The End is Nigh…

The End is Nigh …

Hi everyone!

We have now completely finished our English assignment! To see what we did, see the pages above and scroll down to see some posts. There is a page above about what we had to do for our assignment and who we are!


Annie, Lucy and Esha
Year 7 students 2013

“Mirror, Mirror” – Subverting the Fairy Tale Genre

‘Mirror, Mirror’ is not your average fairy tale – it has characters, situations  and settings that are extremely unique. ‘Mirror, Mirror’ is very different to the original Grimm’s ‘Snow White’ tale it was based upon, and also greatly differs from the traditional fairy tale genre.

The King – in the original ‘Snow White’ fairy tale, the King weds the evil Queen and they live together in the grand palace taking care of Snow White. However, in the circumstances of ‘Mirror, Mirror’, the King ‘dies’ in a perilous journey through the woods, and leaves the little Snow White to the care of just the evil Queen. Snow White is distraught after she finds out her father has been struck down. However, the greatest mystery is not HOW  the King ‘died’, or if he actually ‘died’ at all …
Towards the end of the film, the escalating tension surrounding the terrifying Beast is suddenly broken – when Snow White faces off with the purely mortifying creature, known to cause so much havoc and kill so many innocent souls, she notices that its whole existence requires the aid of a magical enchanted crescent necklace that it wears around its neck. Once that necklace is severed, the Beast erupts in flames and when the fire dies, there stands … the King. All those years he was under the spell of the evil Queen, and the transforming enchantment required the support of the necklace for it to stay in action. The King was returned to his people, and the Queen finally paid the price for using dark magic.
This is different to the traditional fairy tale genre because the King is usually the one who is constantly there, governing his kingdom and people, giving wise advice. Sure, he may, in some circumstances, be under a spell cast by an evil queen, but he usually isn’t turned into a monster and banished to the woods, forced to follow the evil Queen’s spiteful orders.

The Queen – even though she remains evil (as the original ‘Snow White’ tale dictates), the Queen is socially obsessed with her rich and glamorous status, pays all the prices to stay at the top rung of the kingdom’s ladder, and pays no affectionate attention to anybody other than herself and Prince Alcott, the handsome, strangely shirtless royal brought into the palace.
The Queen still is equipped with her glorious magic mirror in the film, but the twist is that rather than just being a flat plane of glass, the mirror is a portal into a dark and gloomy world where the Queen is the constant centre of it all. From this place she confers with her Reflection, who has forethought and power rivalled by nobody (and nothing) else. Not even the gluttonous Queen.
The evil Queen subverts the fairy tale genre because, both in the traditional fairy tale genre and the original Grimm ‘Snow White’ story, the evil Queen is not purely focused on her social status and/or how she looks in the eyes of others. Also, the magic mirror that she possesses is supposed to be, as implied by the traditional fairy tale genre, a pane of glass that tells her how fair she is. In ‘Mirror, Mirror’ the magic mirror is, in fact, a portal, and when the Queen chants “Mirror, Mirror on the Wall” it takes her to a dark and foreboding place where dark magic runs free and the Queen is the cause of it all.

Brighton – Brighton is the typical assistant – loyal, unwavering and … well … brave … ? He knows that it is his duty to serve the Queen, yet his emotions and reasonable outlooks often get in the way of carrying out a request. He secretly despises the Queen, and sincerely hates following her taxing orders. If he wasn’t so bumbling, timid and hilarious, Brighton would make the ultimate right-hand man.
Brighton, as a character, is different to the fairy tale genre because, in the traditional fairy tale genre, most servants of the evil Queen are evil as well, and would do anything and everything for her. Brighton, on the other hand, is more on the side of the people, though he would rather not show it (and try to avoid risking the dealing of the Queen’s wrath).

