Abstract
This paper examines the Disney adaptation of Madame Leprince de Beaumont's "Beauty and the Beast" . The paper contends that an analysis of Belle's character reveals that Disney's treatment of the fairy tale entirely neuters the story, taking away its dramatic, harsh moral lessons, and diminishing its female role model to an idle idiot who should not have survived the first ten minutes. The paper continues to discusses how this is further exacerbated by the introduction of cute, irrelevant animated characters who only serve to trivialize the film further. The paper concludes that, while traditional fairy tales offered chicken soup for the soul, Disney offers canned soup for the soul.

From the Paper
"Beaumont's Beauty has many other good qualities besides, and demonstrates them consistently throughout the story. For example, she is patient when her shrewish sisters berate her. She is considerate when her father offers her gifts, requesting almost nothing for fear it might be beyond his means. She does ask for a rose, not because she wants one, but because she does not want to show her sisters up. Thus, in somewhat Christian fashion, she turns the other cheek, meeting her sisters' insults with kindness and consideration. Disney's Belle gets no such opportunity to show Christian charity - this lucky young woman is an only child, unburdened with mean-spirited sisters! Again, the Disney character is denied the opportunity to model strength of character to viewers, and instead remains comparatively insipid. "

Tags:belle, morals, animation

From the Paper
INTRODUCTION
"In 1965, Frances Clarke Sayers wrote the following with reference to Walt Disney and the way he treated his film material:
I call him to account for his debasement of the traditional literature of childhood, in films and in the books he publishes: He shows scant respect for the integrity of the original creations of authors, manipulating and vulgarizing everything for his own ends. His treatment of folklore is without regard for its anthropological, spiritual, or psychological truths. Every story is sacrificed to the "gimmick". . . of animation. . . Not content with the films, he fixes these mutilated versions in books which are cut to a fraction of their original forms, illustrates them ..."

Abstract
This paper takes an in-depth look at how Disney has reworked and often recreated famous myths, fables and fairy tales in its films. According to the paper, most fairy tales originate in the distant mists of time, so that they are fair game for anyone who wants to use them to make money in any way. Disney has used the works of the Brothers Grimm and Hans Christian Anderson , yet they have strayed from their original form. While the Grimms and Anderson were retelling ancient stories, Disney went a step further - he revised the stories to the extent that they are now new stories, masquerading as old stories.

From the Paper
"Most fairy tales originate in the distant mists of time, so that they are fair game for anyone who wants to use them to make money in any way - no royalties to pay, no author to placate. Disney has had a field day with this, making films that probably have the Brothers Grimm and Hans Christian Anderson spinning in their graves, so far have they strayed from their original form. While the Grimms and Anderson were retelling ancient stories, Disney went a step further - he revised the stories to the extent that they are now new stories, masquerading as old stories. In the process of doing this, he lost their essential and timeless messages and morals."

Tags:disney, beauty, beast

Abstract
This paper explains that the leitmotif of the husban- beast in Madame Du Beaumont's classical version of the fairy tale "Beauty and the Beast" reoccurs in many stories. The paper points out that, in this version of the famous fairytale, the attraction between the sublimely beautiful and the monstrously ugly may hide a fetishist desire at the core of the culture. The paper stresses that the union between a beast and a human being, which forms the plot of the fairytale, obviously hints at the beast-like, sexual desires, which lurk in the human subconscious.

From the Paper
"Another erotic element in the story is the dream Beauty has of the Beast after having delayed her return because of her sisters' wickedness. Thus, Beauty dreams of the dying Beast, longing for her presence and reproaching her for breaking her promise: The tenth night she spent at her father's, she dreamed she was in the palace garden, and that she saw Beast extended on the grass-plot, who seemed just expiring, and, in a dying voice, reproached her with her ingratitude. It is at this point that Beauty actually realizes she has strong feelings for the Beast."

Tags:antagonist, erotic, fetishist, opposites, leitmotif

Abstract
The paper discusses how "Beauty and the Beast" may appear to be explaining to girls that virtue is the most important characteristic to look for in a mate, but it is actually advocating themes of women's unimportance in a marriage, the need for submission and their lack of self expression. The paper argues that "Beauty and the Beast" also implies that women are inferior to men.

