Queen’s face is enlightened but it is fuzzy

and dark behind her.



and a little bit of her hair. She is on the left of the shot

17 21:09-21:11

Long shot (same shot as shot 1)


front of the Mirror. The latter reflects some light. There is a window above the Mirror, which lets a little daylight

enter the room


The camera is placed behind the Queen. There is no

personified Mirror anymore

18 21:11-21:14


Finn is enlightened, stones are lit to the right of the shot and there is the bottom of a


Queen’s voice and noise of

Finn’s steps

None Finn gets out of the shade

19 21:14-21:17 Long shot


front of the Mirror. The latter reflects some light


The camera is placed behind Finn’s left shoulder.

The Queen looks at him and at viewers

20 21:17-21:20


Finn is enlightened, stones are lit to the right of the shot and there is the bottom of a


Queen’s voice and noise of

Finn’s steps

None Finn’s head nods and he

leaves to go and meet Snow White


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3.2.2. Light and Colours

Light and colours are worth some comments. The room is plunged into darkness; only a

few candles and a fire in the middle of the room provide some light. There are indeed only

two openings which can potentially offer some daylight. However, the window above the

Mirror and the rose window behind the fire and at the other end of the room hardly let in

the daylight. This thus establishes a scary environment in a cold and dark castle.

The Mirror is both a strange and fascinating object. On the one hand, it reflects the

Queen’s face. On the other hand, it shines and illuminates the Queen’s portrait. Although a

more detailed analysis is presented in the part offering comparison between three different

versions, it is interesting to note significant aspects of this Mirror. The object is enlightened

with about thirty candles arranged in front of it. Candles are typically lit during a watch, but

also to venerate a God or pay tribute to a deceased person. In this context, candles serve

rather to highlight the Mirror but also to revere it because it represents the Queen’s

beauty, expression of her power and strength. Light has thus two main aims. It is used to

create atmosphere and to enlighten the Mirror, but light and candles also represent a

particular symbol, the veneration of a God. In the middle of the room, there is a fire. While

the Mirror symbolizes a God for the Queen, fire is the incarnation of wickedness, strength

and hell. When the camera is placed so as to present the Queen’s portrait, fire burns

behind her. Therefore, the Queen is expressed to viewers as the embodiment of evil.

Once again, fire is a source of light, however, it is mainly present for its evil symbolic

value.

While the Queen speaks to her Mirror, her brother spies on her. Finn is in the shade. He

hides from his sister. Nonetheless, when she calls him, he takes one step ahead right

away and his presence is literally highlighted. If he had been enlightened from the

beginning his spying position would not have been convincing. Thus, here light is used to

complete the tale of the story, to convey information about Finn’s situation without any

dialogue or acting.

Shot 1


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In this scene, the contrast between cold and warm colours is especially strong. Gold, the

fire, candles, the Queen’s hair and fair skin represent wealth and glory for the Queen.

Because the rest of the room is dark, these colours appear clearly. We can barely see the

walls or other details of the decor. Viewers’ attention is focused on the Queen, the Mirror

and the flames of the fire. Consequently, these contrasted colours and light provide

information about the Queen, and her desire for power and beauty.

To sum up, light is primordial in a film and especially in this sequence. A wide range of

information is given throughout the presence of candles and fire for instance. First of all,

light is present to highlight one or several characters or objects, for example, Finn in his

spying position. Moreover, the same light is used to provide symbols such as power and

reverence in the case of the Queen and the Mirror. Finally it is important to pay attention

to these different aspects in order to understand the purpose of the sequence.

3.2.3. Sound

The sequence does not contain non-diegetic sounds and this forces viewers to give their

full attention to the Queen and the Mirror’s voice. The only sound, which does not come

from the latter two characters’ voices, is the noise of Finn’s steps. When this one hides, he

obviously makes no noise, but when he appears in front of the Queen, viewers slightly

hear the noise of his steps. Even if this sound is hardly perceptible, it confirms, in a

different way from light and colours, Finn’s spying role.

The Queen’s voice clearly represents her feeling. At the very beginning, when she says

the famous question, “Mirror, Mirror on the wall, who is fairest of them all?”, she appears

strong, self-confident, and powerful (shots 1 and 2). The Mirror informs her that she is not

the fairest anymore. The reaction in her voice expresses anxiety. Her respond is weak,

short, and in one breath (shot 4). When the Mirror tells her about Snow White, she is

surprised and seems a little bit hurt (shot 6). She regrets not killing her when she was just

a little girl and letting herself being fooled by her childish innocence and purity (shot 9).

However, the Mirror gives the solution to her problem and the way to become immortal.

Again, the Queen’s voice perfectly illustrates her feelings. She seems even more powerful

than before. Immortality, eternal beauty and youth are

her ultimate goals. Revenge against Snow White is

her only way to get to this purpose (shot 13). Finally,

she calls her brother. Her voice is strong and

Shot 18


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dominating. The balance of power between these two characters is clearly at the

advantage of the Queen. She treats her own brother like a slave (shots 16 and 17). In her

last sentence, her voice expresses her maleficence and malignancy (shots 18 and 19).

The Mirror’s voice is masculine, calm and steady. During the whole scene, it speaks

slowly, always at the same speed and tone. Its voice does not reflect a single feeling.

Indeed, it is a neutral character and, thus, does not have feelings or emotions. He does

not take sides, he tells the truth and only gives the Queen the true solution to her problem.

In conclusion, this sequence shows that non-diegetic sounds are not necessary to catch

viewers’ interest. Besides, this allows to focus on the voices of the two protagonists and to

appreciate the Queen’s performance through her voice. Finally, the contrasts between the

Mirror’s neutral voice and the Queen’s expressive voice are put forward thanks to the

absence of non-diegetic sounds.

3.2.4. Acting

In this sequence, acting is more significant than camera and actors' movements. That is

why, I focus on the actors’ performance. However, the following few lines exhibit the only

two camera and actors' movements of the sequence:

Throughout this passage, the camera travels only once. Since the characters are mostly

static, so is the camera. The only character who moves in this sequence is Finn, the

Queen’s brother. Thereby, the single time the camera travels is precisely when the

Queen’s brother moves to see

his sister better. The camera

corresponds indeed to Finn’s

vision from which viewers infer

his moves. The audience sees

what her brother looks at and

this proves, among other things,

that only the Queen sees the

human Mirror. Finn does not only walk at this moment (shot 8). His first movement is

located in shot 7 just before the travelling camera. The second in shot 15, then 18 and

finally 20 when he leaves to look for Snow White.

Shot 14


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Consequently, the camera has two different goals. The first one is the task of giving a

general viewing of the scene. This aspect provides information known by the characters of

the sequence. The second one is exactly the camera being the eyes of a character. The

task is thus to give information to viewers, which are unknown to some characters, here,

the Queen.

To highlight the protagonists’ reactions and behaviour, the viewing angles are almost

always close shot or close up. The angles of this sequence thus show the Queen’s facial

expressions and her reactions to the Mirror’s answers. Throughout the scene, the Queen

remains standing and motionless. Furthermore, when she talks with the Mirror, she

spreads her arms as to speak to a God of

wisdom and honesty. On the other hand,

when she talks with her brother, her arms

stay along her body. The lower body is facing

the Mirror, while the upper body turns a

quarter to face her brother.

