Running Head: DISNEY'S ANIMATED FEATURES AND PROPP'S LITERARY THEORY
Disney's Animated Features In Comparison To Propp's Literary Theory
Amy Sherr
Western Connecticut State University
Abstract
This study deals with Disney's animated features. Its purpose is to
establish whether the structure of the movies is consistent with the literary
theory developed by Vladimir Propp.
Nine films have been analyzed in order to determine if elements of
Propp's theory are apparent in each feature. The sample used represents
the different categories, styles, and production years of Disney animation.
The conclusions of this study provide a greater insight into how
Disney films achieve their popularity. Although it was not determined
that Propp's Literary Theory contributes to the success of the films, the
researcher noted several other characteristics of the features that could
contribute to Disney's success. Such trends include the music,
characters, and animation quality of the movies. These characteristics
could be examined in a later study in order to attempt to pinpoint how
Disney's films achieve their success.
Introduction
Since the release of Snow White and the Seven Dwarfs in 1937,
Disney animated features have been a front-runner of popular culture.
they have received a high level of public and critical acclaim, have been
awarded many honors and recognitions, and have been able to maintain
consistent popularity over six decades. Despite drastic changes in cultural
trends and norms, Disney's animated features remain popular. New
Disney releases become instant classics and Disney's older films maintain
a timeless appeal.
One of the most fascinating aspects of Disney's animated features is
heir diversity. The subjects range from princes and princesses to deer
nd dogs. Furthermore, Disney takes its plots from a wide range of
ources. Many Disney films are born from classic literature. Other
eatures are based on legends. Disney has also occasionally bypassed
nown works and formulated original tales. Due to the fact that Disney's
nimated films range so greatly, one can question what is the unifying
eature that leads to the success of the films. Is there a certain structure
hat Disney follows, and if so, is it this structure that leads to the triumph
f the pictures?
Much has been written about Disney animation. Books written by
uthors such as Bailey (1984), Sinyard (1988), and Maltin (1973) discuss
nimation techniques, the costs of production, critical reactions, and
wards won by the Disney pictures. The soundtracks and plots are also
iscussed. However, the structural elements of the features are never
nalyzed
If it is established that the films follow a particular structure, it can be
educted that this structure, at least partially, accounts for the success of
he movies. Once the structure is identified, it can be applied to future
nimated films. Therefore, the new releases should be able to achieve a
evel of success that is similar to the features already produced by Disney.
his study was established in order to determine whether or not Disney
ovies follow the literary theory established by Vladimir Propp (1968).
ropp established a structure of elements that comprise a Russian folk
ale. These elements are referred to as functions. The functions take
lace in a specific sequential order. Although it is not necessary for a tale
o have each of the stated functions, it is imperative that the present
lements follow in the correct sequence. Although it is not directly stated,
ropp implies that this structure leads to the success of the tales (Propp,
968). This raises the question of whether Disney's animated features
lso follow the structure identified by Propp.
rocedures
In order to accurately assess the structure of the films, the researcher
ook a sample of nine of Disney's animated features. The sample spans
rom Disney's earliest releases to their most recent. Additionally, it
epresents the various story types used by Disney. In terms of this study,
he movies are categorized as three types. The first types "Fairy Tales."
he films represented here are Snow White and the Seven Dwarfs,
inderella, and Beauty and the Beast. Peter Pan, Robin Hood, and
ocahantas are placed in the category of "Popular Stories and Legends".
he final category, "Disney Creations" contains Dumbo, Bambi, and
ady and the Tramp. The films that are classified as "Fairy Tales" or
Popular Stories and Legends" come from tales that are rooted into our
ulture. They are well-known in both their original and Disney forms.
he films categorized as "Disney Creations" are stories that are associated
rimarily with the Disney version of the story. Although many of these
lots originally came from other sources, the tales and characters involved
re best known through the Disney interpretation.
After the films were selected, they were viewed by the researcher
everal times. This enabled the researcher to determine whether Propp's
unctions were present. Once the functions were identified, they were
nalyzed to determine if they are in the correct order. Propp's thirty-two
unctions are versatile enough that at least a few of them will appear in
ny given story. The mere appearance of a few functions does not
ndicate that Propp's theory is applicable to the tale. The researcher feels
hat if a feature contains approximately one-third of Propp's functions, it
an be considered true to the theory. Therefore, if a movie contains at
east ten functions, all of which are in the proper order, it will be
onsidered true to Propp's theory.
Results
Snow White and the Seven Dwarfs.
"Snow White and the Seven Dwarfs", which took its inspiration from
he Grimm's fairy tale, was the first full-length animated feature in
istory. The film was released on February 4, 1938 and became the
econd highest grossing picture of its time. Snow White and the Seven
warfs follows Propp's theory relatively closely. Not all of the functions
hat are present, however, are in their proper order.
The film begins with the exposition that Propp identifies (1968). Here
e learn that the princess Snow White is being raised by her evil step-
other. The vain queen, who is bitterly jealous of Snow White's beauty
resses the princess in rags and forces her to be the scullery maid.
espite her hardships, Snow White remains kind and optimistic that her
reams will come true. While getting water from the well, she meets a
rince and instantly falls in love with him. The queen, however, has
earned from her magic mirror that Snow White's beauty surpasses her
wn. She therefore orders one of her huntsmen to take Snow White out
nto a secluded place and kill her. The huntsman is unable to do this.
nstead, he warns Snow White of the queen's plans (Snow White and the
even Dwarfs, 1937).
After the exposition, the functions begin occurring. The first function,
hich states that "One of the members of a family separates himself from
ome" (Propp, 1968, p. 26) occurs when Snow White heeds the
untsman's warning and flees into the woods. However, at this point,
wo functions occur out of their proper order.
