Petrosinella, Rapunzel, and Tangled: Princesses and the Other, Part 1

otherwise known as: 

My Obsession with Tangled: Part One of Infinity

"And the walls that surround her, and hold her back, are symbolic of walls in anyone's life, those things that hold us back from being who we really long to be. Yes, that is feminist and masculinist and humanist."

- Glen Keane, Executive Producer of "Tangled" and Directing Animator of Rapunzel

In this series, I won't only be discussing Disney's adaptation of Rapunzel, "Tangled."  However it was the teaser trailer that inspired me to look up older adaptations and the origins of the tale in general.

Petrosinella Diane Stanley

Rapunzel Trina Schart-Hyman

Disney's Tangled

- In fact directly after seeing the Tangled teaser trailer a google search lead me to watch my first Barbie movie, Mattel's "Barbie as Rapunzel" - so you see how avid I was to find something to get my Rapunzel fix!

  Anyhow, I figure I'll start by telling you how I became fascinated with Rapunzel/Lady in the Tower tales through the release of "Tangled" in 2010, an hopefully you'll become fascinated along with me!

My freshman year in the usual generic way I was asked to write an essay entitles "An Event that Changed Me."  I felt like I'd underwent much change but could not pinpoint any particular "event."  The following was my first draft.  It was trashed because my teacher did not accept a movie as an event.  Anyhow, it is a good introduction to my love affair with the movie, and after this I will elaborate on the feminist themes I touch on here.

The language is especially fanatic here, don't let that scare you.  I was feeling poetic I guess so I flew off the handle.  Don't worry - I am capable of discussing the faults of the movie, and I'm not starting a cult surrounding it any time soon.  I do however like its themes involving women and the human condition, so I thought this especially colorful intro would be nice.  Here goes:

An Event That Changed Me

Normally it would seem frivolous to name a movie as an event capable of changing someone’s life, but even the severest critic knows the impression the Disney© Company has left on the entire world’s culture; and as a member of the world I have been influenced as well.  When the first teaser trailer for Disney’s adaptation of the Rapunzel fairy tale “Tangled” came out, something hit me; something fantastic, infectious: I had to know everything about it.

The energy, the tactile promise of the hair itself, the possibilities of what such a company was to do with the first CGI fairy tale musical ever let alone my second favorite fairy tale – it lit something up inside me, and I haven’t gotten over it since.

It served as a catalyst that called for action, called for questioning all the concepts that intrigued me, called for me to face various conflicts in my life and provided a lens through which to understand myself more and more.  It begged the eternal balance between the relevance and weight between “to do” and “to be.”



My reader might ask whether I am superimposing something that isn’t there on a simple film; and I would say they are both right and wrong.   The film’s unusual artistry and detail, coupled with its outstanding relevance to me at this time in my life and development, caused a level of involvement, expression, and enthusiasm that can even be described as articulate yet boundless.  You might say it changed me so much because it was already so much a part of me.  Self-awareness and exploration is change too.



It started innocently enough; when the teaser trailer came out, and the bright colors, detailed CGI cloth and hair design, and the smart-ass chameleon hit my eyes I decided to do some research, find out more about it.

I have since collected article after article, filled 2 DVDs with information and videos about its development, merchandizing, face characters, technological publications, and staff, and bought “The Art of Tangled,” the only book so far released discussing the behind-the-scenes decisions and art direction.

So far I have as much as 17 GB total of information not to mention my compilation of concept art, advertising, and other Tangled-related imagery currently adding up to about 2.29 GB (5,350 photos).  Even if these figures are a mystery to a layman’s ear, be assured I haven’t managed to read as fast as I’ve been collecting!  I am a person who likes to delve to the very depths of meaning and form and an animated feature is so complicated in the necessary planning and labor involved that there can be no end to the treasures I can find.

With Disney specifically however, all decisions must have thorough research behind them (John Lasseter stresses this in all interviews, and it does appear to be true to some extent); for example, the very shape and contour of a street-cart that only appears on the screen for thirty seconds must first have been decided from a thorough research on different street-cart designs from across history and across the world, as well as with the shape themes found in certain genres of animated films and the specific shape themes chosen for this particular movie (this is a random example of course - but I can tell you for certain they researched in a like manner for animating the aging Mother Gothel).