Her eyes, the position of her head, her breath and her smile mainly represent the Queen’s

acting. The first shot at the Queen’s face shows a strong, fixed, determined and self-

confident stare. Her eyes reflect her emotions and

feelings. Thereby, the Queen exhibits a woman with

character and a fighting spirit. Her domineering look

and serious voice express her self-confidence and

influence (shot 2). Upset and wounded to learn that

her beauty is surpassed, the Queen deeply breathes, which marks her nervousness and

internal revolt (shot 4).

In shot 6 and 9, her eyes begin to shine because she feels

betrayed and hurt. She does not understand how a little

helpless girl, locked in a despicable tower for many years,

could outdo her beauty. Lack of understanding and fear

push the Queen close to tears. For all these years, she

had not imagined that Snow White could cause her loss.

Her tense mouth, when closed, her severe stare blinking

twice, show her anger and synchronous sadness.

Shot 2

Shot 6

Shot 9

Shot 19


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Snow White is the cause of the Queen’s destruction but she is also her only salvation.

Therefore, the Queen seems to be in disagreement with the Mirror’s paradoxical response

because she slightly turns her head. At the time, she does not conceive how this person

can concurrently cause her undoing and save her (see shot 10). Being given the solution

to obtain immortality, the Queen resumes her spiteful

and Machiavellian behaviour. She lowers her head,

wears a small smile showing satisfaction and

superiority and has her killer eyes again, expressing

her desire for revenge (shot 13).

The last Queen’s request is destined to her brother.

She once again lowers her head and turns it in front

of Finn. She meanly shouts her brother’s name by

opening her entire mouth. That exposes the

dominance of the Queen over her own brother (shots

16 and 17). Nonetheless, Finn is delighted to go and look for Snow White (shot 20). While

he spies on his sister, he appears not to understand the Queen’s behaviour (shots 7 and

15). Then, he seems totally subjected when he presents himself in front of her. His head is

tilted downward (shot 18). But when he learns that he has to fetch the King's daughter, he

wears a discreet smile of satisfaction and expresses the same wickedness as the Queen

since he knows exactly what is going to happen (shot 20). He does not speak, he only

nods, proof of his submission.

As a conclusion, the Queen’s acting shows the stereotypical vision of the powerful woman:

evil and heartless. She acts as a malicious Queen, nasty and dominating including

dominating a man, her own brother, which appears even worse. As in the tale, she is not

capable of any tenderness. Her cruelty, due to her power, contrasts with her beauty and

her femininity. She is stunning and her physical appearance does not correspond to the

image of wickedness. Consequently, her acting and actions reveals her cruelty and power,

while her beauty hides her real nature. On the other hand, Finn is under his sister’s

authority. However, he is perceived as similar to the Queen because of his behaviour

towards Snow White and thus, he agrees to kill her for the sake of the Queen.

Shot 13

Shot 16


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3.2.5. Appearances of Actors and Decor

The appearance of the Queen is obviously the most important one. She is dressed in a

long and rich dress with a train. Its colour is sparkling grey. That makes it looks like an iron

dress. She wears make-up to look younger and more beautiful. Indeed, her powers are

fading and she needs to hide some little imperfections on her face. Around her neck, there

are two necklaces and she has earrings too. All together, it makes a lot of jewels. Since

she is slowly losing her beauty, she tries to hide it with many accessories. Her hair is

braided. It looks like little chains in her blond and beautiful hair. On her head, she has a

special crown. It is black, probably made of some strong metal with large and long peaks.

It is completely different from a typical Queen’s crown made of gold with shining diamonds.

This one looks dangerous, and represents the evil character of the Queen. The film is the

adaptation of a fairy tale. Consequently, costumes are elaborated and aesthetically

perfect, in order to create an atmosphere. Furthermore, her dress and every single dark

accessory express in a simple way her power and strength.

The Mirror is simple without real important

details. It has a human shape, hidden by a

golden sheet. This makes the Mirror a total

impersonal character. It has no face and its

arms are crossed. Only the Queen’s face

reflects on the sheet. Obviously, the Queen is the only person who can see the Mirror

because when the camera looks from her brother’s point of view, it shows the Queen

alone in the room. The Mirror is slightly taller than the Queen. This asserts the central

importance of the Mirror in the Queen’s life and, even, hints at its possible domination over

Shot 4

Shot 12


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her. Indeed, the Queen is imprisoned by her physical appearance. The Mirror is thus a

prop in the story as it holds the truth. It is the only way to give satisfaction to the Queen. It

is important to highlight its subtle character. Thereby, it is one of the issues of the further

comparison between the three different versions of the tale.

The general decor is gloomy. We are in an old room that has been invaded by roots and

ivy. It must be located in one of the towers of the castle because the room is circular. The

walls are made of dark stone and the floor looks as if made of some rich marble. The

atmosphere conveyed by this room is cold and harsh. In this context, stone apparently

symbolizes strength, harsh authority and coldness. Stone and marble are eternal, strong,

as the Queen would like to be. There are two major spots in the room: the fire in the

middle of the room and the golden Mirror leaning against the wall. Moreover, candles

encircle the Mirror and there are some steps right in front. This composition really helps to

understand how important the Mirror is. It is adored like a God on his throne and

represents the power of the Queen. Like the costumes, the decor is a source of

atmosphere. Without specific decor such as fire, candles and stone, the adaptation of the

tale would not have been appropriate. The castle represents the main building in a fairy

tale. Besides, this one is dark, cold and scary and calls to mind the Queen’s evil character.

To sum up, actors’ appearances and the decor are absolutely essential to the fairy tale.

Indeed, it creates an atmosphere and allows the viewer to get a feeling about the scene

that involves more than just the actors’ speeches. In particular, the accessories and the

dark surroundings give a clear indication to the viewer about the evil nature of the Queen.


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3.3. Comparison between the Three Different Versions: Grimms’ Fairy Tale, Walt Disney’s Adaptation and the 2012 Film

This film extract shows two important elements that can be compared with the Grimms’

fairy tale and the Walt Disney version. The first point to focus on, is the Mirror’s presence,

the second is the scheme set up to kill Snow White.

3.3.1. The Mirror

The magic Mirror plays a decisive role in Snow White’s story. So much that it is a judging

element which contributes to the birth of the Queen’s jealousy. This object always has the

same purpose in the three versions. It holds the truth about women’s beauty and acts as a

judge.

In the Grimms’ version, the Mirror has a neutral voice and its nature is not noticeable.

Furthermore, only the Queen is capable of hearing the voice coming out of her magic

Mirror and seeing herself reflected in it. That is why the Mirror’s reflection corresponds to

the feature of the person who stands in front of it. The Queen uses her own conscience,

thereby, she is the only person who can hear the Mirror and see her own reflection.

Disney’s Mirror is a little different. The latter has a clear

voice that sounds like a male voice. Only an undefined face

is distinguishable in the cartoon. Moreover, in the Mirror also

appear fire and smoke to increase the magical effect of this

object and the Queen’s powers. As mentioned before, a

Mirror always reflects a person’s image. Consequently, the male voice is equal to the

Queen’s. Indeed, at this time, women began to be part of the workforce and, thus, rose to

demand equal rights. Although we are still far from perfect equality between men and

women, this detail suggests a desire for improvement and development in this field.