Once in the woods, Snow White finds shelter in the home of seven
warfs. Yet, at the castle, the queen learns from her magic mirror that
now White is alive and is living with the dwarfs. This occurrence is
unction five, "The villain receives information about his victim" (Propp,
969, p. 28). The queen then fulfills function six, deceiving the victim in
rder to take possession of him or his belongings (Propp, 1969), by
sing her magic to disguise herself as an old beggar woman.
At this point, the story goes back to functions two and three in
hich an interdiction is addressed and violated (Propp, 1969). Before
eaving for work, the dwarfs warn Snow White to be wary of strangers.
et, when she meets her step-mother, disguised as an old
ady she trusts the woman and allows her into the cottage.
The story now goes forward to function seven. Snow White eats the
oison apple that is offered to her by her step-mother and "submits to
eception and thereby unwittingly helps her enemy" (Propp, 1968, p.
0). She then falls to the ground in the "sleeping death". Function eight,
the villain causes harm or injury to a member of the family" (Propp,
968, p.30) has occurred.
Upon seeing Snow White's imminent danger, all of the woodland
reatures that she had befriended run into the woods in order to find the
warfs. This is when the "misfortune or lack is made known" (Propp,
968, p. 36). The dwarfs return to the cottage in a vain effort to protect
now White and then chase the queen into the woods, fulfilling function
en, "the seeker agrees to or decides upon a counteraction" (Propp, 1968,
.38). "The hero and the villain join in direct combat" (Propp, 1968,
.51) and finally, the dwarfs corner the queen on a ledge. Lightning
trikes and the queen falls to her death. The villain has now been defeated
ccording to Propp's eighteenth function (1968).
To conclude the story, the prince, who won Snow White's heart in the
eginning of the film returns and awakens her with love's first kiss. The
initial misfortune or lack is liquidated" (Propp, 1968, p. 53) according to
he nineteenth function. The dwarfs rejoice and the prince takes Snow
hite to his castle where they "live happily ever after". The marriage and
scent to the throne fulfills the thirty-first, and final function. (Propp,
968).
Snow White and the Seven Dwarfs follows Propp's structure
elatively closely but not precisely. It is true that many of the functions
re present, however, because Propp stresses so vehemently the necessity
or the functions to be in order, Snow White and the Seven Dwarfs
annot be considered true to Propp's theory.
Dumbo
The movie Dumbo was based on a book written by Helen Aberson and
arold Pearl.
t was Disney's third animated feature and was his shortest and least
xpensive. This did not detract from its quality or popularity though.
pon its release on October 31, 1941 (Maltin, 1973) Dumbo lifted the
pirits of a nation on the brink of war. The initial investment was doubled
n box office grosses (Sinyard, 1988).
Dumbo is a very difficult film to analyze in terms of Propp's theory.
umbo, the elephant, is both the victim and the hero. Furthermore, there
s no actual villain. While some antagonistic elephants make Dumbo's
ath harder, they really cannot be classified as villains. The true villain in
his feature is society.
Dumbo is the story of a baby elephant. His birth is a source of great
elebration for the circus. However, when it is discovered that his ears
re abnormally big, he faces cruel tormenting from the other elephants.
nly his mother, Mrs. Jumbo remains faithful to him. One day,
owever, Dumbo is tortured by some insolent children. Mrs. Jumbo
ttempts to defend her son, but things get out of control and Dumbo's
other is placed into solitary confinement (Dumbo, 1941). This action is
rue to Propp's first function of a family member leaving home (Propp,
968).
Dumbo is forced to become a clown. Although the act is a hit, it is a
ource of great shame for him. The other elephants will not even
cknowledge him as one of their own. This could be considered Propp's
unction Eight-A, where a member of the family lacks
nd desires something (Propp, 1968). Dumbo longs to have the feeling
f acceptance which he lacks.
Although he feels completely alone, Dumbo soon finds an unlikely
riend, Timothy Q. Mouse. Together, Timothy and Dumbo discover that
is enormous ears enable him to fly. Dumbo's act is a success and soon
e is the star of the circus. Here we can say that the villainous society is
efeated according to the eighteenth function. (Propp, 1941).
The final scene of the movie shows the circus train riding out of town.
ll of the elephants are singing Dumbo's praise and Mrs. Jumbo is
raveling in Dumbo's private car with her son . Dumbo's popularity and
ame give him an almost royal position amongst the circus animal. This
an be interpreted as his ascent to the throne, Propp's thirty-first function
1968).
The story of Dumbo does have a few elements that can be considered
o be Propp's functions. They are, however few in number and their
nterpretations are often loose. Therefore, the movie Dumbo is not
onsidered true to Propp's theory.
Bambi
Bambi, which was released on August 21, 1942 was Disney's
nterpretation of a book by Felix Salten. It is often considered to be one
f Disney's most artistic and realistic works (Maltin, 1973). One of Walt
isney's goals for the picture was to obtain a level of animation quality
hat surpassed anything previously accomplished. Deer were brought into
he studios and all of the artists involved attended classes on wildlife
rawing in order to create the most realistic product (Sinyard, 1988). The
ost striking realism in "Bambi", however, lies in the story. For the first
ime, Disney bypassed magic spells and flying animals and opted for a
ifferent kind of enchantment. They concentrated on the beauty and the
ain of nature.
Bambi did not do as well in the box-office as Disney had hoped. The
ountry was at war and Bambi proved to be a little too realistic for some.
t still performed well though. The investment was more than made up
or and subsequent re-releases proved to be enormously successful.
Bambi is another film that is very difficult to view in terms of Propp's
heory because of its character set-up. It is similar to Dumbo in that there
s no direct villain. Instead, the spirit of man, and the devastation they
ring to wildlife haunt the movie. The character of Bambi is both the
ictim and the hero (Bambi, 1942).