Prince Alcott – in every fairy tale, there is a prince. A hero. However, these gentlemen are very fearless, resistant to temptation, and usually wearing a shirt.
This is not always the case for Prince Alcott.
He knows that his heart lies with Snow White, but his inner resilience cannot stand the hexes that the evil Queen constantly puts him under – she knows that if she marries him, his wealth will flush through her economic drought. However, there is one constant barrier: the Queen loves Prince Alcott, and Prince Alcott does not love her in return. This wall provides a perfect opportunity for the Queen to unleash her primary weapon – love potion. But is there always a difference between real love and puppy love … ?
Prince Alcott and his circumstances differ from the traditional fairy tale genre because the average prince is immune to hexes and temptation, and he is usually the one doing all the rescuing when things, and people, start to go missing. Prince Alcott in ‘Mirror, Mirror’, as he subverts the fairy tale genre, is the one who needs to be rescued from the Queen’s lustful clutches – he needs true love’s first kiss to break his binding spell, rather than him bestowing the kiss on an enchanted princess.

The Magic Reflection – “Mirror, Mirror on the wall, who is the fairest of them all?” Those famous words are usually directly associated with the Magic Mirror – but not in this case. The Mirror itself is a window into a dark world where black magic prevails, and the Reflection is the slightly more sensible and cautious clone of the Queen who administers her ‘darke’ requests (as the Queen herself does not personally possess any magical abilities). However, the Reflection is constantly warning the evil Queen about the ‘price’ associated with the use of magic, and how it will cause the Queen many inconveniences.
The Reflection subverts the fairy tale genre because it actually gives the Queen advice, and carries out her evil demands for her. The traditional fairy tale genre says that the magic mirror only tells the evil Queen how fair she is, and does not possess any magical abilities that can be called upon at the whim of the Queen. In ‘Mirror, Mirror’ the Reflection is like the Queen’s most loyal servant, but with a mind of its own and a knack to predicting when things might not go as planned …

Snow White – Most elements of Snow White support the fairy tale genre, however there is one main aspect of her that doesn’t: she learns to become a bandit.
When Snow White first meets the Seven Dwarves, she has managed to escape the Beast. Brighton was instructed, by the evil Queen, to take Snow White into the woods and feed her to the malicious Beast – the Queen fully intended to seduce Prince Alcott, and did not want Snow White to get in the way of her progress. However, Brighton could not carry out the heartless task – instead he let the petrified princess free, and went by the butchers on the way back to the palace, substituting Snow White’ s requested inner organs for a bag of steak and sausages.
Snow White fled through the woods, and during her frightened run she collided with a low-hanging tree limb, passing out. When she eventually comes to, she is staring into the rather squat faces of seven four-feet-tall men who take her in. In order for her to stay with them and escape the impending clutches of the Queen, she learns their thieving ways – she becomes a thief.
The seven dwarves teach Snow White the tricks of the trade, educating her on expert cunning, deception, fencing and man-to-man physical combat. After arduous training sessions and many failed attempts, she meets the criteria and is finally ready to engage in combat. But will it be exactly what she trained for?
Snow White subverts the fairy tale genre by learning to become a bandit. She also subverts it in another way – when Prince Alcott is put under the ‘love’ potion’s influence, all he can possibly think about is the Queen. He moans and whines and whimpers, “I yearn for the nectar of her skin!” But it isn’t just a pure change of heart – Snow White realises the hex, and does what has never been done before in the history of fairy tales: she delivers the magical first kiss. In this way Snow White subverts the fairy tale genre, as she essentially ‘took over’ the role of the hero … and she saved the day.

