The analysis of the depiction of "otherness" in fairy tales

Introduction 

In the 20th century, Disney animated aspects bases on the depiction of otherness culture. Despite his interest in the distribution of knowledge concerning distant cultures, the films depend exclusively on conventional cultural metonymies to create representations of other. Importantly, allusions to otherness are beset through many verbal elements and visual that belongs to narrating culture. If biased nature of cultural experiences occurring in Disney films may be directly evinced from analysis of original screenplays, it only takes into account to their Italian translations, which turn out to be evident. Through comparing excerpts in original films and Italian films versions, the study is set out to examine a threefold of cultural experience that occurs in them, highlighting the intricacy that lies within a transfer in entire particular American allusions other than a generalized. They are globally known verbal elements and visual that is in use to suggest the other. 

Ariel in the Little Mermaid exemplifies the orthodox of passive role of female in society. In a first sight, it appears that Disney could not place much attention on women's movement. Ariel, for example, is similar to the one in earlier heroes of Disney only that she looks sexy and dresses a bikini created from shells (Dotrice, 2009). Additionally, she is interested in making her lover. In the animation, one can see that Ariel looks ready to undertake anything to make Prince fall in love with her. She even offers to make her voice and legs appear to be better in the presence of the prince. 

In Mulan, a Chinese emperor seems to apply common words of wisdom to portray the unstable fortune of his sovereignty. The dragon Mushu, being appointed by ancestors of Mulan to guard her in war, complains about it stating that he is doomed. He suddenly accepts the duty and provides Mulan eggs and bacon for breakfast (Wilder, Zippel, & Foray, 2013). The portrayal of the short Disney films mentioned above point to two diverse sets in cultural allusions that appear in the whole and hints to peculiar nature of artistic representations that the audiovisual contents have. 

In the first examination of these films, sets that could lead an individual into believing his decision to present otherness in series of mainstream exist. The creations were because of interest in distributing knowledge of distant cultures, perceiving the films are sufficient to recognize nothing impulsive in cultural portraits that they provide to their audience. The films with their representations to otherness were a tradition in representing otherness by a filtered stare of Western colonialism origin and in an effort that made impose their linguistic parameters and culture to subjected populations of Eastern (Dotrice, 2009). However, the purpose of the West was molding an image of others by their requirements as a way of strengthening their supremacy and identity. The spread of biases in representations of non-western culture was flourishing beyond decades in the colonial period expansion, influencing redefinition of post-colonial international relationships. The states of otherness may be perceived to be drawing a pattern from a book in which strands may be taken for representations of culture that serves a purpose of entertaining audiences whereas reinforcing the superiority of a narrating culture. Thus, in the commodification of culture as in The Little Mermaid where Ariel interacts with people of the land in search of a prince than being in the sea, in which this process verbal and visual elements belonging to the distant world (Dotrice, 2009). They are taken to create a suitable smooth reception in more important cultural settings through American culture leading the way for this process. 

All cultures that are chosen to be represented in the two films of that is Mulan, and The Little Mermaid are somehow considered inferior when compared to modernized western civilizations as well as the narrating culture of America correctly. It may also refer to earlier stages of cultural and social creation in contrast to contemporary standards of America. In The Little Mermaid even tough Ariel marries her real prince, she is viewed as ambitious and rebellious to changes in distance culture. Mulan is represented as one able to battle out the whole invading army of Hun and saves her nation. There are various types of roles princesses in Disney play in modeling young women. The use of female frequently portrays some reasons. Concerning them, it is much easier to men in identifying with the women of an influential figure. (Wilder, Zippel, & Foray, 2013) Thus, this makes powerful women stay put in contacting via their insecurities and weaknesses, in which men are typically heroes regularly represented as hard and vigorous. In this scenario, women are considered in the category of others as depicted in the films. 

The nature of animated movies permits the audiences a time limited to understanding and identify what is portrayed on the screenplay. The readers uncritically accept selection of the images, sounds and words, which are employed to build concepts of stands, actions and entire cultures resulting from the acquisition of hegemonic perception form from American cultures. The narration in Disney films indirectly hints on influential American position for supremacy compared to the narrated others who remained an untouched shape of viewer's insight. Despite Greek culture being represented in the film as pillars for the growth of modern civilization, it is understood to be barbaric. After spending most of their time in house Disney princesses represents inadequate independence, it becomes of significant for the character to be independent as princesses. There is a greater importance to have their separate characters. Mulan changes herself to a man to fit in the army for her sick father’s place. Through her determination and discipline, she can turn out as the best soldiers. Upon showing all these efforts, she still belongs to the part of others in the society that perceives women as a homemaker and not professional or heroes. Disney movies plus other cinema products is usually ascribed to be brief ideological and cultural strategies in referring to otherness. 

Narrating Self 

Alongside application of cultural metonymies verbally and visually define the image of a stereotype for other distant Disney films seem too replete with every form of references for American culture narration. In Mulan narration, culture is evident when a hero young Chinese becomes the soldier to serve her nation in warfare. When the film starts, she is portrayed eating rice, after a while, she is distorted by the occurrence in war the first day (Wilder, Zippel, & Foray, 2013). The images portray Mulan waking in the military tent having porridge bowl with bacon rashers and the fried eggs that make her breakfast complete. The bowl having rice at the beginning of the scene seems to be typically deprived, with highly conventional for Chinese content being replaced. 

In Little Mermaid, the princess mermaid is depicted as self since she seems dissatisfied with sea life admiring to be a human being. Despite her father’s warning and providing guards to watch over her, she disrespects the order and strives to meet a witch for her benefit (Dotrice, 2009). Her struggle leads to injuries and deaths of other characters without her consideration in saving them. The American culture is produced as most explicit. In both films, leading characters converse fluently with the accents of American. In addition, they are mainly characterized by the application of regional varieties, colloquial or non-standard of the US English. 

