The treatment of gender and romance in Disney “princess” films is explored in this debut essay collection.
The animated Disney film Frozen (2013) may seem like an expression of pure girl power, but can we really, as the song goes, “let it go” at that? Rustad doesn’t think so, noting “a certain insidiousness” to this popular and thus highly influential film. Following this provocative opener, Rustad provides some film theory overview: film offers both the pleasure of looking and ego identification. He then delves into the use of gender and romance in 14 Disney movies that he believes fall within the “Disney Princess film” genre, starting with Snow White and the Seven Dwarfs (1937) and including not-so-obvious choices, such as Hercules (1997). Giving each selection its own chapter, Rustad asserts that while early films had shallow romances and passive heroines, Disney’s later return to this genre, from The Little Mermaid (1989) onward, advanced on such origins with mixed results. He makes the case for the way Aladdin (1992) conveys “a very positive and healthy vision of romantic love,” yet Tangled (2010) disappoints with “pandering insincerity.” As for Frozen, the sneer put on Elsa at the end of her big song and Hans’ shift to villainy are among the “flaws which at first seem inconsequential next to so much quality work, but really drag the film down upon careful analysis.” An essay on Enchanted (2007), the only live-action selection and only film assessed out of release-date chronology, wraps up this collection, with Rustad praising it as “mature and balanced.” Debut author Rustad, who unfortunately never states his particular credentials, has written a series of engaging if not particularly groundbreaking essays that will be enjoyed by film buffs as well as parents feeding/tempering princess fever. Rustad quite rightly expresses concern about sneaky sexualization (e.g., Ariel’s arched back) and mixed-message merchandising, including Mulan’s warrior heroine “swooning on Shang’s shoulder on the cover of a glittered diary.” Yet he also credits “the ability of children to form their own judgments and values.” Overall, a thought-provoking, evenhanded examination.
Accessible, entertaining analysis via a feminist lens.
Pub Date: Feb. 14, 2015
ISBN: 978-1-5084-1851-1
Page Count: 198
Publisher: New Element
Review Posted Online: July 1, 2015
Kirkus Reviews Issue: Aug. 1, 2015
Review Program: Kirkus Indie
A fascinating, major work that will spark endless debates.
An epic cradle-to-grave biography of the king of pop art from Gopnik (co-author: Warhol Women, 2019), who served as chief art critic for the Washington Post and the art and design critic for Newsweek.
With a hoarder’s zeal, Andy Warhol (1928-1987) collected objects he liked until shopping bags filled entire rooms of his New York town house. Rising to equal that, Gopnik’s dictionary-sized biography has more than 7,000 endnotes in its e-book edition and drew on some 100,000 documents, including datebooks, tax returns, and letters to lovers and dealers. With the cooperation of the Andy Warhol Museum in Pittsburgh, the author serves up fresh details about almost every aspect of Warhol’s life in an immensely enjoyable book that blends snappy writing with careful exegeses of the artist’s influences and techniques. Warhol exploded into view in his mid-40s with his pop art paintings of Campbell’s Soup cans and silkscreens of Elvis and Marilyn. However, fame didn’t banish lifelong anxieties heightened by an assassination attempt that left him so fearful he bought bulletproof eyeglasses. After the pop successes, Gopnik writes, Warhol’s life was shaped by a consuming desire “to climb back onto that cutting edge,” which led him to make experimental films, launch Interview magazine, and promote the Velvet Underground. At the same time, Warhol yearned “for fine, old-fashioned love and coupledom,” a desire thwarted by his shyness and his awkward stance toward his sexuality—“almost but never quite out,” as Gopnik puts it. Although insightful in its interpretations of Warhol’s art, this biography is sure to make waves with its easily challenged claims that Warhol revealed himself early on “as a true rival of all the greats who had come before” and that he and Picasso may now occupy “the top peak of Parnassus, beside Michelangelo and Rembrandt and their fellow geniuses.” Any controversy will certainly befit a lodestar of 20th-century art who believed that “you weren’t doing much of anything as an artist if you weren’t questioning the most fundamental tenets of what art is and what artists can do.”
A fascinating, major work that will spark endless debates.Pub Date: April 21, 2020
ISBN: 978-0-06-229839-3
Page Count: 976
Publisher: Ecco/HarperCollins
Review Posted Online: Dec. 1, 2019
Kirkus Reviews Issue: Jan. 1, 2020
BOOK REVIEW
PERSPECTIVES
PERSPECTIVES
A dazzling visual homage to a music icon gone too soon.
A Los Angeles–based photographer pays tribute to a legendary musician with anecdotes and previously unseen images collected from their 25-year collaboration.
St. Nicholas (co-author: Whitney: Tribute to an Icon, 2012, etc.) first met Prince in 1991 at a prearranged photo shoot. “The dance between photographer and subject carried us away into hours of inspired photographs…and the beginning of a friendship that would last a lifetime.” In this book, the author fondly remembers their many professional encounters in the 25 years that followed. Many would be portrait sessions but done on impulse, like those in a burned-out Los Angeles building in 1994 and on the Charles Bridge in Prague in 2007. Both times, the author and Prince came together through serendipity to create playfully expressive images that came to represent the singer’s “unorthodox ability to truly live life in the moment.” Other encounters took place while Prince was performing at Paisley Park, his Minneapolis studio, or at venues in LA, New York, Tokyo, and London. One in particular came about after the 1991 release of Prince’s Diamonds and Pearls album and led to the start of St. Nicholas’ career as a video director. Prince, who nurtured young artists throughout his career, pushed the author to “trust my instincts…expand myself creatively.” What is most striking about even the most intimate of these photographs—even those shot with Mayte Garcia, the fan-turned–backup dancer who became Prince’s wife in 1996—is the brilliantly theatrical quality of the images. As the author observes, the singer was never not the self-conscious artist: “Prince was Prince 24/7.” Nostalgic and reverential, this book—the second St. Nicholas produced with/for Prince—is a celebration of friendship and artistry. Prince fans are sure to appreciate the book, and those interested in art photography will also find the collection highly appealing.
A dazzling visual homage to a music icon gone too soon.Pub Date: Nov. 19, 2019
ISBN: 978-0-06-293923-4
Page Count: 384
Publisher: Amistad/HarperCollins
Review Posted Online: July 27, 2019
Kirkus Reviews Issue: Aug. 15, 2019
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