The Seven Dwarves – gone are the typical squat men with tall hats and cherry-red cheeks – the seven dwarves in ‘Mirror, Mirror’ are feisty, brave and … thieves. They make their living out of overturning royal carriages and stealing people’s clothing and turning it into cash. Whilst it may be untrue, they see it as their only way of survival – until they meet Snow White. She tells them of the status of the townspeople – they’re destitute, wearing rags and begging for scraps of food. Every time the dwarves pillage the royal carriages, the money they are stealing rightfully belongs to the people. One fair turn of events sees the dwarves in a positive spotlight.
However, the happiness is short-lived. When the Queen vows to murder their new-found companion, the beautiful princess Snow White, the dwarves swear they will protect her and teach her their ways. They’re just a bit nervous that, when it comes down to the most important moment of the fight, her feminine devotion to the Queen-bound Prince Alcott will prove a hurdle just a tad too high.
The seven dwarves subvert the fairy tale genre because they are unruly, rebellious thieves, not cute little men who mine for gemstones and diamonds and sing in chorus the whole day through. The dwarves in ‘Mirror, Mirror’ – Half-Pint, Grub, Grimm, Wolf, Napoleon, Butcher and Chuckles – subvert the fairy tale genre because of their scheming attitudes, rough-and-tough natures and scandalous pasts (but don’t get me wrong, though, they’re still nice guys!).

In some instances, the situations in ‘Mirror, Mirror’ subverted the fairy tale genre. Some of them were:

In the woods – when Snow White ventured through the palace gates for the first time and made her journey to the neighbouring village, she passed through the woods whilst following her route. When she was travelling through the thick woodland area, she heard two voices yelling for help … well, more correctly, only one voice was intent on assistance, and the other scolded the first on their lack of logic – of course nobody would hear them there! Yet somebody did; and that somebody was Princess Snow White. She eventually located the voices and saw none other than … Prince Alcott and his royal assistant, hanging upside-down from a tree, tethered by their wrists and ankles, devoid of all of their outer clothing, and left in nothing but their mere undergarments!
This situation subverted the fairy tale genre because a Prince and his assistant are not usually captured in such a vulnerable position, and most certainly do not call on the help of a fair maiden! In the traditional fairy tale genre it is most likely that a princess would be caught up in this sort of tangle of events, and would require a prince to free her! However, in ‘Mirror, Mirror’, this is evidently not the case.
The encounter with the Beast – there is a section of ‘Mirror, Mirror’ in which Snow White finds herself facing the terrifying Beast, armed with a weapon, and fully intending to slay it. Firstly the mere idea of a princess slaying a monster subverts the fairy tale genre, but when the princess is intent on carrying out the deed, the traditional genre is strayed from even further! But that is not all – when Snow White is right in front of the Beast and close enough to drive her sword through it, she notices a tinkling crescent-moon necklace threaded around its neck. Once she cuts through the necklace, the Beast bursts into flames. Once the fire has receded, there stands her father: the King! The fact that he was under the evil Queen’s wicked enchantment for many years doesn’t subvert the fairy tale genre, but the fact that he was turned into a horrible, violent Beast and set to prey upon people does! This element of the enchantment – the transformation element – differs from the traditional fairy tale genre because the King is usually kept in his human state when (or if) he is enchanted, and not turned into another being (let alone a blood-thirsty monster!).
The poison apple – the circumstance of the poison apple in ‘Mirror, Mirror’ is different because when Snow White is presented with the apple by the evil Queen, she doesn’t immediately take a bite. She discovers that the incredibly old woman before her is, in fact, the Queen, and she cuts a slice of the apple using her father’s dagger. She then offers the slice to the Queen and says, “It’s important to know when you’ve been beaten” (repeating one of the evil Queen’s earlier lines in the film). The evil Queen then takes a bite of the fruit and promptly disintegrates, leaving no traces.
This situation regarding the poison apple subverts the fairy tale genre because the traditional Grimm ‘Snow White’ tale (and the fairy tale genre) says that Snow White eats the apple and is put under a spell by the evil Queen – a spell that only true love’s first kiss can break. In the case of ‘Mirror, Mirror’, Snow White doesn’t actually eat the apple at all – instead she uses it to defeat the Queen.
Wedding crash – as in most cases of a classic fairy tale, the Queen gets married. But this time, its to the Prince – Prince Alcott – and it is while the man is still under the  influence of love potion. But the wedding doesn’t all go as planned – Snow White and the band of thieving dwarves ‘crash’ the wedding before the bride (the evil Queen) arrives by coach – they take everybody’s clothes and steal the prince to try and break his binding spell. When the Queen herself arrives, you can only imagine the shock …
This wedding situation subverts the traditional fairy tale genre because the wedding guests get their outer clothing garments taken and witness the kidnap of the prince. The traditional fairy tale genre, really, would never have seen this coming …

All of the settings in ‘Mirror, Mirror’ complied with the traditional fairy tale genre ‘requirements’.