Finally, the Rupert Sanders film introduces a modern version of the

Mirror. It has a fluid appearance and is composed of two parts when the

Queen questions it. The Mirror itself is circular and remains on the wall.

However, when the Queen asks the dreaded question, it flows fluidly on

the floor. Then, detached from the wall, the second part rises to represent

a human being’s shape, covered with fabric, whose arms converge on his

http://bplusmovieblog.com/2012/09/14/ my-favorite-disney-characters-100-51/

11:24 in the film


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chest. As in the Walt Disney film, the Mirror’s voice is

a man’s voice. Viewers notice that Finn, the Queen’s

brother, cannot perceive the human Mirror. The

Queen is actually the only one who perceives the

Mirror and can speak to it. Furthermore, the Queen’s face is reflected in it. Thus, the part

of the Mirror which becomes the outlines of a human being, symbolizes the Queen’s soul.

3.3.2. Snow White’s Death

In the analysed sequence, the question of Snow White’s death appears. Unlike the

existence of the Mirror, the ploy to kill Snow White has evolved over centuries. In this

sequence, an essential question arises for all versions. How is the Queen going to kill

Snow White? While the Disney version is close to the 2012 film, the Grimms’ edition is

quite different.

In the Grimms’ version, the Queen engages a Huntsman to kill Snow White. She actually

wants to eat Snow White’s internal organs, her lungs and liver, to acquire her beauty.

Bettelheim, author of The Uses of Enchantment: The Meaning and Importance of Fairy

Tales, explains by stating, “in primitive thought and custom, one acquires the powers of

characteristics of what one eats. The Queen, jealous of Snow White’s beauty, wanted to

incorporate Snow White’s attractiveness, as symbolized by her internal organs.” 3 This

method of killing is certainly barbaric and reports to cannibalism. When the Huntsman’s

stratagem fails, the Queen herself takes matters in hand. It is important to note that she

makes three attempts. In the oral tradition, in fact, the number three was introduced in one

way or another in many fairy tales. First, she laces Snow White so tightly that the latter

falls down as if dead. Secondly, the Queen tries to kill her with a poisoned comb.

Unexpectedly, the first two attempts make Snow White more attractive. In the third

attempt, she poisons half an apple. To gain Snow White’s trust, the Queen eats the white

side of the apple, which is not poisoned. Snow White eats the other side, the poisoned red

part. As Michael Osborn comments in Archetypal Metaphor in Rhetoric: The Light-Dark

Family, “One half of the apple provides sustenance for life, and the other half provides

death.” 4

3 See John Hanson Saunders, p.66 4 See John Hanson Saunders, p.69

Shot 3


18

Disney changed details and dropped elements linked to adult preoccupations that were

inappropriate for children. Concerning the practiced method in the Disney version, the

Queen’s first two attempts are deleted. The Huntsman is indeed sent to kill Snow White

and he has to bring back her heart instead of her lungs and liver. This aspect is less

disgusting for children and rather romantic. The Queen does not intend to eat Snow

White’s internal organs but rather to keep them in a box. Her cannibalistic nature is no

longer present and her cruelty diminished. After the Huntsman betrays the Queen, she

secretly prepares a magic potion, which

transforms her into an old witch. In addition, she

produces the poisoned red apple with only one

antidote, which is a lover’s first kiss. She puts the

red apple in a basket full of green ones to attract

Snow White. The latter’s naïvety shows up when

she decides to eat the tempting red apple, in

spite of the seven Dwarfs’ recommendations.

This version omits the two first attempts and reduces the amount of violence contained in

Grimms’ fairy tale.

Evil Queen Ravenna in the latest adaptation is powerful and influential. After Snow White

escapes from the castle, the Queen sends a Huntsman having already ventured into the

dark forest. The Huntsman is not to kill Snow White but to bring her back to the Queen.

The latter has to take Snow White’s heart with her own hands to acquire eternal youth.

However, the Huntsman runs away with Snow White. Finally, the Queen only makes one

attempt to kill Snow White. She changes herself into the Charming Prince and offers Snow

White a poisoned apple which immerses her in a seeming death. In this last version, Snow

White is not tempted by the red apple, but by love. The Queen, seeing Snow White dying,

says: “You see child, love always betrays us” 5. This shows that the Queen is actually a

complex character who suffered from the influence of men over women. As the Queen

says, “I was ruined by a king like you once [Snow White’s father]. I replaced his queen, an

old woman. And, in time, I, too, would have been replaced. Men use women. They ruin us

and when they have finished with us, they toss us to the dogs like scraps.” 6 This means

that men take advantage of women’s beauty. For the Queen, indeed, love does not exist, it

is an illusion and men are only interested in beauty.

5 See film, 1 hour 23 minutes and 46 seconds 6 See film, from 7 minutes and 11 seconds to 7 minutes and 45 seconds

http://images4.fanpop.com/image/photos/24400000/Snow-White-walt-disney-characters.jpg


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To conclude on the topic, the evolution of the tale concurs with the evolution of visions and

opinions in our society. The Grimms expose a dark and violent tale with images of

cannibalism and the idea of eating Snow White’s internal organs to obtain her beauty and

youth. Between the 1820’s and 1920’s (the Grimm Brothers were born in 1785 and 1786)

mentalities were different. There were wars and revolutions; Kings were beheaded. People

were used to violence and bloodshed. Whereas later in the 1930’s, Walt Disney created a

romantic story for children. Cannibalism and violent acts are no longer present in this

cartoon version. Women’s condition was developing. Snow White cleaned the dwarfs

cottage and got them to help her, to participate in the heavy work of a household. And she

gained their respect. However, at that time, women were still used to stay at home, without

influential participation to the men’s world. Finally, the 2012 film exhibits some war

situations with a Queen both evil and powerful. There, times have obviously changed

because Snow White becomes a combative woman, equal to men. Furthermore, in this

last version, the Princess can marry a desperate and neglected, rough Huntsman whose

courage and loyalty is stronger than the vain court qualities. And they can hope to live

happily ever after, although the Queen warns Snow White about love being an illusion.

1:23:11 in the film


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4. Analysis Sequence 2: The Huntsman’s Kiss

This sequence lasts from 1 hour 29 minutes 02 seconds to 1 hour 31 minutes 59 seconds

in the 2012 film.

4.1. Context and Summary In the middle of a forest, covered by snow, the Prince, the Huntsman and the dwarfs are

sleeping. Nevertheless, Snow White is awake. She walks between trees but quickly

realizes that she is followed. Indeed, the Prince is behind her. Strangely, this one gives her

an apple, which is red as blood. Trustfully, Snow White crunches the poisoned apple and

discovers it was a trap. The Prince is actually the Queen who took the appearance of the

Prince to kill her. Snow White’s travelling companions are not able to save her even if the

real Prince gives her a kiss, symbol of true love, which is, as a matter of fact, the only

feeling that could break the curse. Demoralized, her friends bring her body to the Prince’s

castle. Men carry the stretcher, on which Snow White lies, and walk through the yard of

the castle in procession, where the population sadly surround her. The bells of the chapel

ring the knell to announce death.

Snow White is laid on a white bed in the centre of the chapel. There is no one but the

Huntsman who drowns his grief in alcohol, his only refuge. In deathly silence, he begins to

speak about his deceased wife. He feels twice guilty (once for his wife and once for Snow

White) not having been able to save either of them. Snow White, who seems to be asleep,

pure and beautiful, contrasts with the Huntsman’s behaviour. Besides, we clearly see the

difference between Snow White’s beauty and the Huntsman, desperate and neglected.