The film opens with news of Bambi's birth spreading throughout the
orest. All of the creatures in the forest go to meet the "young prince".
ambi is raised by his mother. His father, the Great Prince of the Forest,
atches over him from a distance. Bambi's father's absence fulfills the
irst function on Propp's theory, a family member absents himself
Propp, 1968). With the help of his mother and his two friends,
humper and Flower, Bambi learns about the wonders of nature. One
ay, when Bambi is old enough, his mother brings him to play in the
eadow. It is beautiful, and the young deer has a wonderful time
rolicking and playing .
The fun is short lived though. Panic suddenly ensues. Man has entered
he forest. Bambi and his mother flee into the woods with the rest of the
reatures.
his hunt can be considered Propp's fourth function, "The villain makes
n attempt at reconnaissance" (Propp, 1968, p.28). Bambi and his
other escape. Winter arrives and the Bambi learns more of the
ardships of life. Food is scarce and he is cold.
Finally, spring comes once more to the forest. But, with the warm
eather and fresh grass come the hunters. Once again, Bambi and his
other are pursed and this time his mother is fatally shot. The villain has
aused harm to a member of the family according to the eighth function
Propp, 1968). At this point Bambi's father comes to protect and care
or his young son and Bambi learns that he is the son of the Great Prince
f the Forest.
Bambi and his friends continue growing up. Together they learn about
irst loves as each of them becomes "twitterpated". Bambi falls in love
ith his childhood friend Faline. This represents Propp's eleventh
unction, "the hero leaves home"(Propp, 1968, p.39).
Once again, though, man enters the forest and leaves disaster in his
ake. This time, a forest fire is started. Bambi saves Faline, but nearly
ies from his own wounds. This represents Propp's seventeenth
unction, "the hero is branded" (Propp, 1968, p.52) Once again, his
ather appears in Bambi's hour of need. The Great Prince encourages
ambi to safety.
Bambi and Faline are reunited, and the film ends as it began. The
nimals in the forest hear news of the new prince's birth. They hurry to
he forest clearing to find Faline with Bambi's twin fawns. Watching
rom the ledge overlooking the forest are Bambi and his father. Bambi's
ather steps down from the ledge. Bambi is left as the new Great Prince
f the Forest. The continuing cycle of nature has finally come full circle.
ropp's thirty-first function is also realized as Bambi is married and
scends to the throne (Propp, 1968).
Bambi contains several of Propp's functions. Although many of them
re more symbolic than literal, they still follow Propp's theory nicely.
nfortunately, though, there are not enough functions present to
etermine that Bambi's structure is consistent with Propp's theory.
Cinderella
Cinderella was released on March 4, 1950 (Maltin, 1973) and
mmediately met with public acclaim. Many of the children who were
irst introduced to Snow White and the Seven Dwarfs thirteen years
arlier could now share Cinderella with their own children. In fact,
inderella grossed more money than any Disney movie up to that time
xcept for Snow White and the Seven Dwarfs. The adaptation was filled
ith "the tradition Disney ingredients - a basic fairy-tale fantasy, a coating
f music and magic, an infusion of comedy and charm"(Sinyard, 1989,
.64) and the audiences loved it. In fact, 1950, was dubbed "our
inderella year" by Roy Disney (Sinyard, 1989). It was not only a literal
omment, but it also represented the art, magic, and prosperity that
inderella brought to the Disney Studios.
In terms of Propp's theory, Cinderella is almost a perfect model.
owever, two of the functions appear out of their sequential order.
The film begins with the expositional period identified by Propp
1968). Cinderella was raised by her kind and devoted father after her
other's death. Still, though, he felt that Cinderella needed a mother's
are so he married again. The new wife was from a good family and had
wo daughter's who were Cinderella's age. Upon the untimely death of
inderella's father, Propp's first function (Propp, 1968), the step-
other's greedy nature became apparent. She squandered the family's
oney and forced Cinderella to become a servant in her own home
Cinderella, 1950). This servitude fulfills the eighth function, where a
ember of the family is harmed (Propp, 1968). Yet Cinderella remained
racious and loving and confident that her dreams of happiness would
ne day come true.
The actual story begins with Cinderella waking up to a new day. With
he help of her friends, a menagerie of mice and birds, she gets dressed.
hen it is time for her to begin her chores for the day. Cinderella goes
ownstairs in order to prepare breakfast for the family.
While doing her duties for the day, Cinderella receives a message for
he family. She brings it to her step-mother. It is revealed that a royal
all is being planned for the evening, and by the king's order, every
ligible maid in the kingdom is to attend. The king is on a quest for a
uitable wife for his son.
Cinderella desperately wants to attend the ball and meet the prince.
ropp established that desire as function Eight-A (1968). Her step-
other says that she may go, but only if she finishes her chores and has a
uitable dress to wear. Cinderella goes to her room to fix her dress, but
he cruel step-mother and step-sisters give Cinderella an unbelievable
umber of chores, to prevent her from finishing on time. Cinderella's
nimal friends recognize what the step-mother is up to and know that
inderella will not be able to attend the ball. This is where "the
isfortune or lack is made known" (Propp, 1968). To show their love
or Cinderella, the animals decide to make the dress themselves. When
he dejected and disappointed Cinderella goes to her room, she sees the
eautiful gown waiting for her. Elated, she runs downstairs to attend the
all with her family. As soon as the step-sisters see Cinderella, they
ecome bitterly jealous of her beauty. They both attack her and ruin her
ress, while the step-mother simply watches. When the damage is done,
he family leaves for the ball, leaving a crushed Cinderella behind. This
ttack, however, has prepared the way for Cinderella to receive a magical
gent, and represents Propp's function twelve (1968).