“Mirror, Mirror” – Supporting the Fairy Tale Genre

The movie ‘Mirror, Mirror’, in different ways, supports the traditional Fairy Tale genre. Here are some ways as to how ‘Mirror, Mirror’ does this: 

The Queen – The Queen in ‘Mirror, Mirror’ is the stereotypical ‘Evil Stepmother’ from the classic tale of Snow White. She keeps Snow White locked away in a bedroom, and doesn’t let her attend the ball. The Queen also consults a ‘Magic Mirror’, the same concept as the traditional tale of Snow White. She asks the mirror what she can do to get rid of Snow White. So the Queen (like in the traditional tale of Snow White) hatches a plan to get completely rid of Snow White. The Queen sends Snow White away with her bumbling, boot-licking assistant to be fed to a terrifying Beast. However, like the traditional Snow White tale, the one who was sent to kill Snow White(or get Snow White killed) ends up falling under the spell of Snow White’s beauty, and tells her to run away. The Queen is lied to as the assistant brings back her ‘inner parts’ (which mysteriously get muddled up with steak and sausages).  The Queen eventually finds out that Snow White wasn’t killed at all, and like the classic tale of Snow White, seeks out to kill Snow White herself. At the very end, the Queen is beaten, as she approaches Snow White who has won over her. The Queen has become the old lady that she truly is (similar concept to the classic tale of Snow White) and tries to give Snow White a poisoned apple (another aspect of the traditional tale). The tables turn though, and the Queen herself is finally beaten – following the same ending as the classic Snow White fairy tale.

Brighton – Every Queen has a personal assistant. However, in the traditional tale of Snow White, the Wicked Queen doesn’t. I guess you could say, that Brighton, the bumbling, boot-licking assistant of the Queen in ‘Mirror, Mirror’ substitutes for the Huntsman that the Queen hires to kill Snow White, as he ends up ‘attempting’ the same thing. The Huntsman in the classic version of Snow White, fails to kill Snow. This is also the case when the time comes for Brighton to feed Snow White to the Beast.

Prince Alcott – This Prince – Prince Alcott – is not the typical Prince you’d expect. However, he does support the traditional fairy tale genre. Most Princes, in classic fairy tales are rich. Prince Alcott, although not the typical Prince, happens to be rich – hence the reason the Queen wants to marry him. Oh. I didn’t actually mention that… but oh well! Most Princes in fairy tales also come from royal family, hence their title bring Prince. This Prince Alcott, although not mentioned to be descended from a royal family, must be – as he is ‘Prince’ Alcott. Of course, classic fairy tale examples of Princes know how to at least, wield a sword. Prince Alcott, although he may not look very strong, is very good at fighting. The final element that shows that Prince Alcott supports the traditional fairy tale genre, is that he truly loves a Princess and will fight for her. In the case of ‘Mirror, Mirror’, Prince Alcott falls in love with Snow White as soon as he meets her (similar to typical fairy tales), and although confronted by the Queen’s magical hoaxes, manages to win Snow White over in the end. They end up getting married and living happily ever after, definitely supporting the fairy tale genre.

The Magic Reflection – So… typical to the classic tale of Snow White, there is a Magic Mirror. That supports the fairy tale genre – a magical object that contains some sort of power or magic. The Mirror in ‘Mirror, Mirror’, however, isn’t like the traditional mirror, but indeed a portal. The basic elements of the mirror are kind of the same.