The Prince’s kiss which had formerly failed is now given by the Huntsman. As if by magic,

Snow White comes to life, which means that their unexpected and unplanned love is

strong enough to break the curse.

4.2. Cinematographic Analysis 4.2.1. Chart of the sequence

The following chart presents the angles, lights, sounds, camera movements and contents

of the twenty-one shots of the sequence. The elements presented in this chart are the

basis of the following detailed analysis. Basic analytical comments and essential aspects

of this sequence are described here:


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Shot Time Angle Light Sound Camera movements Content

1 1:29:02-1:29:07

High angle shot

Light on Snow White’s white bed Mortuary silence Zooming Tilted image of Snow

White’s half body

2 1:29:07- 1:29:12 Close shot

Light on the Huntsman’s face

and on the columns

Sound of the gulp None

View in profile of the Huntsman who sits and

drinks. Then he turns his head to viewers, as to

Snow White, where the camera is placed

3 1:29:12- 1:29:15 Long shot

Light comes from above, as from

heaven, and lights her body as if she

was a divinity. Candles are in the

twilight

Silence with some non-

diegetic music None Long shot of Snow White’s

bed

4 1:29:15- 1:29:18 Close shot

Light on the Huntsman’s face

and on the columns

Non-diegetic music increases

a little bit None

The Huntsman always looks at viewers and gets

up

5 1:29:18- 1:29:31

Deep focus and master

shot

Light always comes from Heaven on Snow White and four candlesticks surround her, on

each side, converging to her

bed. The Huntsman is as a shadow

Music continues until the

Huntsman interrupts it with the noise of his

steps and saying "Here

you are"

None

Entering on the left of the visual field, as a shadow, he passes around the feet

of Snow White

6 1:29:31- 1:29:37

Medium shot

Snow White is always enlightened from Heaven and

two candlesticks are present.

Huntsman’s voice with

funeral music None

Asleep, Snow White is in the foreground at the

bottom of the image. The Huntsman stands next to her in background in the

twilight

7 1:29:37- 1:29:39

Deep focus from feet up to the face of Snow White

Two candles on each side of the bed

Same music with the same

intensity None

Her bare feet are blurred, her face clear. The white dress converges on the

head

8 1:29:39- 1:29:49 Close shot

It is dark with only one candlestick in the background

Huntsman’s voice with a gulp sound and soft

music

Travelling: the camera follows his

head and body movements

The pensive Huntsman looks at Snow White and

drinks

9 1:29:49- 1:29:56 Long shot

Same light: from Heaven and candlesticks

The sound of the gourd

thrown by the Huntsman, with his voice and

soft music

None

From behind, the Huntsman throwing his

empty gourd and the full bed. Then he speaks to

Snow White about his past and his wife

10 1:29:56- 1:30:13 Close shot

Darkness prevails sometimes with

candlesticks

He speaks to her in a tone

which seems to be revolted

against injustice and death

Travelling: the camera follows

him

The Huntsman turns around Snow White


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11 1:30:13- 1:30:32

Medium close shot

When Snow White appears with the Huntsman behind her, lights, which

come from the top and the candles, are more present

Non-diegetic music increases while he speaks

Panning and travelling: the

camera is to the right of the bottom

of the bed and travels next to Snow White

Snow White is in the foreground. The camera

turns by following the Huntsman, who walks behind her head and

arrives to the left of the bed, next to Snow White

and stops briefly. The camera continues to turn

12 1:30:32- 1:30:36

High angle shot (same shot as the

1st)

Clear, white prevails black which shows Snow White’s purity

Only non-diegetic music

as a melancholic melody

Zooming Tilted image of Snow White’s face

13 1:30:36- 1:31:01

Low angle shot Brightness

Non-diegetic music increases more and more

with the Huntsman’s

voice

Travelling: the camera focus on the Huntsman’s face and, then,

comes down just a little bit to perceive the blurred Snow

White’s face to the right of the image

He comes next to Snow White’s face and leans

over her

14 1:31:01- 1:31:06 Close up Clarity Only non-

diegetic music None He caresses her hair tenderly

15 1:31:06- 1:31:16

Low angle shot (same shot as the

13th)

Brightness Music and the Huntsman’s

voice None

The Huntsman clearly cries and there is a part of Snow White’s fuzzy face to

the right of the image

16 1:31:16- 1:31:18

Close up (same shot as the 14th)

Clarity Only non-diegetic music None He caresses her hair

tenderly

17 1:31:18- 1:31:25

Low angle shot (same shot as the

13th)

Brightness The music

becomes very present

Travelling: the camera comes

down on her face

Snow White’s face becomes clear, the

Huntsman gives her a kiss and sheds a tear

18 1:31:25- 1:31:30 Long shot

In front of Snow White, the

Huntsman becomes again a shadow as

in the beginning

Same non-diegetic intense music with the

noise of his steps

None

The Huntsman gets up and goes away. He

disappears and appears in the following visual field

19 1:31:30- 1:31:36

Long shot (same shot as the 5th)

The Huntsman is back to the light

Same non-diegetic intense music with the

noise of his steps

None

He passes in front of Snow White and approaches

very close to the camera, hiding her. Then, he goes

out of the shot, on the right and leaves the chapel

20 1:31:36- 1:31:53 Close up

There is a blurred candlestick in the

background

The music reaches its

paroxysm and we hear her

breath, sign of life

Travelling: the camera rises

slightly

Close up on the profile of Snow White and a tear

flows on her cheek

21 1:31:53- 1:31:59

High angle shot (same

shot as shot 1)

Brightness and clarity

The music reaches its

paroxysm and we hear her

breath, sign of life

None

Tilted image of Snow White’s face where

viewers see her deep breaths


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4.2.2. Light and Colours

Snow White lies on a bed in the chapel of the castle, where darkness dominates.

However, she seems asleep in the centre of a light shaft, which brightens her body, while

the predominant colour is black. That luminosity comes from above, as from Heaven, and

illuminates her as if she were a divinity. Moreover,

candles are supposedly the source of light.

Indeed, the flames of candles are supposed to

light the faces of the characters. More specifically,

two high golden candlesticks, surmounted by a

white candle, are on each side of the top of the

bed to highlight Snow White’s face. Furthermore,

several other candlesticks are near the stone columns in the twilight. They include about

twenty white candles each, arranged on three levels and forming a triangle. They are

disposed so that these light sources surround Snow White in an arc. The lights present in

this sequence do not correspond to natural daylight. Indeed, candles can be compared to

artificial light. Similarly, the light shaft which illuminates Snow White, represents some

divine light. Thereby, all light sources in this sequence create a fairy tale atmosphere for

viewers. Besides, the presence of darkness in the rest of the place allows the eerie

aspects of the light used here. Viewers’ attention is focused on Snow White and candles

which surround her.

The candle is the symbol for fire. In religious discourse, the flame represents the soul,

purification and love of the creator. During a watch, we light a candle to guide the soul of

the dead body towards the world beyond. The religious meaning of candles and the fact

that the sequence takes place in a chapel concurs with the important place of religion in

this film and its setting, the medieval period. References to religion are not only present in

this sequence but also in other passages when, for example, Snow White recites the Our

Father prayer in the tower of her detention.