Cinderella runs to the garden crying hysterically. She collapses on the
round and sobs with her head on a bench. Suddenly, twinkle of light
egin sparkling and a person appears on the bench with Cinderella's head
n her lap. The woman tries to comfort her, but Cinderella insists that
here is nothing left to believe in. The woman responds that if all hope
here lost, she would not have been able to appear. Cinderella realizes
hat this is her fairy godmother and thereby "reacts to the actions of the
uture donor" (Propp, 1968, p.42). Cinderella then "acquires the use of
magical agent" (Propp, 1968, p.43) when the fairy godmother begins
asting her spells. A pumpkin is turned into a coach; the mice become
orses; and Cinderella is dressed in as a lovely gown. The fairy
odmother warns Cinderella that the spell will break at the stroke of
idnight. This warning represents the second function (Propp, 1968) and
s therefore out of order. Then Cinderella gets into the coach and is
transferred...to the whereabouts of the object of a search" (Propp,
968, p.50). This is transferal represents Propp's fourteenth function
1968).
Cinderella goes to the ball and meets the prince. The two fall in love
nstantly, although they are unaware of the other's identities. The night
lies away and Cinderella is unaware of the time. By ignoring the
arning and losing track of the time, Cinderella fulfills the third function
Propp, 1968). This is the second function to appear out of order.
uddenly, the clock begins to chime midnight. Cinderella remembers that
he spell is about to end and flees away. In her hurry, she loses one of
er glass slippers. As Cinderella speeds away in her coach, the final
trike of midnight occurs and the spell ends. However, one of
inderella's glass slippers remains with her. The slipper is proof of the
vening, and therefore acts as a brand given to the hero. This represents
he seventeenth function (Propp, 1968).
The next day there is news of a royal proclamation. The prince has
allen in love with the maid in the glass slipper. An order has been given
hat every maid must try on the slipper and the prince will marry the girl
hose foot fits. Cinderella is elated by the news and the queen realizes
hat Cinderella was the mysterious girl at the ball.
In order to prevent Cinderella's discovery, the step-mother locks
inderella in her room. This difficult task that is proposed to the her
epresents the twenty-fifth function (Propp, 1968). Yet, Cinderella's
nimal friends refuse to see Cinderella denied the opportunity to try on the
lipper. They work together, with Cinderella's guidance to steal the key,
liminate the obstacles, and free Cinderella. "The task is resolved" and the
wenty-sixth function has taken place (Propp, 1968, p. 62).
Just as the royal visitors are about to leave, Cinderella runs downstairs
nd asks to try on the slipper shoe. The step-mother, in a final act of
esperation, trips the man who holds the glass slipper. He falls and the
lass shatters. Cinderella then shows them the slipper's mate. She is
ecognized as the prince's love and Propp's twenty-seventh function is
ulfilled (1968).
Cinderella is taken to the palace and marries the prince. The final
ropp functions in the movie, "the hero is given a new appearance"
Propp, 1968, p. 62) and "the hero is married and ascends the
hrone"(Propp, 1968, p.63) take place.
Sixteen Propp function are apparent in Cinderella. However, two of
hese functions appear out of their proper order. Therefore, it cannot be
etermined that Cinderella follows Propp's theory.
Peter Pan
Peter Pan was released on February 5, 1953 after over a decade of
ontemplation and ideas. Disney had long wanted to create a Peter Pan.
he story of the boy who would never grow up seemed particularly
pplicable to the company that could bring out the child in every adult.
et, because the story, based on the famous play by James Barrie, was so
ell known, Walt Disney was worried that any changes he made would
ot be accepted by audiences. He also feared that his interpretation would
ot be the definitive version of the tale (Maltin, 1973).
Despite his fears, Disney went ahead with the production, and a
evolutionary version of the classic tale was the result. The Disney Peter
an was the first version that gave the pixie, Tinker Bell, a human form.
reviously, she had just been a beam of light. It was also the first to
ctually show the crocodile. In previous interpretations, his presence was
nly known by the ticking of a clock, which is said to be in his stomach.
he biggest, and riskiest, change that Disney made on the tale was the
limination of Peter Pan's plea to the audience to clap their hands in order
o save Tinker Bell's life (Bailey, 1984).
While it is impossible to say that Disney's Peter Pan is the definitive
ersion of the story, it is unquestionable that the movie was a success.
eter Pan was one of Disney's highest grossing pictures of all time
Maltin, 1973). The pixie, Tinker Bell, became an icon for the Disney
nterprise (Bailey, 1984), and the Magic Kingdom ride, "The Adventures
f Peter Pan" is one of the most popular attractions in the park.
Peter Pan begins in London, in the home of the Darling family. The
hildren, Wendy, John, and Michael are getting ready for bed. The boys
re acting out the adventures of Peter Pan, who is the hero of all of
endy's bedtime stories. The telling of these tales represents Propp's
xposition (Propp, 1968). Mr. and Mrs. Darling are preparing to go out
or the night. Before they leave, Mr. Darling announces that Wendy is
ow old enough to have her own room and that night will be her last in
he nursery. The children are devastated, but Mr. Darling is insistent. He
nd Mrs. Darling then leave for the night (Peter Pan, 1951). Family
embers have now left home, and Propp's first function has occurred
Propp, 1968).
Soon, a strange form becomes apparent in the darkness. It is Peter
an, who has come to retrieve his lost shadow. He is accompanied by
he pixie, Tinker Bell. Wendy, who had found the shadow earlier, was
xpecting him. Peter tells Wendy that in his home, Never Land, children
ever grow up. He invites Wendy to join him there. Fueled by her desire
o stay young, and consistent with Propp's function Eight-A (1968),
endy agrees to join him. The possessive Tinker Bell, however, is
utraged.