Snow White – Every good, traditional fairy tale has a Princess, trying to fend for herself or waiting to be rescued by a charming Prince. They are usually locked up in a high tower or have been captured by an evil villain. Snow White, in ‘Mirror, Mirror’, is locked away in her bedroom under the care of her Evil Stepmother, following the elements of a traditional fairy tale. Snow White’s Stepmother, the typical stereotyped ‘Wicked’ stepmother deeply despises her, and like most fairy tales with a wicked stepmother in them, she wants to get rid of Snow White. Lets not forget that all Princesses in classic fairy tales are very beautiful. Yes, so is Snow White. As the Queen’s assistant took Snow White to be faced with Death, he fell succumbed to her beauty. This is the case in the traditional Snow White story as well. Another way Snow White from ‘Mirror, Mirror’ supports the fairy tale genre, is by the Princess in a classic fairy tale falling in love and living happily ever after. It was love at first site when Snow White saw Prince Alcott. And, at the end of the movie, they get married and live happily ever after – classic.

The Seven Dwarves – Now, the traditional fairy tale, Snow White, had seven little dwarves – all with different personalities. This is the same in the movie, ‘Mirror, Mirror’. All the Seven Dwarves have a different name that matches their personality. For example, there is a Dwarf called Chuckles who likes to laugh. Another classic fairy tale element that the Dwarves have, is that they help the Princess. This is like the classic Snow White tale, where Snow White takes shelter in the Dwarves’ Abode. They help her and she makes them food. This is the same in ‘Mirror, Mirror’.

In the woods – When the Queen orders for Brighton to feed Snow White to the Beast, Brighton takes Snow White to the woods. There, Brighton falls succumbed to her beauty, and gives her the best advice he can: ‘Run’. This is similar to the classic tale of Snow White where the Queen orders the Huntsman to kill Snow White, yet he falls succumbed to her beauty. This situation supports the fairy tale genre. And we’re not just talking about in the classic tale of Snow White, but in many other stories too. For example, a lot of important events in classic fairy tales happen in the woods/forest. Let’s take Little Red Riding Hood as an example. Red is on her way to her Granny’s – via the woods. She is stopped by the wolf. This is a major event in Little Red Riding Hood. Also, in ‘Mirror, Mirror’, the woods is where Snow White encounters the Beast, and if we look at Red meeting the Wolf in the woods, you can see how ‘Mirror, Mirror’ supports that situation of something happening in the woods. 

Encounter with the Beast – In every classic fairy tale, there is a spine-tingling monster. This monster is usually killed/destroyed in the end. In ‘Mirror, Mirror’, Snow White is the one who encounters the perilous Beast, attempting to kill it. She is also helped by the Prince and the Seven Dwarves. They do manage to destroy the Beast in the end, supporting the fairy tale genre. 

Poisoned Apple – Ah… the first thing that pops into your mind when ‘Snow White’ is mentioned – the poisoned apple. I know this supports the classic Snow White tale, but what about other stories? Well, in a traditional fairy tale, the evil villain usually has tons of evil plans up their sleeve, whether it may be their first, second, third or final plan. The evil villain in the case of ‘Mirror, Mirror’ is none other than the Queen. And her final evil plan is to try and poison Snow White, using the apple. In a classic fairy tale, the Evil Villain is usually killed. In the case of ‘Mirror, Mirror’, this is true, as the Queen’s plan backfires and she finds herself eating the apple instead and ‘disintegrating’. This is how the poisoned apple situation supports the traditional fairy tale genre. 

Death of the Queen – Every classic fairy tale has an evil character. And usually, this evil character is killed or they somehow tragically die. This is why ‘Mirror, Mirror’ supports the fairy tale genre. As I mentioned in ‘Poisoned Apple’, the Queen (who is the evil character) is killed by her own plan at the end. Everyone else lives happily ever after, and a new ruler is appointed, just like a classic fairy tale. 


