Kierkegaard’s Three Spheres and Cinematic Fairy Tale Pedagogy in Frozen, Moana, and Tangled

Although Disney films are sometimes denigrated as popular or “low” art forms, this article argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into...

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Bibliographic Details
Main Author: Holdier, A. G. (Author)
Format: Electronic Article
Language:English
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Published: University of Saskatchewan 2021
In: Journal of religion and popular culture
Year: 2021, Volume: 33, Issue: 2, Pages: 105-119
Further subjects:B Disney movies
B Disney
B Fairy tales
B Kierkegaard
B Philosophy of religion
B Family
B Faith
B Secular faith
B Existentialism
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Summary:Although Disney films are sometimes denigrated as popular or “low” art forms, this article argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into non-partisan forms, often by substituting secular proxies for otherwise divine or spiritual components. By adapting Søren Kierkegaard’s tripartite existential anthropology of the self, I analyze the subjective experiences of the protagonists in three recent animated fairy tales—Disney’s Frozen, Moana, and Tangled—to demonstrate how these princess movies bridge the imaginative gap between the mundane and the divine.
ISSN:1703-289X
Contains:Enthalten in: Journal of religion and popular culture
Persistent identifiers:DOI: 10.3138/jrpc.2018-0027