User:Daisy9244/sandbox

Although The Sound of Music is based on the true story of the Von Trapp family, the actual story was altered in many ways to fit the stage and then underwent many other changes for the screen. Placing a story about Nazi Germany within a musical moves the story from biography and places it with in the fairy tale genre of literature and film as well. There is a naivete and a child-centric storyline

The fairy tale aspect of The Sound of Music is also influenced by the era the movie was released. Being produced in the 1960s amid, Rodgers and Hammerstein had just released Cinderella in color for television viewing. Julie Andrews was a success in Mary Poppins and on stage in Lerner and Lowe's Camelot; the Sound of Music is nestled in this era. The fairy tale aspects which include the idyllic imagery (placed in the hills of Salzburg), the European villas, and the cross-class Cinderella-like romance between Maria and Captain Von Trapp help to ground the Sound of Music in this genre. As Maria walks down the aisle to be married, the pageantry is explicitly both Guinevere and Cinderella, burnishing the film with a strong fairy tale component.

Howard Lindsay Russel Crouse. “Life With Lindsay and Crouse.” New York Times (1923-Current File), 1946, p. SM9. - reading it now -

!!!!! - the first article (it's a film review so not certain it will work but....) I have read that mentions Disney and SoM together.....

Palma, Shannan. “Marvels & Tales.” Marvels & Tales, vol. 23, no. 1, 2009, pp. 193–196. JSTOR, JSTOR, www.jstor.org/stable/41388918.

https://www.worldcat.org/title/sound-of-music/oclc/1038481309&referer=brief_results. - page 21 mentions child-centric storyline and naivete. pg 23 mentions fairy tale romance and say Cinderella. page 25 "This context grounds many of the SOM fairy-tale aspects: its old European villas, its idyllic imagery of unspoiled nature and, most of all, its cross-class, almost Cinderella-like romance. The 1965 wedding scene between Maria and the Captain is revelatory in this regard, as Andrews - at once Guinevere and CInderalla - walks down the aisle, moving between pageantry and fable, burnishing the film with its strongest fairy-tale component."

Mcdonald, Paula. “‘We Just Make the Pictures…?’ How Work Is Portrayed in Children’s Feature Length Films.” Culture and Organization, vol. 15, no. 1, 2009, pp. 21–38. - This article is not relevant - keeping it here just in case.

Patrick, Stephanie. “Breaking Free? Domesticity, Entrapment, and Postfeminism in Unbreakable Kimmy Schmidt.” Journal of American Culture, vol. 40, no. 3, 2017, pp. 235–248.

"the nanny often functions as a liminal, “threshold figure” intended to stabilize gender roles and notions of the family in times of political, social, and economic uncertainty. The tie to femininity and domesticity in this figure is unequivocal—it is the entry of the female nanny into the domestic space that usually signals the insufficiencies of a working (or otherwise occupied) mother figure. At the same time popular culture often figures the home symbolically as a site, within capitalist societies, of stable gender roles, a long‐standing separation of private and public, and the fundamental source of meaning in women's lives. The nanny, as “threshold figure” then, “not only intervenes in nuclear family isolation, but she represents the breakdown of the distinction between public and private spheres by existing simultaneously in both spheres, being at the same time family and not‐family” (McLeer 84). Beyond her troubling of the public/private divide, however, the nanny figure also articulates a distinct socio‐economic category that cannot, particularly within a supposedly class‐less, neoliberal/postfeminist America, be easily resolved. The nanny, tracing back to early twentieth‐century depictions that mock her desire to belong within the upper‐class family (Holden), simultaneously speaks to anxieties over female class ambitions and the worry that an interloper/imposter has infiltrated and contaminated elite society. But it is also precisely because of her liminality that the nanny can inhabit a transgressive space in popular culture."

Mcleer, Anne. “Practical Perfection? The Nanny Negotiates Gender, Class, and Family Contradictions in 1960s Popular Culture.” NWSA Journal, vol. 14, no. 2, 2002, pp. 80–101.

"This essay examines the popular 1960s films Mary Poppins (Stevenson 1964) and The Sound of Music (Wise 1965) which, despite their foreign settings and stars and their historical timeframes, are seen in the light of their relevance to social and political concerns of the United States in the 1960s. The films set about addressing anxieties surrounding masculinity, motherhood, domestic gender roles, and the constitution of the family that were current at the time. The films are seen as a response to the burgeoning women's movement of the mid-1960s and rising levels of recognition of women's changing place in society, as well as what was considered men's loosening grip on patriarchal power in the family. In both films, the character of the nanny, a threshold figure and family interloper, is the person responsible for reinstalling the father, whose domestic role as head of the intact, patriotic family was thought to be in jeopardy, by ensuring that his familial relations are modernized."

Warner, Marina. “BEAUTY&Amp;THEBEAST.” Sight and Sound, vol. 2, no. 6, 1992, p. 6. (p 11) - talks about the masculinity of the Beast and other qualities of him which seem similar to Mr. Von Trapp in SoM - also makes connections with Edward Scissorhands - interesting.....

https://www.ecumenicalnews.com/article/emma-watson-channels-sound-of-music-in-beauty-and-the-beast-golden-globes-tv-spot/57737.htm

Swain, Virginia. “Beauty's Chambers: Mixed Styles and Mixed Messages in Villeneuve's Beauty and the Beast.” Marvels &Amp; Tales, vol. 19, no. 2, 2005, pp. 197–223,357.

*** Book***. Warner, Marina. From the Beast to the Blonde : on Fairy Tales and Their Tellers. Farrar, Straus and Giroux, 1995.

****** Swahn, Jan-Öjvind. “‘BEAUTY AND THE BEAST’ IN ORAL TRADITION.” Merveilles & Contes, vol. 3, no. 1, 1989, pp. 15–27. JSTOR, JSTOR, www.jstor.org/stable/41389988.