Castle – Usually, in every fairy tale, there is a castle. In this castle, there is usually a Queen, Princess and many assistants, cooks and cleaners. In the castle, taking Cinderella for example, there is also usually a ball. These elements also occur in the movie, ‘Mirror, Mirror’. 

Destitute Village – In lots of traditional fairy tales, there is usually a village. Whether it is destitute, or wealthy and under the rule of a King/Queen. In the case of ‘Mirror, Mirror’, this is supported with the destitute village that the Queen rules over, yet doesn’t look after – as she takes regular taxes. 

Foreboding woods – In practically every fairy tale, there are some aspect of woods or forests. In these settings, someone is usually found, travelling through or looking for something. In ‘Mirror, Mirror’, the woods support the traditional Fairy Tale genre as they are used by the characters of the movie to find people, travel through and also to find something. 

And all those points state why the twisted tale of Snow White, ‘Mirror, Mirror’ supports the fairy tale genre.


Esha, Annie and Lucy



“Shrek” – Subverting the Fairy Tale Genre

‘Shrek’, following the fractured fairy tale nature, subverts the traditional fairytale genre to make a completely new, exciting fairytale.
Here are some ways as to how ‘Shrek’ does this:

The ‘Hero’ character is an ogre, usually known to scare everyone in existence, not save them. Shrek can be referred to as a ‘softie’ when it comes to what is familiar to him, such as his home.
The Hero’s ‘Noble Steed’ is an annoying, talking donkey. Donkey is not expected to be wise, but he shows his true colours when arguing with Shrek after Princess Fiona has been taken by Lord Farquaad. He shows that he is wise and can convince Shrek to go back to Fiona.
The ‘Beautiful Princess’ character is not the girly woman in pink that we would have imagined, but a very brave and bold girl in green. Also, she is an ogre, familiar to Shrek although Shrek thinks differently.
The ‘Villain’ character is laughably short, and is a Lord, not a prince, so his power level is fairly low. Lord Farquaad is desperate for a princess, but doesn’t let the magic mirror tell him Fiona’s secret (she is human by day, but an ogre by night). He is fooled by his own selfishness.

While it is traditional for the Hero to save a princess in the fairy tale genre, however it is not traditional for the hero to be an ugly green ogre. The twist in the story is that Princess Fiona, the supposed girly, perfect, beautiful princess, falls in love with her ‘hero’, despite his appearance.

Shrek, the hero of the story, doesn’t live in a castle, palace or even a common village home. He lives in a disgusting, unhygienic swamp. This fits in perfectly with Shrek’s attitude and appearance – careless and different.


Lucy, Esha and Annie

“Shrek” – Supporting the Fairy Tale Genre

‘Shrek’, whilst it may be a fractured fairy tale, still supports the traditional fairy tale genre in some areas.
Here are some:

In ‘Shrek’, there is a hero, a damsel/princess, a villain and a supporting creature (in most cases, an animal). The hero (Shrek) rescues the beautiful princess (Fiona), and ends up falling in love with her. The villain (Lord Farquaad) wants Fiona back, but Shrek (who was only ever supposed to rescue Fiona and take her to Lord Farquaad) falls in love with her. Lord Farquaad is in a degree of power, as are most villains in fairy tales. Also, Lord Farquaad wants Fiona for his own benefit, not for love.

The main situation in ‘Shrek’ is one of power and want. A key supporting situation in ‘Shrek’ is when the hero (who is Shrek) realises his mistake through rejecting Fiona and decides to go after her. He crashes the wedding and overcomes Lord Farquaad. This kind of situation is popular in fairy tales.

In average fairy tales, the settings involve a:
Fortress/Palace – Lord Farquaad’s fortress is a towering structure of stone, with numerous levels and flat walls. It symbolises his character and also what he would like to be (which is tall and powerful).
Humble Abode – Shrek’s home – It also symbolises Shrek’s character – rough, stony and careless.
Foreboding/Arduous Woods – Many fairy tales include woods, usually magical or infested with magical creatures.
In conclusion, the settings in Shrek are very, very similar to the general fairy tale genre, and most of the settings symbolise the character of the person that the setting belongs to.