Wendy wakes her brothers, and the three children "acquire the use of a
agical agent"(Propp, 1968, p.43) when sprinkled with pixie dust. They
an now fly, and they take off for Never Land with Peter Pan and Tinker
ell.
The children have many adventures in Never Land. They meet
ermaids, have battles with Indians, and go on exciting explorations.
othing is more exciting, though, than the encounters with Peter Pan's
ival, Captain Hook.
Captain Hook kidnaps Wendy, her brother, and Peter Pan's tribe, the
ost Boys. Peter saves them, and engages in "direct combat"(Propp,
968, p.51) with Captain Hook. "The villain is defeated" (Propp, 1968,
.53) and the children are free. Captain Hook flees into the distance with
hungry crocodile in pursuit, and Peter and his friends take control of
aptain Hook's pirate ship.
Wendy, John, and Michael begin to feel homesick. Peter and the Lost
oys agree to take them home. Tinker Bell covers the ship with golden
ixie dust, and the shimmering boat flies the children back to London.
isney and Propp 16
Once the children are safely home, Wendy tells her parents about their
dventures in Never Land. She then announces that she is ready to grow
p. As Wendy and her parents look out the window at the clouds,
endy points out Peter's ship to her parents. Her father looks thoughtful
nd then comments that the ship looks familiar to him; from a very long
ime ago. It is a reminder that a child lives within the heart of every adult.
Similar to several of Disney's films, Peter Pan contains several of
ropp's functions. However, there are not enough to consider it true to
ropp's theory.
Lady and the Tramp
Lady and the Tramp was released in July of 1955 (Maltin, 1973). The
nspiration for the tale came from a combination of Walt Disney's
magination and a story by Ward Greene. Walt Disney began toying with
he idea of a picture about a high class cocker spaniel. He then found
reene's story " about a dog with a much coarser temperance and
edigree" ( Sinyard, 1988, p.82). Disney encouraged Greene to write a
ale in which the two dogs came together. 'Happy Dan, the Whistling
og and Miss Patsy, the Beautiful Spaniel' was the result. The product
as revised and dropped several times before it finally emerged as Lady
nd the Tramp. Greene, as well as many others, had reservations about
he title. Disney, however over-rode the objections. The movie, after all,
as his brainchild (Sinyard, 1988).
Critical reactions to Lady and the Tramp were mixed. The public,
owever, made the film a substantial success. In fact, Lady and the
ramp is one of Disney's only works that almost posses a greater appeal
o its older audiences (Maltin, 1973).
Perhaps surprisingly, Lady and the Tramp follows Propp's theory
uite well. The story begins on Christmas at the turn of the century. Jim
ear gives his wife, Darling a cocker spaniel puppy as a gift. The puppy
s named 'Lady'. As she grows, the attachment between Lady and her
wners is apparent. One day, however, Lady cannot understand Jim
ear and Darling's strange behavior. Jock and Trusty, the neighborhood
ogs, explain to Lady that Darling is expecting a baby. They tell her that
aving a baby around will be wonderful. At this point, a mongrel named
ramp arrives on the scene. He tells Lady about terrible things that will
appen once the baby is born. Jock and Trusty insist that he leaves (Lady
nd the Tramp, 1955).
The baby's birth is a source of great happiness for Lady. She watches
ver and protects the child. However, when Jim Dear and Darling leave
or a trip, problems begin occurring. This is consistent with Propp's
unction, a family member leaves home (1968). Jim Dear's Aunt Sarah
omes to watch the baby in their absence. With her are her two cats Si
nd Am. The cats cause havoc in the house, however all of the blame is
laced on Lady.
Aunt Sarah takes the dog out and puts a muzzle on her. This is
epresentative of the interdiction, which can be through the use of a
tronghold, being addressed to the hero (Propp, 1968). A panicked Lady
lees out into the streets.
Soon Lady finds herself on the wrong side of town. To her relief,
ramp finds her and saves her from some menacing dogs. Tramp then
akes Lady to the zoo. There they find a beaver who bites Lady's muzzle
ff of her face. The interdiction has been violated (Propp, 1968).
Lady now has new feelings towards Tramp. She spends the rest of
he day with him and learns about his world. They share a romantic
inner and a moonlight walk in the park. At this point, Lady had left
ome according to Propp's eleventh function (1968). All seems well
etween Lady and Tramp.
Morning comes, and the spell is broken. While following Tramp on
ne of his adventures, Lady nearly gets killed. As the two dogs run away
rom the danger, Lady gets caught by the dog-catcher. Tramp is unaware
f her capture and continues running to safety.
While in the dog pound, Lady meets several dogs who are friends with
ramp. She also hears about Tramp's history with the women. Lady
eels humiliated, scared, and used.
Aunt Sarah retrieves Lady from the pound and punishes her by tying
he dog to her doghouse. Lady is embarrassed and miserable. Even her
riends, Jock and Trusty are unable to console her. Tramp then appears
n the scene. Lady argues with him and the dejected Tramp leaves.
Lady is left alone with her unhappiness. Suddenly, she notices a rat
neaking across the yard. Lady tries to attack, but she is chained to her
ouse. The rat climbs through the window and enters the baby's room.
ady begins to bark frantically, and Tramp comes to her aid. Lady tells
im what has happened and Tramp runs to the baby's room in order to
ntervene.
Once in the room, Tramp and the rat "join in direct combat" according
o the sixteenth function (Propp, 1968, p.51). Although Tramp is
ounded, Propp's seventeenth function (Propp, 1968), he succeeds in
illing the rat. This fulfills the eighteenth function (Propp, 1968).
nfortunately, while attacking the rat, Tramp accidentally knocks over the
aby's crib. Aunt Sarah sees Tramp and assumes that he attacked the
aby. She chases Tramp, forces him into a closet, and calls the dog
ound. Here, Propp's twenty-first function, "The hero is pursued"
Propp, 1968, p. 56) occurs. The dog catcher comes and takes Tramp
way, announcing that they have been after him for a while.
