This is a live blogging of the session.
part of the fifth chapter of my dissertation
â€œThey lived happily ever after.â€
Louis XV. Conteuseâ€™s.
Not retold. Folded from fairy tale tradition.
Waiting to be refound. Modern day fairy tale.
Elizabeth x Harries (?) Twice Upon a Time
Conteuses (women) were writing well before and as contemporaries of Perault. Not writing for children.
modern text in the Conteuse tradition.
Not more extravagant shoes. Separate tales within a broader narrative frame.
Modern day fairy tale begins with a quest.
seemingly simple stories that dominate modern literature
film acquaints audience with the four main characters
â€œCharlieâ€™s Angelsâ€ style, no one in need of rescue
all of the characters have taken journeys for life and romance
All fourâ€¦ four single girlsâ€¦ connected to each otherâ€¦
Audience is a known entity.
Characters are happy and keep their strong relationship among the four of them.
Conteuse tales were about culture at large.
Faux fairy tale also presents culture at large.
Audienceâ€™s told is also being told in Sex and the City: The Movie.
futility of these wishes (happily ever after, love)
tale not meant to be universal
consciously invented and mocking of escapism
falsity of tale being told, audienceâ€™s knowledge of this on some level
in the film, the girls behind the curtain are winking at us, never completely hidden and nor do they want to be
conversational frame that spoke directly to their reader.
Even if the stories, the conteuses break the frame. â€œHavenâ€™t you heard, madame?â€
first time in a long time I felt like myself— donâ€™t know why the change of hanging out with the womenâ€¦
banality of the simple tale
Harries says â€œself-conscious story tellingâ€
the little girl ignores Carrieâ€™s commentary â€œYou know this is only a fairy tale, right? It wonâ€™t always work out like thisâ€¦â€
reason = Carrie
audience = little girl ignoring lack of reality
happily ever after
conteuse -> comic creation of romanceâ€¦ fairy tale trope?
status opp of â€œhappily ever afterâ€ can take care of herself
Samanthaâ€™s story focuses on her, not her rescuing knight
story continues well beyond the â€œhappily ever afterâ€ in the film
marriage =/= happily ever after
Conteuses mocked happily ever after, too.
Happily ever after does not come easily and it is not static.
Shapeshifting, â€œmetamorphoses defines the fairy tale genreâ€ source?
Carrieâ€™s involvement in the wedding leads to Big changing. Carrie turns but she doesnâ€™t look like Carrie. Wearing heavy make-up. New Yorkesque version of the bribe. Big doesnâ€™t recognize her. Big hasnâ€™t been waiting for his princess. Heâ€™s been waiting for his Carrie.
Carrie needs to be re-transformed.
new character â€œfairy godmotherâ€ African-American, younger, new to NY
Wave of the Magic Wandâ€¦ American Media Jorgensen (book?)
Carrieâ€™s character sticks with fairy godmother trope, but itâ€™s Louiseâ€¦
We were perfectly happy, before we decided to live happily ever after. â€“Carrie
I guess the jokeâ€™s on us. â€“Big
How come we are willing to recognize our own vows but not our own rules? Major question at the endâ€¦
happily ever after takes us somewhere
Conteusesâ€™ stories match fairy tale stories