Lucy, Esha and Annie


“Mirror, Mirror” – Appropriation

An element of our English task was to describe how appropriation features in the film ‘Mirror, Mirror’ 

Appropriation is, as previously stated, the term given when old fairy tale concepts (including characters and settings) are included in a new fairy tale, creating a new storyline, plot and/or moral.

In ‘Mirror, Mirror’, appropriation is evident throughout the entire film. Some examples of appropriation are:


  • the Prince (hero)
  • the evil Queen (wizards and warlocks/spell-casters)
  • Brighton (royal servant/right-hand man)
  • the Seven Dwarves (well … self-explanatory – they’re the Seven Dwarves!)
  • Magic Mirror (pretty self-explanatory too … )


  • Castle / Palace
  • Mysterious Woods
  • Destitute Village

All the above elements have previously been included in fairy tales (especially ‘Snow White’) before they were included in ‘Mirror, Mirror’, making them elements of appropriation.
Appropriation is fundamental when creating a fractured fairy tale. Without appropriation, the fairy tale would not actually include the characters from the original fairy tale it was fracturing / twisting. Appropriation is not only characters, though – settings are also valid elements of appropriation. In the case of ‘Mirror, Mirror’, the settings of the royal palace, the woods surrounding the kingdom and the poor village neighbouring the castle are all examples of appropriation. The settings have clearly been utilised before in previous fairy tales (such as ‘Cinderella’, ‘Snow White’, ‘Sleeping Beauty’, ‘Rumpelstiltskin’, ‘Puss in Boots’ and ‘Jack and the Beanstalk’; just to name a few), which determines them as an example of appropriation in the film.
Appropriation is effective because it combines both traditional/original and thoughtful new elements in a piece, engaging the audience by encouraging lateral thinking. Imaginative appropriation in a movie can really grip an audience, because it makes them think about the ties between the production they are watching and the original piece(s) that the selected characters and/or settings were drawn from.
Appropriation creates meaning by including elements from two or more different original films and combining them in a new film, and thus engaging the audience through both emotional and mental relatability – the audience would identify the elements from the traditional film(s) and link them between the presented new and old movies. This makes the production extremely interesting.

“Shrek” – Appropriation

An element of our English task was to describe what Appropriation is and how it features in the film ‘Shrek’.

Appropriation is old fairytale elements and concepts (including characters and settings) added to subverted fairytale elements and concepts to create a brand new fairytale with a new plot and/or moral.

In Shrek, Appropriation is evident throughout the entire film. Some examples of Appropriation are:


  • Lord Farquaad (someone in a fair amount of power/ruler) 
  • Magic Mirror (pretty self explanatory)
  • Princess Fiona (beautiful princess/damsel)
  • Donkey (animal companion)
  • Knights (royal servants/army)


  • Lord Farquaad’s village (small village)
  • Princess Fiona’s keep (dangerous construction)

All the above elements have previously been included in fairy tales before they were included in ‘Shrek’, making them elements of appropriation.
Appropriation is fundamental when creating a fractured fairy tale. This means that all elements of ‘Shrek’ and any other fractured fairy tale, are based and built up from elements of classic fairy tales. For example, the Magic Mirror. The Magic Mirror is used in ‘Snow White, but is incorporated into ‘Shrek’ for a completely different purpose. Appropriation enhances films as it creates more meaning, depth, and makes the movie more interesting.


Annie, Lucy and Esha

Twisted Tales

Hi everyone!


Our names are Lucy, Esha and Annie. Please see this page to find out why we made this blog.


First of all, let me introduce you to the different movies that we will be studying and discussing on this blog. They are Shrek and Mirror, Mirror. Here are the trailers for both the movies:


See you!

Lucy, Esha and Annie