Being the first CGI film with hair as such a main plot point, all new technology was needed to create realistic hair – but it also had to be stylized, for just as an actress in a movie could not physically hold up so much hair, neither can an animated character – so a stylistic physical world had to be created – the very laws of physics changed, both for immediate simulation and for artistic manipulation at an animator’s convenience.  I’ve always loved physics – though I am by no means naturally gifted in the field – but it was Tangled that made me realize just about anything one is inclined to like can be applied to a work, an opus, a vision.  Such a marriage of process and artistry is in my mind the very essence of life.

Tangled specifically also mirrors the long history of the Disney company, for even dating back to the days of the founder, Walt Disney (with whom I happen to share a Birthday) an adaptation of the Rapunzel story was in development – and saw trials and errors, attempts and failures, all documented in a library, creating a wealth of ideas to draw from; and it is often proudly advertised by Disney that their greatest treasures lie in their past mistakes.  The challenge with the Rapunzel story also mirrored the challenge of life in the sense that the problem always went back to the enclosing and limiting space of the one room the fairy tale Rapunzel is necessarily trapped in.

Can fiction – and, by implication, thought, action, interesting and incentivized life – take place in an enclosed space?  Which – if interpreted metaphysically – could be seen as the human condition’s earth and mortality itself?

These concepts were also layered within the story – not just with the original fairy tale, and the implications of what they could do with it, which was the subject of my constant musings before it came out in theaters – but also with the movie itself, which once it was out in theaters I saw ten times.  – But I’m getting ahead of myself.  After that first trailer, I experienced a whole lifetime of change even before the movie came out!  In particular, the idea of contained then released energy – the “imprisoned” girl, her hair almost representing a compressed spring, and then the release, the liberation.

In the Grimm version the release is first banishment, but the ending is very clear – she was once in a tower, defined by a tower, and now she is out of the tower, and it no longer defines her.  Very identifiable for a 20 year old girl who chose to take two years between high school and college, spending a lot of time about books in her room – not looking out the window perhaps, but looking out into the internet – to the potential of thought and expression.

This image of the girl looking out the window in a sort of wistfulness for the unknown – not just the “Manifest Destiny” concept of literally exploring the rolling hills leading to the horizon – but in constantly wanting to find more, earn more, do more; the hunger born in everyone’s soul.  Conversely, the idea of Rapunzel – her riches in seclusion (for the dim prison of the Grimm story is not accurate to the gilded “cage” of the original story, “Petrosinella”) – coupled with Disney’s Rapunzel – the ultimate expresser, painting the walls “to make them disappear” as Glen Keane, the head of her animation, said – she HAS to express herself.

As Glen Keane also said, “Even her hair is growing" to an extreme length symbolizing all she can and wants to be – attracts a very alluring concept of an private, isolated, and permanent home, a pedestal, the wish to in fact never “escape” – as Freud would put it, the wish to retreat back into the mother’s womb.  But Rapunzel in many versions does the exact opposite, doesn't she?  She becomes a mother herself.

Mother Gothel discovers Rapunzel's Pregnancy
(because her dress becomes too tight)

Rapunzel Paul O. Zelinsky

Nevertheless I knew such feelings must be fleeting, for both heroines got sick of their beloved privacy and broke free, risking everything for the chance to share their world with someone else. And surely I would do the same.  Such thoughts and images feverishly fleeted though my mind as I googled and read forums and papers and interviews and theories, all attached to what some would simple-mindedly call a simple film; or even, a conventional, pandering propaganda machine.

Even such an accusation as I have just made calls to mind the stubborn quest for the idyllic – controversy – denial – debate – hope – failure – independence.  I confess in my exponentially growing obsession I lost much sleep and saw much less people for a while in the contemplation of these terms and the study of these concepts; but Tangled also made me a more involved person.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Don't forget too, the Rapunzel Tale starts with a girl - I don't know of one that starts with a princess.  A girl destined to be a princess, of course, but not a girl who was born to be a princess, or knows herself to be one, or to even be destined to be one.  Yes, in the Disney version, possibly to stress her arrested potential, they have Rapunzel a born princess, ignorant of her birthright.  But the truth of the tale remains the same: the tale starts with a girl, just some girl, usually a very common, if beautiful, girl.  In all interviews the Directors and Animators and Developers of Tangled's Rapunzel stress they designed her to be more of a "girl next door," a girl you could imagine meeting, even being - not a distant princess archetype.  So you see this old fairy tale has a very immediate, earthy sense to it.  I'll be exploring that a bit more as well, - if all goes well.  It's a meeting of opposites: the humble girl and the crown.

