Female characters in film adaptations of classic fairy tales

U radu se filmološko-književnoteorijskom analizom propituje portretiranje ženskih likova klasičnih bajki u njihovim filmskim prilagodbama počevši od animiranih filmova studija Walta Disneyja: Snjeguljica i sedam patuljaka (1937), Pepeljuga (1950), Trnoružica (1959) do suvremenih filmova: Mala sirena (1989), Mulan (1998), Princeza i žabac (2009) i Snježno kraljevstvo (2013). Filmovi se analiziraju s obzirom na suvremene animirane ili igranofilmske inačice. Cilj analize je prikazati kako su portretirani glavni ženski likovi u filmskim interpretacijama bajki, utjecaj feminizma na promjenu u prikazivanju ženskih likova i kako su se ženski likovi mijenjali od početka prikazivanja do danas, kao i način na koji mogu utjecati na dječju filmsku publiku i na ulogu roditelja i odgojno-obrazovnih ustanova pri gledanju animiranih filmova. Rezultati analize pokazali su da su najraniji ženski likovi portretirani su kao bespomoćne dame u nevolji, a takvo prikazivanje mijenja se pojavom animiranog filma Mala sirena kada se ženski likovi počinju portretirati kao buntovnice koje znaju da za njih postoji nešto više. Unatoč pozitivnim promjenama, ženski likovi nisu emancipirani te su podložni rodnim i spolnim stereotipima zbog čega, pojavom animiranog filma Princeza i žabac dolazi do novog prikaza ženskih likova koji postaju samostalni te im nije potrebna jedina prava ljubav kako bi bili sretni. Zahvaljujući feminizmu portretiranje ženskih likova doživjelo je mnoge pozitivne promjene i otklonjeni su skoro svi stereotipi, osim stereotipnog fizičkog prikazivanja likova. Stereotipnim prikazivanjem junakinja utjecaj animiranih filmova na djecu može biti iznimno negativan zbog čega je potrebno stvarati nove likove s kojima se djeca mogu poistovjetiti te je potrebno da roditelji i odgojno-obrazovne institucije medijski opismene djecu i budu posrednici prilikom gledanja takvih sadržaja.This paper examines, through the lens of film and literary theory, the depiction of female characters from classical fairy tales in their corresponding film adaptations, from the animated films produced by Walt Disney, such as Snow White and the Seven Dwarfs (1937), Cinderella (1950), and Sleeping Beauty (1959), to contemporary films, such as The Little Mermaid (1989), Mulan (1998), The Princess and the Frog (2009), and Frozen (2013). The films are analyzed in regard to their contemporary animated or live-action versions. The aim of this analysis is to present the depiction of female protagonists in film adaptations of fairy tales, the influence of feminism in changing the depiction of female characters, and the way in which female characters have changed from the beginning of their depiction up until now, as well as the way in which they can influence children as an audience and the role of parents and educational institutions in watching animated films. The results of the study have shown that the earliest images of female characters have been portrayed as hapless damsels in distress, but such views slowly start to shift with the first showing of the animated movie The Little Mermaid, when suddenly female characters start to be shown as rebellious and knowing of the fact that there is more to gain in their lives. Despite the positive changes, female characters remain as emancipated and subjects of stereotypes based on their gender but with the making of the animated movie The Princess and the Frog comes a new showing of female characters as independent and not in need of true love to achieve happiness. Due to feminism, portrayals of female characters have seen many positive changes and the removal of almost all stereotypes, but the physical ones. With stereotypical portrayals of heroines in animated movies, it has been shown that as such, they can possess a very harmful impact on children and due to that it is necessary to create new characters with whom they can relate. It is also necessary for the parents and the educational institutions to literate children regarding various media outlets and should be intermediaries during watching sessions of such conten