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.
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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 childfriendly 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.
19:19 in the film
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
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Shot Time
Camera
movements
Content
Queen’s
voice
None
The camera is placed behind
the Queen who speaks to
her Mirror raised in front of
her
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
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
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
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
Angle
Light
Sound
1
20:0220:07
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
2
20:0720:13
Close up
Fuzzy and dark behind her.
However, her face is
enlightened
Close shot
Two golden coloured
Mirrors shine. Two candles
are on the right of the
human shape Mirror
20:1920:25
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
20:2520:28
Close shot
(same shot
as shot 3)
Two golden coloured
Mirrors shine. Two candles
are on the right of the
human shape Mirror
3
4
5
20:1320:19
6
20:2820:30
7
20:3020:33
8
9
20:3320:36
20:3620:42
Mirror’s
male voice
Mirror’s and
Queen’s
voice
Mirror’s
male voice
Close up
There is the extremity of the
flame behind the Queen.
Her face is also illuminated
by the Mirror
Queen’s
voice
None
Queen’s detailed portrait
including her multiple jewels
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
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
Queen’s
voice
None
Finn goes out of the shade
to spy on his sister, the
Queen
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
None
Queen’s detailed portrait
including her multiple jewels
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
Close up
(same shot
as shot 6)
There is the extremity of the
flame behind the Queen.
Her face is also illuminated
by the Mirror
Queen’s
and Mirror’s
voice
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20:4220:49
Close shot
(same shot
as shot 3)
Two golden coloured
Mirrors shine. Two candles
are on the right of the
human shape Mirror
11
20:4920:53
Close up
(same shot
as shot 2)
Fuzzy and dark behind her.
However, her face is
enlightened
12
20:5320:58
Close up
One candle on the left and
shine of the Mirror to the
fuzzy background
10
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.
She turns her head a little to
the left
Mirror’s
male voice
None
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
Mirror’s
male voice
None
Mirror’s face where the
Queen’s face is reflected
None
Queen’s detailed portrait
including her multiple jewels
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
Mirror’s
male voice
Close up
(same shot
as shot 6)
There is the extremity of the
flame behind the Queen.
Her face is also illuminated
by the Mirror
Mirror’s and
Queen’s
voice
Queen’s
voice
None
The camera broadcasts
Finn’s vision. This time, the
fire appears on the left side
of the shot
None
Finn goes back in the shade
13
20:5821:02
14
21:0221:05
Long shot
Fire to the left of the shot
and candles arranged in
front of the Mirror. The latter
reflects some light
15
21:0521:08
Close shot
(same shot
as shot 7)
Finn is in the shade, stones
are lit to the right of the shot
and there is the bottom of a
candle on the other side
Queen’s
voice
16
21:0821:09
Close up
(same shot
as shot 2)
The Queen’s face is
enlightened but it is fuzzy
and dark behind her.
Queen’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
Queen’s
voice
None
The camera is placed behind
the Queen. There is no
personified Mirror anymore
None
Finn gets out of the shade
17
21:0921:11
Long shot
(same shot
as shot 1)
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
18
21:1121:14
Close shot
(same shot
as shot 7)
Finn is enlightened, stones
are lit to the right of the shot
and there is the bottom of a
candle on the other side
Queen’s
voice and
noise of
Finn’s steps
19
21:1421:17
Long shot
Fire to the left of the shot
and candles arranged in
front of the Mirror. The latter
reflects some light
Queen’s
voice
None
The camera is placed
behind Finn’s left shoulder.
The Queen looks at him and
at viewers
20
21:1721:20
Close shot
(same shot
as shot 7)
Finn is enlightened, stones
are lit to the right of the shot
and there is the bottom of a
candle on the other side
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.
Shot 1
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.
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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
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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
Shot 14
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.
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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.
Shot 19
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 selfconfident stare. Her eyes reflect her emotions and
feelings. Thereby, the Queen exhibits a woman with
character and a fighting spirit. Her domineering look
Shot 2
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
Shot 6
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
Shot 9
twice, show her anger and synchronous sadness.
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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
Shot 13
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
Shot 16
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.
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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
Shot 4
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
Shot 12
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
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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
11:24 in the film
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/
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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
Shot 3
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
John Hanson Saunders, p.69 4 See
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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/2440
0000/Snow-White-walt-disney-characters.jpg
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1:23:11 in the film
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.
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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
1:29:021:29:07
High angle
shot
Light on Snow
White’s white bed
Mortuary silence
Zooming
Tilted image of Snow
White’s half body
2
1:29:071:29:12
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
Silence with
some nondiegetic music
None
Long shot of Snow White’s
bed
None
The Huntsman always
looks at viewers and gets
up
None
Entering on the left of the
visual field, as a shadow,
he passes around the feet
of Snow White
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
3
1:29:121:29:15
Long shot
Light comes from
above, as from
heaven, and lights
her body as if she
was a divinity.
Candles are in the
twilight
4
1:29:151:29:18
Close shot
Light on the
Huntsman’s face
and on the columns
Non-diegetic
music increases
a little bit
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"
Huntsman’s
voice with
funeral music
5
1:29:181:29:31
6
1:29:311:29:37
Medium
shot
Snow White is
always enlightened
from Heaven and
two candlesticks are
present.
7
1:29:371:29:39
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
1:29:391:29:49
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
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
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
9
10
1:29:491:29:56
1:29:561:30:13
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11
1:30:131:30:32
Medium
close shot
When Snow White
appears with the
Huntsman behind
her, lights, which
come from the top
and the candles,
are more present
12
1:30:321:30:36
High angle
shot (same
shot as the
st
1 )
Clear, white prevails
black which shows
Snow White’s purity
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
Only nondiegetic music
as a melancholic
melody
Zooming
Tilted image of Snow
White’s face
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
None
He caresses her hair
tenderly
13
1:30:361:31:01
Low angle
shot
Brightness
Non-diegetic
music increases
more and more
with the
Huntsman’s
voice
14
1:31:011:31:06
Close up
Clarity
Only nondiegetic music
15
1:31:061:31:16
Low angle
shot (same
shot as the
th
13 )
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
1:31:161:31:18
Close up
(same shot
th
as the 14 )
Clarity
Only nondiegetic music
None
He caresses her hair
tenderly
17
1:31:181:31:25
Low angle
shot (same
shot as the
th
13 )
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
1:31:251:31:30
Long shot
In front of Snow
White, the
Huntsman becomes
again a shadow as
in the beginning
Same nondiegetic 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
The Huntsman is
back to the light
Same nondiegetic 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
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
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
19
20
21
1:31:301:31:36
Long shot
(same shot
th
as the 5 )
1:31:361:31:53
Close up
1:31:531:31:59
High angle
shot (same
shot as
shot 1)
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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,
Shot 3
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.
Shot 7
White also symbolizes the transformation from a dead
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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-versionsof-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
Shot 13
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,
Shot 8
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 nondiegetic music.
7 See film, 1 hour 31 minutes and 10 seconds 25
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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.
Shot 1
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
Shot 5
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
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with a panning movement. In the second one,
shot 11, the camera is positioned on the left-
Shot 11
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.
Shot 19
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
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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/waltdisney-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.
Shot 17
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 31
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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 premenstrual 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 32
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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/
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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.screeninsults.com/snowwhite-and-the-seven-dwarfs.php
http://www.lassothemovies.com/wpcontent/uploads/2012/07/snow-white-4.jpg
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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.
55:59 in the film
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-kristenstewart-battles-charlize-theron-in-surprising-snow-white
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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 36
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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.
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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.
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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-whiteart-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
40