I'll leave you with those thoughts for now.

Here's A taste of the blog entry to come -

Part 2: Rapunzel Film Adaptations Before Disney Gave it a Go

My Life = The Little Mermaid, Part One

Mermaids and Blogs and Feminism: they are the same

...otherwise known as: a History of the Creation and Development of this blog

The following was my College Common App Personal Essay.  I post it here to hopefully make more clear how I see mermaids, feminism, and blogging to be especially related and relevant to me at this time, and hopefully it will make clear why it would be interesting for you to read my opinions.  

Here Goes:

Everyone has a favorite story since they were little, a story that is almost an image, that inspires them and drives them forward, acting as a lens through which they actualize their ambitions: for some it is “The Little Engine that Could,” for others it is “Leo the Late Bloomer,” or even “St. George and the Dragon;” for me, it was “The Little Mermaid”.  For me, the fable’s secret world and unshakeable desire first introduced the concept of dreams creating purpose; the mixing of species and elements has cultivated the bridging of apparently disparate worlds as a constant point of fascination.   

During my time between high school and college, I’ve been involved in substantial  self‐reflection, thinking a lot about independence, identity and soul; and naturally  

“The Little Mermaid” constantly came to mind.   It is such a time-honored and beloved story, yet there is little organized research dedicated to it: the poignant tale of a fish longing for legs is, like its protagonist, without a firm grip on land.  I have been exploring new and different media myself, not only between water and earth but also within the technological world; a mystery to me when I graduated high school two years ago. 

It started when my best friend who had moved away suggested we both start a blog.  As I began to consider my blog’s theme, I remembered that almost every one of my essays in high school, despite the assigned topic, came back to feminism.  I have always been fascinated that such a well-worn topic could still be so new and ambiguously defined. After choosing feminism as the topic of my blog, I began a serious love affair with detail.   

I often chose to cover animation of females; studying frame-by-frame face changes of early Disney princesses was hard work, so I chose to make a video zipping through my thousands of screen captures.  Soon I was adding music, or changing the speed of the flipping images, to encourage themes of thought in my audience.  As my technological standards got higher, I adapted by learning new skills and using new programs.   

Soon I graduated to working with clips instead of images.  The cutting and re- arranging of film with a certain aesthetic in mind so reminded me of the collages I love to make, that I began to call my videos “clip collages.”  One has reached over 80,000 views on YouTube© over the past four months.  These were intended to complement textual analysis on the blog. I prefer a multi-disciplinary approach – science and art, math and history – to fully understand and appreciate what surrounds me.  If we can as skilled mathematicians see the art in golden ratios and theorems and as experienced artists appreciate the chemistry of the artist’s brush stroke, the possibilities of all measurements of reality working together are mind-blowing.  I have tried to bring this multi-lens view into all my evaluations and interpretations; therefore, multi-media analysis was the next natural step.  

As I began to embed videos on my blog, my own creations as well as clips from movies and documentaries, I was often faced with technical problems and soon found that to make my blog the way I wanted, I’d have to learn HTML.  If essay writing is a balance of form and function, I was learning that web coding was a well-defined balance of HTML and CSS.  I learned the history of web-site construction.  Initially it was just data tables for scientists who didn’t care about appearance.  Soon social, commercial, and educational purposes were discovered, and attempts to change HTML to compensate turned (literally) ugly, necessitating the invention and inclusion of CSS and a purified HTML, a new revolution still in motion.   

Learning the history of web coding in my online beginner’s course was like learning a microcosm of the history of the world.  Although not religious, I found something oddly Buddhist about it, these lessons in process that spread across all different genres and disciplines.  Inspired, I began implementing these concepts into my cello teaching,  - this balance and concomitance of the technical and the “emotional” – which any musician will tell you, defines music.  