Jim Dear and Darling return home shortly after. Aunt Sarah tells them
hat has been going on. Lady begins barking in an attempt to show them
he rat. Aunt Sarah insists that Lady is going to hurt the baby, but Jim
ear knows differently. He releases Lady, who runs upstairs. The
amily follow her, and the rat is discovered.
Jock and Trusty overhear that a rat has been found. They realize that
ramp has been wronged and the are determined to save him. They
ollow Tramp's scent until they find the dog-catcher's carriage. The two
ogs run around the carriage until it is stopped and Tramp is released.
ramp is rescued according to the twenty-second function (Propp, 1968).
Jim Dear and Darling take Tramp home and buy him a collar and
icense of his own. This symbolizes respectability in the dog community.
t also indicates that he is now part of the family. The twenty-ninth
unction, "The hero is given a new appearance" (Propp, 1968, p. 62) has
ccurred. He and Lady "marry" (Propp, 1968, p. 63) and have puppies
f their own .
Lady and the Tramp contains eleven of Propp's functions in their
roper order. Therefore, the structure of the movie is consistent with
ropp's theory.
Robin Hood
Robin Hood, which was released in 1973, was the first Disney
nimated feature that Walt Disney had no part in creating. Although The
ristocats, which was released in 1970, came after his death on December
5, 1966, Walt Disney had already given the go-ahead for it on the basis
f some of sketches. Robin Hood, however, was entirely the brainchild
f Ken Anderson, one of Disney's most experienced art directors
Sinyard, 1988).
Robin Hood was a very popular movie. Audiences were afraid that the
uality of Disney films would diminish greatly after Walt Disney's death.
owever, Robin Hood was an indication that the art would continue,
ven after the death of the master. The combination of humor and
dventure made the film popular with both the younger and older
udiences (Bailey, 1984).
Robin Hood takes place in England. Good King Richard is away on
he crusades, and his younger brother, Prince John is left in charge of the
ingdom. Propp's first
unction has therefore occurred. A family member has absented himself
Propp, 1968). The greedy prince cruelly over taxes the poor people of
ottingham. Fortunately, for the populace, the rogue Robin Hood
ecides to intervene. Robin, assisted by his friend, Little John, makes it
is duty to steal money from the government and return it to the people
Robin Hood, 1973).
Prince John is outraged. A warrant is issued for Robin Hood's arrest.
his, however, does not deter him. Robin Hood and Prince John
ontinue stealing from the rich to feed the poor. The warrant, and Robin
ood's dismissal of it, represent the interdiction that is issued and
iolated according to Propp's second and third functions (Propp, 1968).
In an attempt to capture Robin Hood, Prince John holds an archery
ournament. The prizes that will be awarded to the winner include a
olden arrow and a kiss from Maid Marian, Robin Hood's childhood
weetheart. John is aware that Robin Hood, a champion
rcher, will be lured into attending. This constitutes function six, in
hich the villain attempts to deceive his victim (Propp, 1968).
Robin Hood goes to the tournament in disguise. His arrival fulfills
unction, seven in which the victim submits to the deception and
nwittingly helps the villain (Propp, 1968)
rince John discovers him and orders his death.
Little John intervenes and Robin Hood escapes from his chains. He
hen battles with Prince John and his troops. The conflict represents
ropp's sixteenth function (Propp, 1968). Prince John is defeated
ccording to the eighteenth function (Propp, 1968) and Robin Hood and
is friends escape into Sherwood Forest.
Prince John does not react well to his defeat. In retribution for his
umiliation, taxes are continuously raised higher. Those who cannot pay
re imprisoned. Although the taxes keep coming in and many members
f the town are imprisoned, Prince John is still unhappy. He desires
evenge on Robin Hood.
The imprisonment of Friar Tuck is a source of great satisfaction for the
rince. He orders the execution of the friar, knowing that Robin Hood
ill attempt to save him. True to Prince John's predictions, Robin Hood
nd Little John initiate a jailbreak. While the prince and sheriff sleep, all
f the prisoners escape from jail. Robin Hood breaks into the royal
reasury and steals back the people's money. This represents the difficult
ask proposed to the hero in Propp's twenty-fifth function and the
ompletion of the task in the twenty-sixth function (Propp, 1968).
lthough he is nearly killed, Robin Hood successfully escapes from the
rince.
Thankfully, King Richard returns from the crusades. He pardons
obin Hood, thereby giving him the new appearance stated in the twenty-
inth function (Propp, 1968). Prince John and his aides are imprisoned
ccording to the thirtieth function (Propp, 1968) and Robin Hood and
aid Marian are married, function thirty-one (Propp, 1968). The irony is
tated that King Richard now has an outlaw for an in-law.
Twelve of Propp's functions are apparent in Robin Hood.
dditionally, all functions are in order. Robin Hood is considered true to
ropp's theory.
Beauty and the Beast
Beauty and the Beast, which was released in 1991, is often considered
o be one of Disney's finest creations. With the assistance of computers,
he animators were able to achieve a level of picture quality that surpassed
nything previously accomplished. Furthermore, the soundtrack won
cademy Awards, and the picture itself was the first animated feature ever
o be nominated for "Best Picture" (Disney Animation Tour, 1996).
Beauty and the Beast, which took its inspiration from the French tale,
ells the story of a beautiful girl named Belle. Although Belle is the most
ttractive girl in the village, she is an outsider. The provincial
ownspeople do not understand her love for literature and her dreams of
dventures. Only Belle's father, the eccentric inventor, understands her .