In Mulan film, Dragon Mushu's lines seem to be, full of Informal US expressions, contemporary and application of marked jive talks. The same is witnessed in the film of little Mermaid. The presence of similar lines leads to an increase in the gap between the narrated and narrating cultures thus relegating lifeless background (Wilder, Zippel, & Foray, 2013). In addition, the functions played might be best seen through the comparison of Italian translations and original versions leading to third culture accommodation revealing cultural stillness representations far easier in transfer than active American culture presence in films. 

Translation 

Even though conversion concept could be utilized to the stratified corpus, different products such as animated films relate to translating act mainly regarding scientific and inevitably terms of cultural. As a fact, mere linguistic transfer act, translation mostly implies the connection between two cultures having a sole purpose of negotiating diversity and ideally making it visible (Firm), 2005). Cultural representations portrayed by Disney distributed films at the century turn, providing visibility to diversity does not mostly seem as contemporary media priority. The knowledge about mass distribution logic will frame weight perception by ensuring that easy entertainment is the primary factor in the play formation of audiovisual products mainly the US film industry. The increased awareness era of power and media communication for translation acts a core role for relaying of cultural representations making it meaningful. In Italian adaptations for Disney films, they are translated in a different language where the Original work being US version involves cultural representations transfer extracted from every movie (Wilder, Zippel, & Foray, 2013). The Italian translation sites being the encounters for secondary cultural will make one view otherness as the mediated representations made through distorted metonymies cultural thus being simple for the secondary transfer. The contact of secondary cultural originates from Italian adaptations and includes two nations that are near belonging to Occident or West. 

Narrating Self and told other adaptation into Italian 

The metonymies for verbal cultural transfer that occur in Disney films pose no issue for translators because of their transnational and longstanding value (Firm), 2005). The components that refer to distant nations evoked in the movies could be applied in the generation of puns. For instance, exotic references are just pretexts in the provision of contemporary life US style gags. In the film, "The Lion King" it portrays clearly in an event where two hyenas namely Banzai and Shenzi makes fun of naïve and young cub known as Simba. Italian translators struggled to enhance original version of two puns and undoubtedly succeeded in the production of the second best version adapting it in embracing culture's habits. In addition, difficulty adaptation of the objective plays resulted to partly neutralized efficiency associated with average loss of American accent and application of exclamations and colloquial sentences that characterize two hyenas. The best solution formed for club sandwich seems difficult to get even though film scripts seem replete with examples of cultural and linguistic overlaps that are evoked through the narration of US culture in domesticating other verbally subjugate. 

The increased diversities in resolving subsequent encounters of aesthetic that arise in the translation of Mulan and the mermaid resulted in the recommendation of few extracts, which show the overwhelming hegemonic role, and presence of US culture. In both the films, narrating self-references assume various guises number and their particularity forms the second language transfer or almost impossible culture (Firm), 2005). The audience of Italy is viewed as capable in the play appreciation based on words and nickname provided in the city of New York as a big apple that is metaphorically altered to large olive. As a fact, the nickname contains a valid internationally stereotype of self and requires no adaptation (Wilder, Zippel, & Foray, 2013). Contrary, subtle reference in the last line spoken by little mermaid referring to the song which is clearly identified could not be deemed as useful for Italian viewers and awkwardly exchanged by small and weak pun on Thebes inhabitants being half knowledgeable. 

Conclusion 

Despite the case studies implication that Italian film versions have inadequate and poor adaptation on original scripts, it seems particular not such portrayed case. Italian translators appear to put more considerable energy in attempting to reform the meaning and flavor of the expressions and references that occur in films unavoidably resulting in the production of neutralized, basic versions in diverse cultures and languages. It seems not the distant other; that is narrated through distorted and long-standing cultural metonymies that evoke distance sense for acquiring culture representation via translation. Hegemonic function for telling self-provides increase to indirect, more carefully resolving encounter of cultural. The possible interest of spreading skills of otherness via "little Mermaid," "The Lion King and "The Mulan" of the references to narrating self and described Other in an explicit provision that reveals distant cultures should be narration subject, but objects that are applied in ensuring the success of both US audiovisual products. Despite the application of metonymies for cultural to show worlds distant may be partially justified through age group where the named films may primarily link with the children viewing. Otherness in the Disney film portrays movies being applied as narrative support pretext in contrast with economic and cultural supremacy for a post-colonial superpower that affects global strength by media promotion. The aim of the research was to open up what could be acquired through global distribution and production of perhaps cinematic neutral products. In total, the impact produced by keen formed distant cultures narrations through the juxtaposition of expressions and images that reject cultural dynamism being referred to as imagination domestication a process that elongates its effect through translation. Domestication term takes us back to work major tenets as close link between the readings, representation of culture and power relations that may show in each cross-cultural form of communication. The paper poses a dilemma in the limits establishment of whether domestication could be active and worthwhile. The films the Mulan, little mermaid, and the lion king portrays the otherness in their themes thus representing race, gender, and discrimination dominated in movies. 

References 

Disney treasury of children's classics . (2007) (1st ed.). New York. 

Disney, W., Anderson, K., Jackson, W., & Buena Vista Home Entertainment (Firm). (2005). Cinderella . Burbank, CA: Walt Disney Home Entertainment. 

Dotrice, R. (2009). The little mermaid . Burbank, CA: Walt Disney Records. 

Wilder, M., Zippel, D., & Foray, J. (2013). Mulan . Burbank, CA: Walt Disney Records.