Asleep, Snow White wears a pure, angelic and long white dress which comes down up to

her bare feet. White is associated to purity, innocence and peace. However, in the Middle

Ages, white was the colour of mourning for queens, too.

Snow White was only a princess. It is thus possible that

the status of queen is given to her symbolically in death.

White also symbolizes the transformation from a dead

Shot 3

Shot 7


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person to a new state and a sign of returning life. The colours of mourning and death vary

according to countries, civilizations and religions. Each one is anxious to mark the

difference between the state of mourning and the usual state, by outer signs. That is why

the colour has an important place. Paradoxically, for Christians, the dress of mourning is

black, while they believe in life after death. Nonetheless, for Western viewers of the film,

white is certainly mainly and foremost the colour of purity and innocence. At the beginning

of the film, Snow White wears a long leather dress. Then, the costume

is shortened so that she can run better. Finally, she wears a steel

armour for the final fight. Her clothes are, thus, made with dark colour

to reflect the general atmosphere of the film. Thereby, the white dress

she wears in her seeming death exposes her fragility and innocence, in

spite of her exceptional fighting spirit. All elements which characterize

Snow White in the fairy tale are present in this film and white is the key element

underlining the original qualities of Snow White. However, the highlighted aspect of her

character is mainly her combative spirit and not her purity or innocence.

Throughout this extract, brightness is not fairly distributed between both characters. On the

one hand, Snow White is constantly enlightened so as to highlight her omnipresence. On

the other hand, the Huntsman is, either slightly lit by candles, or in the dark because he is

against the light. That is to say he is represented as a roaming shadow around Snow

White in search of serenity. When the Huntsman approaches Snow White, he is totally in

the shadow. Also, when he goes away after giving her a kiss, this colour reappears. This

intense dark colour symbolizes the haunting dark regrets he feels about his wife and Snow

White. However, in other parts of the sequence, he is a little bit enlightened. Viewers feel

that the Huntsman, confiding to dead Snow White somewhat relieves his soul,

nevertheless, his sadness returns when he leaves her body.

To conclude, light and colours are essential for sequence. They confirm and add

information about the Huntsman’s monologue. For instance, in 1 hour 31 minutes and 10

seconds, he says to Snow White: “you’ll be a Queen in Heaven now and sit among the

angels”. She was however not a Queen but a Princess. Therefore, a link can be created

between this sentence and white, colour of mourning for queens. Moreover, some divine

light from the light shaft and candles highlight Snow White’s situation as if she was already

“in Heaven … among the angels”.

http://sabotagetimes.com/reportage/why-the-new-films-versions-of-oz-the-hobbit-et-al-can-never-live-up-to-the-originals/


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4.2.3. Sound

The different sounds present in the sequence require some comments. Indeed, there are

diegetic and non-diegetic sounds at the same time. At the beginning, there is mortuary

silence, when Snow White seems to sleep and the Huntsman looks at her from far. But, a

voice off of a melancholic music of an orchestra slowly becomes audible. Music remains

soft during his revelation even if that non-diegetic sound is a little bit louder than before.

The volume of the sound increases

gradually when the Huntsman, then next

to Snow White’s bed, cries and

apologizes for not having saved her,

saying “[she] will be a queen in Heaven” 7.

It becomes stronger when he gives Snow

White a kiss, an act transmitting his true love for her. Then, the intensity of the music

quickly increases when he goes away, as if something important were going to take place.

Music becomes even stronger to announce a miracle which is the awakening of Snow

White who, eventually, opens her eyes.

During the earlier explained voice off, there are several diegetic sounds. We can notice

different voices-in, throughout this sequence. Accordingly, there are sounds which come

from the Huntsman. First of all, we hear him

swallow the alcohol that he drinks, and then, the

noise of his steps approaching Snow White. Next,

he begins to speak with a voice which is rebellious

and desperate at the same time. His tone carries

out his revolt against injustice and death. At last, we hear the noise of his empty gourd hit

the floor when the Huntsman throws it violently. During all the second half of the passage,

the Huntsman speaks to Snow White even if he knows she is dead. Moreover, his voice

trembles a little with sadness and he begins to cry. He speaks to her about his past,

specially his wife, who he says, looked like Snow White. Thereby, all sounds, which come

from the Huntsman, express his despair, his despondency as well as his heartache. On

the contrary, the only sound that is about to come from Snow White is her breath. Indeed,

previously, we had the Huntsman’s grief represented by different sounds but now, we hear

her breath, which symbolizes life itself winning over death, despair and even the non-

diegetic music. 7 See film, 1 hour 31 minutes and 10 seconds

Shot 13

Shot 8


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As a conclusion, sounds hold an important place in a film. The audience does not always

perceive all music present consciously but, in an indirect way, sounds contribute to the

understanding of the purpose of the passage. Whether diegetic or not, sounds fit

completely into the story.

4.2.4. Camera and Actors’ Movements

The movements of the camera and the actors’ movements, as the decor later explained,

are present to express feelings and to immerse viewers into the atmosphere of the film. All

through the sequence, the camera is static as the atmosphere. Besides, there are not a lot

of shots for a 2-minutes-and-57-seconds-long sequence. It does not move except for

some movements from the Huntsman and some other little details. Undoubtedly, the

director here communicates the immobile atmosphere of mourning to viewers.

At the beginning, the image of Snow White’s half body is tilted.

Then the camera approaches slightly (shot 1). In the next shot, the

Huntsman turns his head to the viewers where the camera seems

to be. His look is directed towards Snow White. Later, he gets up and heads for her (shots

4 and 5). The Huntsman’s head movement thus announces his future displacement,

towards Snow White.

There is mortuary stillness until the Huntsman enters on the

left of the visual field, as a shadow. He passes next to Snow

White’s feet and begins to turn around her (shots 5 to 9).

During this time, the camera moves only once when the

Huntsman drinks (shot 8). Indeed, the camera and thus the viewers follow his head and

body movements expressing anger, throwing away his gourd. Although the agitation is

only slightly visible, the camera is for the second time not static. It is obviously an

uncommon aspect for a recent film. Even if other parts of the film expose fighting

situations and thus camera movements, this sequence is a break from what viewers are

used to.

From shot 10, the camera is more mobile and it follows the Huntsman, who walks around

Snow White in the direction of the left side of her bed. During this moment, there are two

different shots. The first one, shot 10, is a close shot on the Huntsman. The camera

follows the Huntsman’s movement. When he stops walking, the camera continues to turn

Shot 1

Shot 5


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with a panning movement. In the second one,

shot 11, the camera is positioned on the left-

hand side of Snow White’s feet. At the beginning

of this shot, the static camera follows the

Huntsman’s movements. Then, it starts to move

to approach Snow White’s body, while it carries on following the Huntsman. The latter,

thus, makes a complete tour around the bed, which corresponds to a tour of his life.

When the Huntsman is close to Snow White, the camera rises above him showing a part

of Snow White’s fuzzy face to finally focus only on the Huntsman’s face. Later, when the

Huntsman puts his hand on Snow White’s hair, the camera moves down again to show his

tender caress (shot 13) and later his kiss, with Snow White’s face clear this time (shot 17).