Although their interests are vastly different, the vain Gaston seeks
elle's hand in marriage. He is determined to win over Belle solely
ecause of her looks. Belle is not interested and she rejects his proposal.
aston vows to win Belle's affections. This part of the film represents
he expositional period (Propp, 1968).
Propp's first function occurs when Belle's father, Maurice, takes his
nvention to the fair in another town (Propp, 1968). Belle is left alone to
ontend with the determined Gaston. While traveling, Maurice becomes
ost in the woods. Wolves chase him into the courtyard of a castle. His
orse, Phillepe escapes and flees into the darkness.
Maurice ventures into the castle and discovers that it is ruled by a
onstrous beast. The beast throws Maurice into the dungeon for
respassing. It is learned that the Beast was once a handsome, yet selfish
rince. Because of his cruelty, a spell was cast on him and all those who
ived in his castle. If the Beast does not learn to love, and earn someone's
ove in return, by his twenty-first birthday, he will remain a beast forever.
Phillepe returns home without Maurice. Belle realizes that something
as happened to her father and she sets out to find him. These actions are
ropp's ninth and eleventh functions, in which the misfortune is made
nown and the hero leaves home in order to correct the problem(Propp,
968).
Phillepe leads Belle to the whereabouts of her search (Propp, 1968)
nd she discovers her father. In order to save her father, Belle sacrifices
er freedom for his. Maurice attempts to argue, but the Beast throws him
nto a carriage and sends him home before the father and daughter can
xchange farewells.
Belle is heartbroken. The Beast is touched by the fact that Belle has
iven up her freedom for her father and he offers her better
ccommodations. Although he attempts to be a gentleman, his temper
oon gets the best of him. Belle flees from the castle and is
ttacked by wolves. The Beast appears and saves Belle. He is gravely
ounded from the encounter. Belle takes him home and nurses his
njuries. This begins the friendship between Belle and the Beast.
Belle and the Beast continue to grow closer. They share special
oments and begin to understand each other. At a formal dinner, in
hich the beast prepares to admit his love for Belle, he notices that Belle
ooks sad. Upon questioning her, he discovers that Belle misses her
ather deeply. Because he loves her, he releases her and allows her to
eturn home according to Propp's twentieth function (1968).
Belle does not return home alone, though. She is unknowingly
pursued" (Propp, 1968, p. 56) by Chip, one of the castle's inhabitants.
Belle intends to return to the castle, however, Gaston learns of her
elationship with the Beast. He traps Belle and Maurice in their basement
nd then starts a mob against the Beast. This represents function twenty-
our, "A false hero presents unfounded claims" (Propp, 1968, p.60).
elle and Maurice escape, however, the mob has already left for the
astle.
Gaston and his mob attack the castle. Most of the men are frightened
y the enchanted objects in the castle. Gaston, however, remains
etermined to hunt down the Beast and kill him. Finally, Gaston locates
he Beast in the West Wing. He attacks, yet the Beast does not fight
ack. He is too heartbroken over the loss of Belle. Then, the Beast looks
ut of his window and sees Belle coming to help. His faith and strength
re restored and he battles with Gaston. This is the difficult task that is
roposed to the hero (Propp, 1968). The Beast has Gaston at a
isadvantage, yet when the opportunity comes, the Beast spares his life.
aston is told to leave the castle and never return. The Beast turns to
elle, but when he back is turned, Gaston attacks. Gaston then falls to his
eath, but not before he mortally wounds the Beast. Gaston's death
rings about the resolution to the task (Propp, 1968).
Belle is at the Beast's side as he dies. She admits that she loves him
nd cries on her
hest. Suddenly, the Beast is transformed back into the prince. His new
ppearance fulfills the twenty-ninth function(Propp, 1968). He and Belle
re "married and ascend the throne" (Propp, 1968, p.63)
Beauty and the Beast is true to Propp's theory. Eleven functions are
pparent and they all follow in the proper order.
Pocahantas
Pocahantas is Disney's most recent release. It tells the legendary story
f the Native American girl and British explorer who are able to prevent a
ar through their love and understanding. It also sends a powerful
essage on the dangers of prejudice.
The story takes place in the Virginia settlement of Jamestown. The
ritish have arrived to claim the land in the name of the king. They also
lan to dig up vast gold and riches. One of the members of the crew is the
amous, John Smith. Smith has been on dozens of expeditions, and has
arned the reputation of being a powerful Indian killer. He plans to find
dventures and riches in the New World (Pocahantas, 1995).
In contrast to the British explorers, the Native Americans of Virginia
ive simply. They are in touch with the land and the spirit of nature.
ocahantas, the daughter of the chief, lives happily amounts them, yet,
he yearns for adventure. This desire is Propp's function Eight-A. Her
ather informs her that she is to be married to the great warrior, Kokoum.
ocahantas, however, feels that her future will lead her in a different
irection. She confides to Grandmother Willow, a tree who is alive with
he spirit of nature, that she has been having a recurring dream with
pinning arrows. She believes that those arrows will point her to her
estiny.
John Smith and Pocahantas meet. They become friends, and soon that
riendship develops into something more. However, their two cultures
re highly suspicious of one another. Their love is therefore forbidden.
oth Pocahantas and John Smith realize that they cannot be together until
heir respective sides can form a truce.
At the British settlement, the evil Governor Radcliff attempts to keep
ontrol over his men by telling them untruths about the Native Americans.
e continues with his lies until a great hatred is built toward the natives.
his represents Propp's fourteenth function, "A false hero presents
nfounded claims" (Propp, 1968, p.60)
One night, when John Smith sneaks off to meet Pocahantas, he is
ollowed by Thomas, a young British explorer. Pocahantas is followed
y Kokoum. When Pocahantas and John Smith embrace, Kokoum leaps
rom the bushes and attacks Smith. In order to protect Smith, Thomas
ires his gun and kills the Indian warrior.