 As I worked through my HTML and CSS beginners’ course, I developed a habit of reading the source code of every website I came across.  The minute structural and artistic decisions used to decorate or facilitate the websites through a profession so new and uncharted drew me further into the purpose of my blog:  the giving, analyzing, and presenting of data and thought.  I began to learn – both through the web course and through trial and error – to promote my blog more professionally.  

This all may seem like a far cry from a fairy tale about a half-fish out of water written nearly two hundred years ago. The more specialized my skills and research became in the online tech-world, the more I delved into fairy tale influences on culture over the ages, especially in film adaptation. 

The history of The Little Mermaid, though extremely small in comparison to the history of other fairy tales, is very rich with adaptations, cultural influences, and historical landmarks.   Comparing what different film adaptations did with the same story became an addictive new hobby, so I began collecting anything I could find. As my search became international, I learned more technological skills I never knew were within my grasp; .srt subtitle coding, for example.  Every turn brought something new.  This was a rewarding and relevant tale that spoke to the urges of the “other” - the land beyond reach, the possibilities of change - to the very skills and pursuits, the web-coding, the cello teaching, the film editing, the film and cultural history, that attracted me in the first place.   

One of my dreams is to make a website that focuses on all the facets of the story of the Little Mermaid; film, literature, followings, imagery.  Such a website does not exist.  This idea started when people from across the world, most recently Spain, the Philippines, and Mexico, saw my clip collages online and contacted me asking for obscure background information, or to find a version they remember from childhood. 

It is such a thrilling thought that in actuality I am helping people who are intellectually thirsty about the same things as I; it surprises me that someone so unfinished in her schooling can start something new and build on something old in order to better inform, intrigue, and amuse a willing audience.  I thought the only unexplored “new worlds” were the research of smallest unit of the atom or some sort of Lewis and Clark venture; but now I know that I can break bonds and build beginnings throughout my schooling by following my passions as I have in the last two years.   

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Pandora and Eve

I'm posting an essay I wrote - assigned for school, as will be obvious, but nonetheless I did write opinions that were in fact my own and therefore are worth posting.  This was written when I was first starting freshman year of college after two gap years so be kind.

A little explanation is necessary before you read.

Using three very specific texts, namely Eve's mention in the second and third chapters of the Bible's Genesis and Pandora's mention in Hesiod's Theogony, lines 507-631, and Hesiod's Works and Days lines 42-100ish, we were to compare Pandora and Eve.  However, we were strictly to avoid thinking of Pandora  in the sense of the well-known myth - her being forbidden to open a box, which out of curiosity she opens and it turns out to have all the bad things in it.  Apparently though this tale is widespread there is no ancient primary source that mentions anything like it, other than she opened a cask at some point, and therefore our beloved legend must be some sort of modern development.

Thus our modern minds would be especially tempted to have an Eve-like interpretation of Pandora off the bat - curiosity leading to the downfall of man, etc., which is hardly the way to approach the actual proof of period views of these ladies.

(Harry Bates - Pandora, 1891, front 

- on temporary display at Tate Britain, August 2010)

At any rate, this essay is strictly the interpretation of texts, not involving much outside knowledge of culture, and with no other scholarly sources.

Here are links to the texts if you wish to read or refer to them at any point -

these aren't the translations I used, but I don't think I can legally share those with you, and these are close enough of course:

The Bible: Genesis chapters 2 and 3
Hesiod Theogony starting line 507
Hesiod Works and Days starting line 42

Yay! Here we go.

Pandora and Eve; Femmes Fatales of Old

In the creation of Woman the Hebrews and Greeks saw great potential for explaining the dynamics between the sexes; both stories call to question the function of woman with reference to Man and God. In not asking the reverse – what function man and god has to woman - Pandora and Eve are both rendered second class citizens in their own creation stories. Pandora and Eve, through the weakness indulgence creates, are both sources of all womanhood and the doom of mankind; and, as opposed to the natural creation of Man out of dust (whether it be the Hebrew God or the Greek Prometheus), these original women are created differently and for a different and specific purpose, as an afterthought – certainly not part of an original plan – , and solely for man. However this is where there likenesses end; for the Hebrew Bible goes to lengths to give Eve enough autonomy to decide to take of the forbidden fruit, and, though it brands woman forever as the original sinner, in so doing she must be made a person to be capable of such an act. With Hesiod’s Pandora, she is a curse hidden as a gift that was meant to be returned, and that is all; she is a mere object and burden and her purpose and self are one in the same.