Consequently, the camera uses two techniques to focus on a character or acting. The first

one is the camera movement, while the second one is the contrast between fuzzy and

clear.

Then, the Huntsman gets up and goes away.

He disappears and appears again in shot 18.

He walks in front of Snow White and then in

front of the camera hiding Snow White.

Eventually, he goes out of the shot, to the right

and leaves the chapel in shot 19. Left alone, Snow White breathes again and wakes up.

This last camera movement is significant as the camera rises to show that life is back in

shot 20. Furthermore, in the last shot, Snow White, surprised, looks all around which

shows her lack of understanding of the situation.

To sum up, it is undoubtedly the case that the camera plays an important role throughout

the sequence. This one can be static to express a specific atmosphere or moving to

highlight a character or an actor’s movement. In addition, the technique to make a clear or

fuzzy face provides indication such as the importance to focus on a particular actor.

4.2.5. Appearances of Actors and Decor

Costumes and decor are important to create any atmosphere and it is specially true for

fairy tales. Naturally, no clothes are left at random. The Huntsman is dressed in hunting

clothes and plays a character knowing nature well. His clothes are exclusively of materials

Shot 11

Shot 19


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found in the woods. He is not washed, badly-shaved and shows sign of perspiration.

Before being sent by the Queen to hunt Snow White, the Huntsman was a drunkard.

Having become a widower, he did not take care of himself and lived in pain since the

death of his wife. After Snow White’s death, he finds his former demons that he had

gradually abandoned thanks to the young woman’s presence. Moreover, his attitude

seems resigned to die. He drinks to forget his grief and throws away his gourd out of

anger. In addition, his appearance shows he feels powerless and bereaved. The actor

passes emotion on viewers thanks to his acting. The Huntsman has a blank stare, his

breath is deep and his gait hesitant. Into the bargain, his voice at the same time trembling

and desperate, does eventually cry.

The Huntsman’s costume concurs with a stereotypical vision of strong and robust men. He

indeed wears clothes to go hunting. Therefore, his outfits give the impression that his

character is tough and that nothing can destroy him. However, deep inside him, he hides a

sensitive heart, which has already once suffered. He speaks about his wife who died after

he had returned from wars. He feels guilty for not having been able to protect her as she

had protected him. His wife, Sara, was just as courageous and sensitive as Snow White.

This is also why the Huntsman is doubly sad. Losing Snow White, he again loses his

former wife. Viewers see his suffering through his acting elements which are enumerated

above. To sum up, his costume tends to unveil his bravery and the fact that nothing can

happen to him. Nevertheless, he aches because of his wife and Snow White’s death,

unveiling a sensitive and tender heart. The untidy appearance of his face and his acting

shows his pain while his clothes express his strength.

Snow White seems asleep and looks serene in death. Everything next to her is white as to

highlight her purity and beauty. Also, her ebony coloured hair and her red lips accentuate

the stereotypical vision of perfect natural beauty. Motionless and dead she remains lying

on a high bed covered with fur. The bed itself, which is put on a simple carpet on the

ground, marks the sobriety of the place.

There is little decoration in this sequence. The inside of the chapel is in stone and grey

paving in marble recovers the ground. Stone is the predominant component of the room.

In general, this material represents strength and solidity, while marble embodies eternity.

However, stone is not only hard but also symbolizes length and longevity. A part of the

chapel is rounded at the bottom. This part is built with enormous columns forming a


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semicircle. Rounded columns of stone illustrate the sky, the materialization of heaven. In

other words, stone, in this scene, reflects Snow White’s eternity, beauty and strength even

in death. At the feet of the columns, viewers distinguish two composed paintings on the

floor, which seem to represent a religious or war scene. Besides, there are two medieval

chests distributed on each side of the visual field, with Snow White in the centre, which are

disposed in accordance with the rule of thirds. Finally, the general atmosphere, which is

dark and cold, represents sadness and death even if Snow White illuminates the room

with the symbolism of eternal divinity.

To conclude, the whole room creates value for Snow White. She is in the centre and every

single object is put around her to underline her presence. Indeed, everything is disposed

such as showing her importance in the story and the grief which results from her death.

Shot 5


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4.3. Comparison between the Three Different Versions: Grimms’ Fairy Tale, Walt Disney’s Adaptation and the Film

Snow White’s resurrection is different in all three studied versions. It is interesting to note

that in Grimms’ unpublished version, the King finds his daughter and “orders his royal

physicians to revive her by tying her body to ropes connected to the four corners of a

room.” 8 Nowadays, this technique seems absurd but if the tale is replaced into its

historical context, when the human body still held many mysteries for people, this is quite

understandable. Although the three tales expose resurrection differently, Snow White is

stereotypically powerless and cannot return to life on her own. She has to wait for a man

to come and deliver her from her seeming death.

Grimms’ edition chosen for this work describes the arrival of a Charming Prince falling

madly in love with Snow White. As he cannot live without her, he orders his servants to

carry the glass coffin and the poisonous apple she ate comes out of her throat during the

turbulent transport. Alive, Snow White marries the Prince hence the ideal of a happy

ending takes place. However, in a previous edition, the scene is presented in a different

way. Annoyed to have to carry the coffin, a servant opens it and slaps Snow White in the

face. The piece of apple comes out of her throat and Snow White comes back to life. This

version was subsequently changed because it obviously exhibits the dominance of men

over women, in an abrupt and violent way.

Disney has completely changed the narrative so that it corresponds to the 1930s’

American culture. The film ends with the Prince’s

kiss and the happy outcome of romantic love

dreamed by Snow White. Throughout the film,

the stereotype of a young woman of about

fourteen years old, waiting and dreaming about

her Charming Prince who would deliver her from

the evil Queen’s influence, is put forward. The

narrative has even been modified not to finish

the film with the Queen’s death. Therefore, the

film finishes with a view of happy ending where evil is defeated by good. Guroian, author

8 See John Hanson Saunders, p.70 http://thefineartdiner.blogspot.ch/2012/03/walt-

disney-brothers-grimm-comparative.html


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of Tending the Heart of Virtue: How Classic Stories Awaken a Child’s Moral Imagination,

states, “As in so many cases, Disney has turned this popular fairy tale into a story about

romantic love.” 9

The latest film Snow White and the Huntsman is a film which completely changes Grimms’

tale and is totally different from Walt Disney’s adaptation of the tale. On the one hand, the

director uses the plot of the story, on the other hand, he changes several elements and

develops other ones. For example, the Huntsman’s role is central in opposition to the

Prince, who has a secondary place in the film. At first sight, viewers think the Prince is

Snow White’s real true love because they have known each other since their early

childhood. Yet, on second thought, the former abandons her, when the Queen violently

takes over and enjoys the power of Snow White’s murdered father. The young Prince,

thinking Snow White dead, never tries to find her. On the contrary, the Huntsman, who is

supposed to kill her, finally protects her from the evil Queen. Furthermore, during the time

spent together, fleeing the army which chase them away, slowly but surely, love, which

proves to be deep, grows between them. This twist in the drama is not present in the two

other tales. While, in the previous tales, the Huntsman finally lets her leave alone in the

great forest, in the film, he runs away with her. The period, when the Princess waits for her

Charming Prince’s arrival wisely is over. The story thus has a discreet love story which

does not fit into any stereotype. Nowadays, women have practically become equal to men

in all domains. Clichés about innocent women who cannot live without a man’s presence

to protect them are more or less obsolete.