John Smith is taken prisoner and is scheduled to be executed.
ocahantas knows that if Smith is killed, it will lead to a great war. Many
ill be killed on both sides. Pocahantas knows that she must stop the
xecution, and subsequently prevent the battle. This is representative of
he difficult task that is proposed to the hero (Propp, 1968). As her father
s about to kill Smith, Pocahantas throws herself on his body. Her the
hief recognizes her strength and wisdom. He refuses to contribute to
nymore bloodshed. The British also lower their weapons. The task is
esolved and function twenty-six occurs (Propp, 1968).
Radcliff, however, wants the battle to continue. He aims his gun at the
ndian chief. Smith sees this and pushes him out of the way. Smith is
hot, instead. This branding represents Propp's seventeen function
Propp, 1968).
The British capture Radcliff and "the villain is punished" (Propp,
968, p.63). He is brought back to England in chains.
Because of his wounds, Smith must also return to England. This
epresents the hero's return home in function twenty (Propp, 1995) He
sks Pocahantas to join him, but she declines. Pocahantas knows that she
ust take her place among her own people. As the ship sails of into the
istance, Pocahantas watches it go. She knows that her life has been
ermanently affected by Smith and that she will never forget him.
The functions of Propp that are represented in Pocahantas are few.
hey are also drastically out of order. Therefore, "Pocahantas" does not
ccurately represent Propp's theory.
iscussion and Conclusions
Although a great many of Propp's functions appear in Disney films, it
oes not appear that a majority of the features actually follow Propp's
heory closely. Over half of the sampled movies are not considered true
o theory.
This study has shown that "Fairy Tales" tend to posses the greatest
umber of Propp's functions, however these functions are not always in
rder. In two of the three fairy tales that were analyzed, the functions
ppeared out of their sequential order. Therefore, they were not
onsidered true to Propp's theory. Not only fairy tales contained a
ignificant amount of functions. Both a "Legend" and a "Disney
reation" contained enough of Propp's functions, in order, to be
onsidered accurate to Propp's theory.
Therefore, it seems that the movie's type is irrelevant to whether or not
he plot follows Propp's theory. Additionally, the year of release also
eems immaterial. The only pertinency is the material within the film
tself. Comparing one film to another is pointless.
This study has not proven that the success of Disney's films can be
ttributed to the structure established by Vladimir Propp. This does not
ean, however, that Disney movies do not follow a particular structure.
t is entirely possible that the films do follow a uniform structure that is
ifferent from the one analyzed here. Later studies can possibly re-
nalyze Disney's films in order to find a different pattern.
This researcher feels, however, that such a search would be futile.
he data that have been found in this study do not point to such a pattern.
n fact, the diversity of the films leads the researcher to feel that no pattern
ould possibly exist.
A more worthwhile project could possibly be to analyze other reasons
or the success of the films. The music, animation, and characters could
e more closely analyzed. Public relations and advertising skills of the
isney company could also be explored.
After experiencing the Disney movies multiple times and analyzing their
ontents, this researcher strongly feels that a singular reason for the
uccess of Disney animation will never be pinpointed. Instead, the
uccess comes from a combination of all of the discussed elements.
ost importantly, though, the success comes from a feeling that
ncompasses the audience of a Disney animated feature. This feeling was
ummed up by Leonard Maltin. He wrote, "But most of all the film
xudes a feeling of joy, a radiant glow of happiness that is so persuasive
hat, at the end of the film, you're ready to believe that somewhere in this
orld there must be happy endings such as this-they've just got to be
eal" (1973). Maltin was describing "Snow White and the Seven
warfs", but that description could be applicable to so many of Disney's
nimated features. It is this feeling of joy and magic that has kept Disney
nimation alive over the decades. The researcher also has no doubt that
isney's future releases, including "The Hunchback of Notre Dame" in
he summer of 1996, will continue the tradition of excellence that was
tarted by Walt Disney so many years ago.
eferences
Bailey, Adrian (1984). Walt Disney's world of fantasy. Seacacus,
J: Chantwell Books Inc.
Disney animation tour. (1996). Walt Disney World.
Disney, Roy (Producer), & Abrams, Michael (Supervising Director).
1991). Beauty and the Beast. [film]. Buena Vista Productions.
Disney, Roy (Producer), & Jacks, Scott (Supervising Director).
1996). Pocahantas. [film]. Buena Vista Productions.
Disney, Roy (Producer), & Andersen, Ken (Supervising Director).
1973). Robin Hood. [film]. Buena Vista Productions.
Disney, Walt (Producer), & Hand, Davis (Supervising Director).
1942). Bambi. [film]. RKO Radio Productions.
Disney, Walt (Producer), & Jackson, Wilfred (Supervising Director).
1950). Cinderella. [film]. RKO Radio Productions.
Disney, Walt (Producer), & Sharpsteen, Ben (Supervising Director).
1941). Dumbo. [film]. RKO Radio Productions.
Disney, Walt (Producer), & Luske, Hamilton (Supervising Director).
1955). Lady and the Tramp. [film]. Buena Vista Pictures.
Disney, Walt (Producer), & Hand, David (Supervising Director).
1937). Snow White and the Seven Dwarfs. [film]. RKO Radio
roductions.
Maltin, Leonard. (1973). The Disney films. New York: Crown
ublishers.
Propp, Vladimir. (1968). Morphology of the folk tale. second edition.
merican Folklore Society.
Sinyard, Neil. (1988). The best of Disney. New York: Crown
ublishers.
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