Eve After the Fall, Alexandre Cabanel

Neither Pandora nor Eve was born. They were created; after man and for Man, through a divine imperative. Made through a completely different process than Man, in a very specific and graphic way, they are in a sense rendered less natural than Man and less human. Consider Pandora’s second name after “Woman” – “manufactured maiden” (Theogony 510-515) and Eve’s first description by Man as “bone of my bones/ and flesh of my flesh” (2:23); the picture of the Hebrew God effectively drugging Man in order to extract the necessary body parts to assemble Eve feels more contrived than sacred: "the rib that the Lord God had taken from the man he made into a woman" (2:22). This distinction between Woman and Man leads to the concept of different roles; of weaknesses in particular, perhaps through unconventional assemblage. Both Eve and Pandora, through their relationship with man, bring much “toil” (3:17, Theogony 595-600) to him, to “hurry about [his] work…until the sun/ Goes down” “by the sweat of [his] face” (3:19). As result of her influence over him, he is “cursed” (3:17) – in the case of Pandora, she is literally called “the lovely curse” (Theogony 585-590).

Adam and Eve, Peter Paul Rubens, c. 1597

Though both women are referred to solely though the roles they play, that is where the material difference between them is found. Their names speak of the function assigned to them: “Pandora” meaning “all gifts” – “the gifts which all the gods/ Had given her” (Works and Days 80-85) and “Eve” meaning “living,” “because she was the mother of all living” (3:20). Eve, despite her mistakes, is nonetheless called only a few simple names – “woman” (2:22, 2:23, 3:01, 3:02, 3:04, 3:06, 3:12, 3:13, 3:13, 3:16) “wife” (2:25, 3:08, 3:20, 3:21, 3:17) “Eve” (3:20) and “mother” (3:20). She is a member of the family. She was made because “It is not good that man should be alone;” she is Man’s “helper and partner.” Not so with Pandora. Her name’s meaning is a plural noun; and she herself represents a collection of objects: women. Pandora is called many, many vicious names – “an evil thing for [Man’s] delight” (Works and Days 55-60), “this ruin,” and “this ruin of mankind” (Works and Days 55-60, 80-85) “deep and total trap” (Works and Days 70-75) “Into the image of a modest girl” (Works and Days 70-75); it is made clear she was designed as a false sexual parasite and nothing more – to “fill [her belly] up/ With products of the toil of others” (Theogony 595-600).

Pandora, Jules Joseph Lefebvre

In her entire story in both the Work and Days and Theogony scripts she only commits two verbs: “thrilled” (Theogony 585-590) and “opened” (Works and Days 90-95); the first is the ironically innocent depiction of the a girl as belle of the ball “thrilled by all her pretty trappings”, unaware that she was brought “to a place/ Where gods and men were gathered” in order to “[seize] the mortal men and gods,/ To see the hopeless trap, deadly to men” (Theogony 585-590). In the Works and Days version it is made clear that she is not so naïve and childlike as her first verb would make her appear – for, thanks to Hermes, she has been given “sly manners, the morals of a bitch” “lies and persuasive words and cunning ways” – and, most importantly, Aphrodite’s gift, “painful, strong desire, and body-shattering cares” (Works and Days 60-80). Through these terrible, if passive vices she is made to be the “price for men to pay for fire,/ An evil” (Theogony 570-575), being desirable, irritable, and useless simultaneously; with only enough personality to carry out her second and last verb: “But now the woman opened up the cask, and [scatter] pains and evils among men” (Works and Days 90-95) – that is, disease and death.

Attributed to the Niobid Painter. 

The Creation of Pandora. 

Attic Red Figure, Calyx krater shape. 

Archaic Period. British Museum, London, UK.