Evolution of women’s status is put forward thanks to these three versions of the fairy tale.

While the Grimms’ edition exhibits violent behaviours toward women, Walt Disney exposes

a stereotypically defenseless, naïve and domestic Snow White. Finally, the 2012 film

shows a new and modern vision of women in society, active, independent and having a

mind of their own. 9 See John Hanson Saunders, p.73

Shot 17


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5. A Feminist Perspective on Snow White and the Queen:

Within the framework of this research paper, it is essential to ask oneself the question of

women image in the tale and consequently in society. The characters of Snow White and

the Queen were transformed over and over again, evolving according to the society. The

inner characteristics of each character remain present so to retain the original propriety of

a character and, thus, a new tale is not reinvented. However, secondary changes occurred

to obtain a positive echo from the desired audience, and not to cause a shock

corresponding to a discrepancy between culture and storytelling. To expose the feminine

figures in their context, according to the three versions designed for this work, it is

important to highlight an important aspect of storytelling. Indeed, tale characters are never

real-life characters. They, however, have a simple and highly-precise purpose. There is no

in-between. For example, Snow White embodies good but on no account wickedness. On

the contrary, the Queen represents only evil and never lets a glimpse of kindness.

Bettelheim, the famous author specialised in the interpretation of fairy tales, asserts, “The

figures in fairy tales are not ambivalent – not good and bad at the same time, as we are in

reality.” 10 This basic characteristic is thus present in all three editions.

Let us begin with 1800s’ German culture where the first written edition of Snow White’s

fairy tale was published. This version presents a girl of about seven years old. When Snow

White meets the dwarfs in their home, she remains in it under the conditions set by their

occupants. She has to take care of the house and prepare food for them. It was indeed not

uncommon and even widespread to use children to work as soon as they had the capacity

for it. Similarly, the conditions imposed by the dwarfs establish women in a position of

weakness and powerlessness. Snow White represents in this tale the status of women in

the 1800s. At the end of the story, Snow White leaves with her Charming Prince and gets

married. At this time, it was not immoral to marry in spite of the bride’s young and pre-

menstrual age. The Queen is Snow White’s opposite because she possesses no trace of

humanity nor morality. She tries three times, often violently, to take Snow White’s life

because she wants to be “the most beautiful of them all.” Then, she has to walk with hot

iron slippers until death. This death, at the same time barbaric and punitive, demonstrates

10 See John Hanson Saunders, p. 101


33

methods of torture in the Middle Ages. For the audience, this aspect has however a taste

of justice because of the cruelty that showed the Queen during her lifetime.

Snow White is presented as a docile and innocent housewife, a childlike weak helpless

powerless creature who is rather passive and naïve. On the contrary, the Queen, who is

older than Snow White, is evil. She is full of vanity and induces hatred from readers.

Moreover, the tale expresses violence and offers an abominable image of German culture.

O’Hare notes, in The Buffalo News, “Before Disney turned them into sweet, cute family

films, the folk tales gathered from peasants by brothers Jacob Ludwig Carl and Wilhelm

Carl Grimm ... were horrific stories of murder, demons, cannibalism and evil.” 11

In the late 1930s’, the United States went through a difficult period. World War I being

finished, the world is immersed in the Great Depression and World War II inexorably

approaches. In this historical context, the Disney edition of Snow

White’s tale comes out in 1938. People have financial problems

and the cinema allows them to instantly forget their troubles to be

transported into a parallel world. At the beginning of the cartoon,

Snow White is forced by the Queen to work as a scullery maid.

Although Snow White is a princess, she has to work like all

women at that time. On the other hand, she is now presented as

an approximately fourteen-year-old girl to make the story more

realistic and meaningful for the population. Indeed, it is less

immoral to marry a girl of fourteen than a seven-year-old one.

Chased away from the castle, Snow White goes out with a beautiful dress, while inside,

she wore damaged clothes with holes, reflecting common habits of the time. Indeed,

during the Great Depression, people left their financial problems at home and went out in

their most beautiful outfits. Lost in the forest, the fugitive finally finds a little, dirty and

apparently abandoned cottage. Before going into it, she straightens her hair and, so,

demonstrates women’s coquetry in all situations by this act. It is as if she wanted to appear

respectable before introducing herself to new people. Since the house has not been

maintained for a long time, she takes the initiative to clean everything with joy. Here again,

it reflects a stereotype of Western culture at the time: women are expected to be happy

carrying out their domestic duty and not to rebel. They have to do what they are

supposedly intended to do without questioning. Men work and women stay at home to

take care of the family. Furthermore, throughout the film, Snow White does not stop 11 See John Hanson Saunders, p. 137

http://classique-walt-disney.skyrock.com/


34

dreaming about her Charming Prince because she is expected not to be totally happy

without a man’s presence at her side. At that time, women must get married to fulfil their

social duty. What is more, Snow White’s relationship with nature, especially with the

animals of the forest, is put forward. These are personified beings which help Snow White

in her ordeals. This message seems to raise awareness of people to respect animals,

because without them, life would not be stable. However, this may be a modern reading.

The message in 1938 was to reinforce the natural order of women’s place in society as

caretakers and their confinement in domesticity. The Queen is always the embodiment of

evil. However, Disney’s Queen is a little bit different

from the Grimms’. She looks like a witch who uses

black magic. She is an aging but also frightening

beauty. She shows authority and total control over

her kingdom. Besides, the Queen makes only one

attempt to kill Snow White. She is thus more cunning

and competent than in the previous edition. Instead

of disguising oneself, she turns into an old woman, highlighting her magical skills and,

therefore, her power. To sweeten the story, the Queen’s death is not barbaric but rather

due to her evil deeds as the Queen dies by her own

fault. In this cartoon, Snow White is not a little girl

anymore but she is more gullible, only waiting for

her Charming Prince. Nowadays, this stereotype is

simply a bad model for little girls. As for the Queen,

she is endowed with a witch-like appearance and is

more strategic than in the Grimm Brothers’ edition.

Tatar, author of The Classic Fairy Tales, states,

“The Disney version of ‘Snow White’ relentlessly polarizes the notion of the feminine to

produce a murderously jealous and forbiddingly cold woman on the one hand and an

innocently sweet girl accomplished in the art of good housekeeping on the other.” 12

Indeed, Tatar offered two opposed extreme choices: being innocent and having as duty

the care of a home or being evil and rude like the Queen. Women are submissive and kind

or independent and powerful. Both figures are stereotypes but the qualities of

independence and strong-will are defined as faults in women.

12 See John Hanson Saunders, p.75

http://www.lassothemovies.com/wp-content/uploads/2012/07/snow-white-4.jpg

http://www.screeninsults.com/snow-white-and-the-seven-dwarfs.php


35

The latest version of the tale is in accordance with women’s position in society. The

stereotype of the housewife and the man who works is no longer valid. Nowadays, women

have the opportunity to occupy high posts, formerly reserved for men. This situation is

greatly expressed in the film. Although Snow White remains pure and innocent, she fights

to obtain power. She is not a docile housewife anymore, but a combative warrior even

though she is also a sensitive being. She is indeed courageous, determined and fierce in

her fighting, but also displays evidence of tenderness and emotion even when she kills the

Queen, for instance. She is sensitive to nature and animals

as viewers see when she is in the home of the fairies. The

film gives an image of Snow White close to her sensations

and to the magical environment which surrounds her. Even

in a man’s world, she is a woman who can hold power and

who fights to get it or keep it.

