Behind These Castle Walls, Part I: Snow White and the Seven Dwarfs (1937)

Behind These Castle Walls, Part I: Snow White and the Seven Dwarfs (1937)

Ever since I read J. Zornado’s revolutionary important book Inventing the Child, in which he examines children’s fiction and its underlying messages, I looked at books and movies in a different way. Among all the brilliant things this book achieves, what spoke to me in a special way was how he dissected Disney movies, specifically The Young Mermaid and The Lion King. Uncovering their themes of parent authority, gender politics and identity manipulation was a big revelation to me. And ever since then I wanted to look at Disney movies, which are so beloved and popular until today, and see if I could figure out which ideas they sell to kids. So, today I’m starting a new series in which I’ll chronologically go through every major animated Disney movie and try to analyze it closely. I’m not the first one to do this, but I hope I have something new to say anyway. I have seen most of them already in the past, but I will watch them again with different eyes now.

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Poster of a Girl - Posters Can Be Champions Too

Poster of a Girl - Posters Can Be Champions Too

Time for posters again! I have an overload of movies to write about right now and an empty head when it comes to non-movie topics, so I’ll take the easy road again. I’m still always thankful for suggestions for topics, be it here in the comments or on Twitter or even Facebook. Anyway, let’s take a look at a selection of current posters taken from the IMP homepage.

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Drive (2011)

Drive (2011)

(spoilers when I say so)

Drive is a movie that really got to me. It is one of the intense and most surprising movies I’ve seen in a while and also one of the best. I had high expectations for the movie after having read so many good things, but they really paid off. It’s the first movie I gave a 10 since Looper in August. Director Nicolas Winding Refn creates an atmosphere that is as intense as anything I’ve ever experienced in a movie. This special mood is mostly created through silence, music and brilliantly framed shots (the two of them in the hallway, separated by the editing, but united in negative space is extremely brilliant). The use of unexpected and shocking violence adds to that in an unusual way. The movie captivates you so much that the violence really feels like a hit on the head. It makes the violence also more meaningful because it both has an effect on the viewer and real consequences for the characters. The acting is amazing throughout, especially Ryan Gosling carries the movie without saying much and with only the slightest facial expressions. The same goes for Carey Mulligan, but most of the actors defy character expectations with little gestures, especially Albert Brooks and Oscar Isaacs. Overall, a great movie that stays with you.

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