disney objects

Beauty and the Beast

I’ve made this drawing in collaboration with my sister @elekairi  :3

I’ve drawn it and my sis helped me to paint it.

We really can’t wait to watch this Disney live-action of one of the most beautiful and romantic fairytale in the world! And you? (you’re surely excited too, of course! ^_^)

And remember: Likes & Reblogs are always appreciated! :3

Thank you! :)

The Enchanted Objects 1991 vs. The Enchanted Objects 2017 (Disney’s Beauty and the Beast Analysis)

This is essentially part two of my impromptu analysis post about how Belle and Beast are present in their respective films. In case you missed it, here is the link to the original post:
http://papswholenewworld.tumblr.com/post/159326197136/belle-and-beast-1991-vs-belle-and-beast-2017

Anyways, this time I want to focus on the Enchanted Objects, and how they differ from each version…

1991 Enchanted Objects: While clearly affected by the curse, they don’t really feel tormented by it. They do wish to break the spell, but it’s really for the sake of their master rather than their own happiness. The song “Human Again” from the extended version released in 2002 does elaborate on how they will be happier once they become human once more, but the 1991 cut clearly focuses on how they want the curse to be broken so that their master can be happy. However, the Enchanted Objects serve one important purpose; they are someone to have Belle confine on. In most adaptations of “Beauty and the Beast”, Belle is often trapped in a castle all by herself save for the Beast, not knowing what’s alive and what isn’t. She has no one to talk to except for the Beast during some awkward dates and dinners. In the Disney film, though, the Enchanted Objects seek to make her stay as best as possible, not just because she has the chance of breaking the spell but also because they understand that she lost her freedom and family in one fell swoop, so they want to comfort her as best as she can. Mrs. Potts offers her tea to calm her down, Lumiere suggests the Beast to move her to a room rather than a prison, and they all throw an elaborate dinner to welcome her. Although one can interpret it as them being nice so that Belle can be happy and thus eventually appreciate the Beast, they genuinely do care for her and make for characters to enjoy. They are not just filler characters but characters that help the main protagonists grow and offer emotional support.

2017 Enchanted Objects: Now this is where the Enchanted Objects differ vastly from the 1991 Enchanted Objects. Even though they still retain the same goals as their 1991 counterparts (be an emotional support towards Belle, teach Beast to become a better prince), they have an expanded backstory in that the curse affected them more deeply than just being changed into objects. They lost contact to the outside world, and any memories their loved ones had of them disappeared thanks to the curse. And while this may seem too cruel of the Enchantress to do, it was very karmic; the servants admit to Belle and themselves that they were equally responsible for the Prince’s cruel upbringing. They didn’t do or say anything to prevent the Prince from growing up to be a selfish man. They were enablers to the Prince’s indulgences. In addition, the curse affects them like a terminal disease would; the more time passes, the worse it gets. In their case, they keep losing more and more of their humanity until they just become lifeless objects. So their desire to be human again is more than just to be able to enjoy their simple pleasures, it is about saving their lives. And yet, they don’t force Belle or the Beast to fall in love with each other. Instead, they remain the ever loving, supporting friends to them while they begin to fall in love with each other. Their song, “Days in the sun”, is the anti-”Human Again” in that while “Human Again” was a celebratory song where they FELT that the curse WAS going to be broken, “Days in the sun” is a melancholic yet hopeful song about how there is a chance that the curse will be reversed, but they don’t know when, and pine for days they took for granted as humans. So in comparison to the 1991 version, the Enchanted Objects are more tragic but remain ever loving, caring and supportive.

The Correlation Between Expressions of Love and Program Depiction for Minor Characters in Yuri on Ice

A year on from Yuri!!! on Ice, I want to discuss something that I’ve seen floating around various fandom circles through the months. It’s a general dissatisfaction that the show chose to highlight characters like Georgi and Michele by way of showing both their skating programs, and spent less time focusing on other minor but more easily accessible or representative characters: Guanghong, Leo, Emil and Seung-gil.

This inequality of screen time—but moreover, skating time and character development time—is an issue that doesn’t have an easy solution. The anime follows standard broadcasting time limitations, and as such, there are only so many skating programs you can show when considering the ones you have to show (Yuuri and the other eventual GPS finalists), and also all the off-ice time and story progression. Making the decision to show five programs per episode in the qualifying events makes sense, logistically. But how do you select which characters’ stories you are going to develop that little bit further, and which ones you need to condense?

My proposal is that the content of the programs, in a way, reflects the two focal points of Yuri!!! on Ice: how characters embrace, develop and view life and love. When you look closely, there’s actually a very clear distinction in the programs we are shown with regards to love in particular: some skaters emanate love in a way that is love beyond themselves, love for other people; and others either emanate love that isn’t related to people, or don’t express love at all. And that distinction is the line that is drawn between the characters that get more skating time, and the characters that get less.

However, just because characters don’t get skating time, it doesn’t mean they don’t get further development. Many of the characters get a lot of off-ice time and development, and all of the six characters I am going to analyse draw either draw parallels with or become foils for Yuuri. I think this last point is particularly poignant: Yuuri is the main character for a reason, and the ways each of these six characters skate are designed to highlight certain points of Yuuri’s own skating, storyline, and relationship.

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