The Queen is a complex character. She is as cruel as she is tortured. She is mean as well

as bruised. Her own beauty and eternal youth torment her. It is her obsession. As the

Queen says, “when a woman stays young and beautiful forever, the world is hers.” 13

Viewers see the Queen as in the previous versions but, eventually, they are affected and

feel compassion for a woman full of distress and failures in relation to men. Men

manipulated her and, from now on, she does not believe in love anymore, which she

considers as misleading and deceiving. This criticizes and denounces the dominance of

men who use women as objects for entertainment.

Thanks to the representation of Snow White and the Queen in three versions of three

different times, the evolution of women’s image and role in society is strikingly revealed.

Every period produced a new version which corresponds to human conditions and,

consequently, to women’s status. To study a culture, it is thus essential to examine closely

its literature because it hides in a more or less obvious way the ideas and the state of mind

of the culture in question. 13 See film, 7 minutes and 48 seconds

http://www.hitfix.com/motion-captured/review-kristen-stewart-battles-charlize-theron-in-surprising-snow-white

55:59 in the film


36

6. Conclusion

As many people, I did not realize the necessary work to make an excellent film. The

slightest small detail is taken into consideration. I thus understand, after the detailed

analysis of two sequences, the meticulous work of the film director, Rupert Sanders.

Decor, sound, light, costumes, everything is designed to pass on feelings, either fear or

grief. Without these small details, which seem insignificant at first glance, the film essential

message could not be shared nor communicated. Besides, this research paper also

allowed me to improve my command of a foreign language, English. Although writing in

English was sometimes difficult, this effort was interesting and enriching. I have learnt

many cinematographic techniques and how it is necessary to watch a sequence many

times to identify and analyse the various details.

The evolution of Snow White’s tale throughout centuries demonstrates a change in

perception of women. The Grimms’ first version was released in 1812. Exactly 200 years

later the story is still so greatly popular as to produce a major warlike film, Snow White and

the Huntsman. In-between, Walt Disney revisited the tale in 1938 by producing a version

full of stereotypes and preconceived ideas. For 200 years, in fact, the story has been

known worldwide and has been through many variations. However, as Maria Tatar, author

of The Classic Fairy Tales asserts, “Walt Disney’s Snow White and the Seven Dwarfs has

so eclipsed other versions of the story that it is easy to forget that hundreds of variants

have been collected over the past century in Europe, Asia, Africa, and the Americas.” 14 In

other words, Disney is only the commonly known version but it exists a wide range of

versions all around the world.

Each tale was produced in a specific historical and social context. “The political and

economic situation in Germany during the early 1800’s influenced the darkness of the

tales [written by the Grimm Brothers and] the Depression and the emerging medium of

animated film established a need for memorable and enjoyable entertainment for all

Americans who [suffered from economic and political problems].” 15 The latest adaptation

of the tale fits into a new social context. People want to be surprised and amazed. With the

emergence of horror or war films, tales are rewritten to correspond to the population’s

expectations. The adaptation of the tales to the cinema is the latest trend register in the

14 See John Hanson Saunders, p.8 15 See John Hanson Saunders, p.142


37

film industry. Many examples as Hansel & Gretel; Witch Hunters, Jack the Giant Slayer or

Red Riding Hood, show the extent of this interest in darkened tales. I can then only

encourage the analysis of other cinematographic adaptations of fairy tales.


38

7. Bibliography

Primary Sources

Grimm, Jacob, and Wilhelm Grimm. Little Snow White translated by Taylor Margaret 1884.

17 March 2013 < http://classiclit.about.com/library/bl-etexts/grimm/bl-grimm-

snowwhite.htm >

Translation of the original 1812 novel.

Grimm, Jacob, and Wilhelm Grimm. Schneewittchen. Zurich: Nordsüd Verlag AG, 2009.

The original novel.

Snow White & the Huntsman. Dir. Rupert Sanders. Screenplay Evan Daugherty and John

Lee Hancock. Perf. Kristen Stewart, Charlize Theron, Chris Hemsworth, Sam

Claflin and Ian McShane. DVD. Universal Pictures, 2012.

The latest cinematographic adaptation, basis of the research paper.

Secondary Sources

Girardot, N. J. Initiation and Meaning in the Tale of Snow White and the Seven Dwarfs.

Journal of American Folklore 90, 1977: 274-300.

There is an analysis of Snow White’s tale and its possible meaning as a

transition into adulthood.

Maltin, Léonard. The Disney Films. 3rd ed. New York: Hyperion Books, 1995: 25-32.

This book includes a list of all the films made by the Disney Company.


39

Murphy, Mekado. “Below the Line: Dressing Snow White.” The New York Times 23

January 2013. 13 April 2013 <http://carpetbagger.blogs.nytimes.com

/2013/01/23/below-the-line-dressing-snow-white/ >

This web site is about the costumes in the film Snow White and The Huntsman.

Pener, Degen. “Snow White Art Show Opens in Los Angeles.” The Hollywood Reporter. 17

March 2012.13 April 2013 < http://www.hollywoodreporter.com/news/snow-white-

art-show-opens-los-angeles-301357 >

This is a web site about a new illustration of Snow White by Camille Rose Garcia.

Unfortunately, it is not very useful for the research paper.

Saunders, John Hanson. The Evolution of Snow White: A Close Textual Analysis of Three

Versions of the Snow White Fairy Tale. Pennsylvania: ProQuest, 2008.

An interesting book which examines three versions of Snow White: the Brothers

Grimm’s book, the Walt Disney film, and the Michael Cohn film. It is a

dissertation which analyses the changes made within the three narratives.

Scott, A. O. “The Darker Side of the Story.” The New York Times. 31 May 2012. 17 March

2013 <http://movies.nytimes.com/2012/06/01/movies/snow-white-and-the

huntsman-with-kristen-stewart.html?_r=0 >

This interesting web site is about the dark side of Snow White’s story. It also

talks about the casting and the characters.

Tatar, Maria. “Snow White: Beauty is Power.” The New Yorker. 8 June 2012. 17 March

2013 < http://www.newyorker.com/online/blogs/books/2012/06/snow-white-and-

the-huntsman-and-fairy-tales.html >

Includes a comparison between the different versions of Snow White.


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Tatar, Maria. The Classic Fairy Tales. Ed. Maria Tatar. New York: W.W. Norton &

Company, 1999.

This book focuses on six tale-types among which Snow White and includes

essays on aspects of fairy tales such as social origins, historical evolution and

gender issues.

Zipes, Jack. The Brothers Grimm: From Enchanted Forests to the Modern World. New

York: Palgrave Macmillan, 2002.

Not only does this book talk about the lives of the Grimm brothers but there are

also comparisons of the works of Henri Pourrat to Perrault and the Grimm

Brothers and some analysis of various aspects of the tales.

Zipes, Jack. The Enchanted Screen: The Unknown History of Fairy-Tale Films. New York:

Routledge, 2011.

An interesting book about fairy tales adapted for the cinema.

Pictures from the film

a novel, two films: women’s stories - auguste piccard · a novel, two films: women’s stories...

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