Creation of Pandora, interior of Cylix,

470-460 B.C., British Museum, London, England

Eve is guilty of many verbs – “saw” “desired” “took” “ate” and “gave” all appear in the same verse (3:06); likewise she is born naked, whereas Pandora’s very creation is expressed through the applying of clothes: she has “robes” “belt” “necklaces” “wreath” “crown” “flowers into a crown” – all detailed and made by Gods specialized in those fields (Theogony 570-585, Works and Days 60-85). Eve’s lack of adornment emphasizes her person and her actions; Pandora is defined as all adornment; even her “skills” are bestowed upon her by the Gods. Eve speaks; Pandora does not. Though both illustrate the power of indulgence to destroy – Eve partaking of the fruit, Pandora inciting lust –Pandora was specifically created to, and Eve was not. Most importantly, Eve is given punishment, and Pandora is punishment incarnate – Eve is doomed to “desire…for [her] husband” concurrent with “pangs of childbirth” (3:16) whereas Pandora causes man to “[live] all his life/ With never-ending pain inside his heart/ And on his mind” (Theogony 610-615), and to add insult to injury, she (and so saying, all women) is “No help to [men] in poverty/ But ready enough to share with [him] in wealth” (Theogony 590-595). Eve sins (whether arguably to her lesser nature or no), and she suffers consequences; Pandora merely exists as consequence to others.

Illustration for John Milton’s “Paradise Lost“ by Gustave Doré, 1866.

The two famed female figures may both have a reputation as femmes fatales, but they carried out their sentence on mankind in very different fashions; Eve diverting from a chosen path through personal will, Pandora simply in being herself as she was created. They are both cited as the first woman, and both directly or indirectly caused punishment to be inflicted on the whole of man; however the Hebrew account chose to personify where the Greeks objectify. Neither can really make proud any conventionally modern feminist group; but perhaps the ideology behind Eve can more clearly exemplify the Hebrew view of woman was mother and wife first, sinner second.

~end of essay~

Look Out for Mermaids, Miniseries, and More!

In my last post, dated August 6th, 2011, I un-birthday wished my next post would be in less than a year.  HAZAH therefore because today is July 19th, 2012!  Not quite a year!  Take THAT!

This time I won't promise regular posts - I'll just post regularly, sans promises.  But enough of that.  On to feminism.

• With "Murder, She Wrote" now on Netflix instant play, I'm returning to a childhood refuge of mine, so Jessica Fletcher will be a topic of discussion.  Especially as it has awakened the sleuth-enthiusiast in me, so a little Sherlock movie series/ BBC series talk might be sprinkled here and there!

• I've barely scratched the surface of my obsession with Disney's adaptation of Rapunzel: Tangled, so wait till you see just how much I have to say about that - and the Rapunzel fairy tale in general!  (and hopefully I'll get around to comparing it with my favorite fairy tale, Hans Christian Andersen's and Disney's Little Mermaid)

• Pixar's Brave has now hit theaters, and I will cover my opinion, and my opinion of the critic's opinions.

• Then there's this cartoon series called "The Legend of Korra" - interesting in it's design of female characters, especially when juxtaposed to the writing of the original series it is a sequel to, "Avatar: the Last Airbender."

• And let's not forget - the Austen-obsessed 90's may be over, but there's still a new hoppin' adaptation that Austenites are buzzin' about!  "The Lizzie Bennet Diaries" - a Vlog adaptation of Pride and Prejudice!  Let's not forget that there has never been a Vlog adaptation of any book before, and since it has been 7 years since the last Pride and Prejudice adaptation, we're all ready for some more Lizzie and Darcy.  

• Ah yes and I almost forgot my new favorite web series!  Barbie: Life in the Dreamhouse!  An official series by Mattel that is an exquisite balance of parody, propaganda, and positivity!  Here is the first episode:

• And!  there's a mega-post I worked on for two years that really should be split up and posted by now, so keep a look out for that.  It's called "Subli-mer-inal Images and How We Channel Them."

Well!  That's certainly a lot of material to cover!  Let's get going!

As soon as I publish each topic, I'll include the links in the above list, to make everything easy for you readers!

P.S. A little explanation as to the time between posts: I'm a bit of an anxious perfectionist, and could never click the "publish" button.

and then I'd be all

But never fear!  I got this cool idea to blog on tumblr for a while, and get the hang of instant-blogging, to sort of counteract the hesitancy, and have some fun figuring out how that completely different style of blogging works - so yay!