From the Paper
"Writing in the introduction to Jean-Marie Leprince de Beaumont's "Beauty and the Beat," Maria Tatar notes that versions of the story have been making their way across the world for centuries. This version, however, is the one most known by Anglo-Americans, and it was intended as a cautionary tale for women and girls, according to Tater, who suggested that it was meant to emphasize the importance of virtue rather than intelligence or looks when marrying. Indeed, Tater's interpretation of the story can be taken further, as she also argues that "Beauty and the Beast" was a tale meant to encourage young women who were forced to marry older men. In this interpretation, the fact that the beast transforms into a handsome, intelligent prince after Beauty marries him may signify the fact that a happy marriage can be derived even from those marriages in which there is a great age difference or in which the man is ugly or unintelligent. It may even serve as a way to inform a wife that she can transform her husband. The tone, style, and content of de Beaumont's "Beauty and the Beast" lend to its interpretation as a cautionary tale. A great deal of authorial intrusion informs readers when Beauty has made a good choice and why that choice can be considered a positive one. The tone that emerges in these authorial intrusions is the tone of a wise, motherly figure. Even noting this, however, the actual purpose of "Beauty and the Beast" can be debated. Although it may serve a rather benign purpose, explaining to girls that virtue is the most important characteristic to look for in a mate, the story, when viewed from a feminist perspective, may also be considered quite malevolent. "

Tags:submission, self, expression, marriage

Abstract
This paper discusses censorship within the fairy tale, "Beauty and the Beast." It compares two versions of "Beauty and the Beast" - one of the original versions by Jeanne Marie Le Prince de Beaumont and a modern re-telling by Angela Carter, entitled "The Tiger's Bride." The paper examines the function of sexual desire and how censorship is employed to either dilute or completely erase representations thereof.

From the Paper
"It is also interesting to note the difference between the depictions of Beauty in the two stories. In de Beaumont's story, Beauty exudes all the quintessentially feminine "virtues" that would go unchallenged for several centuries. She is devoted to her father, submissive to the demands of the two men in her life - namely, her father and the Beast, and completely passive. In Carter's story, Beauty is anything but passive. Rather than "taming" the Beast by submitting to him, she allows herself to be transformed into a beast, and can thus become one with all the typically "masculine" qualities assigned to the creature.
"One important difference between the two stories, however, is that de Beaumont's was written for an audience of children, while Carter's clearly was not. This is also why sexual desire is largely absent from de Beaumont's text. It has not been censored necessarily in order to protect children, but for the simple reason that this form of desire is too complex for children to understand. It thus reduces the relationships among adults to caricature-like renderings, to a polite code that can nevertheless be unscrambled by more mature readers."

Tags:sexual, femininity, desire, society

Abstract
This paper reviews the five axes and associated diagnoses for four characters in the Disney movie 'Beauty and the Beast'. The paper provides associated treatment plans. Diagnoses range from hystrionic as demonstrated by the Beast, to narcissistic as demonstrated by Gaston to Not Otherwise Specified (NOS) for Belle to Dependent as evidenced by LeFou, Gaston's sidekick.

From the Paper
"When Linda Woolverton wrote the screenplay for Walt Disney's movie 'Beauty and the Beast', her grand cast of characters portrayed a wide variety and range of different personality types. Consistent with Disney movies, many of the personalities displayed take various personality traits and portray them as extremes. As such, Disney movies make an excellent source from which to study personality disorders. According to the research, personality disorders are displayed through maladaptive, inflexible and antisocial behavior as evidenced by the way a person thinks, feels or behaves ("Personality Disorders"). "

Tags:personality, disorder, psychology

Abstract
In this article, the writer provides a comparative analysis of the Greek myth "Eros and Psyche" and the 1946 Jean Cocteau film "Beauty and the Beast."

From the Paper
"In the myth of Eros and Psyche Eros takes a mortal for his bride. After proving her love and emotion Psyche is rewarded by Zeus and permitted to drink ambrosia. Once she is no longer mortal Aphrodite is no longer jealous of her beauty and she and Eros live happily ever after. Like Psyche in Jean Cocteau's film 'Beauty and the Beast' Belle must also overcome a series of obstacles before she can be reunited with her beloved."

Tags:emotion, sacrifice, selfless, physical appearance, siblings, jealousy, Aphrodite

Abstract
This paper will compare the original text of" Beauty and the Beast" by de Beaumont and the Disney version that was contrived off of this novel. We can see the similarities in character and plot by examining two scenes from each work.

Abstract
This paper examines how the fairy tale, "Beauty and the Beast", has a touch of realism and, how unlike other fairy tales, brings out the prevalent theme that the two characters live together for a period of time before falling in love. It discusses its various themes, such as family, friendship, love, and the famous rose, in contrast to other fairy tales dealing with love, provides a summary of the tale, and evaluates the Disney film in relation to the original tale.

From the Paper
"Walt Disney transformed Belle into a heroine for a modern generation, leaving the intended moral of the original story unaltered. Jack Zipes argues that "it would be a great exaggeration to maintain that Disney... totally divested the classical fairy tales of their meaning and invested them with his own" (333). Although the Disney corporation has animated and reworked several classic fairy tales over many years, "chang[ing] our way of viewing fairy tales" (333), I give them great credit for preserving the original morals and themes, while adding new elements and slight twists to add appeal for a twentieth-century viewing audience. I admire Disney's effort in "Beauty and the Beast" especially, for it has always been my favorite fairy tale and Disney animation as I was growing up."

Tags:beaumont, castle, family, friendship, jean, leprince, rose