“I must have been changed several times since then”
Plagued in Wonderland by questions of self-uncertainty, Alice endures a journey of nonsensical adventures only to wake up and discover it was all a dream. However, the Caterpillar’s enigmatic question – “who are you?” – prevails, and this article asks the same question of Camille Rose Garcia’s illu...
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| Format: | Article |
| Language: | Danish |
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Svenska Barnboksinstitutet
2022-10-01
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| Series: | Barnboken: Tidskrift för Barnlitteraturforskning |
| Subjects: | |
| Online Access: | https://www.barnboken.net/index.php/clr/article/view/721 |
| _version_ | 1797996411487256576 |
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| author | Jade Dillon |
| author_facet | Jade Dillon |
| author_sort | Jade Dillon |
| collection | DOAJ |
| description |
Plagued in Wonderland by questions of self-uncertainty, Alice endures a journey of nonsensical adventures only to wake up and discover it was all a dream. However, the Caterpillar’s enigmatic question – “who are you?” – prevails, and this article asks the same question of Camille Rose Garcia’s illustrated Alice – who is she? This article explores the character of Alice in Garcia’s Wonderland and investigates the impact of Walt Disney’s 1951 animated film on her illustrative styling. The Disney metapicture is an important lens here as the uncanny resemblance to the 1951 Alice looms in Garcia’s depiction of Carroll’s protagonist. Thus, I perform a close reading of a selection of illustrations from her 2010 published edition of Alice’s Adventures in Wonderland through a Disney lens. The idea of a “gothic Alice” is quite significant in relation to girlhood studies as it (re)-positions the notion of normative femininity and allows for expanded interpretations of what it means to identify as “girl.” In this case, Garcia’s Alice repositions the protagonist away from the image of the Victorian child (John Tenniel’s image in the first edition) and the docile, doe-eyed young girl of Disney’s construction. Instead, she represents the “other.” Overall, Garcia’s version of Alice stems from the haunting presence of Disney’s 1951 animated dreamchild. Through allusion and metapicture, Garcia creates a wasteland that adds to the contemporary (re)-interpretation of Alice.
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| first_indexed | 2024-04-11T10:17:05Z |
| format | Article |
| id | doaj.art-4133dc6d619342a9a236708478acb067 |
| institution | Directory Open Access Journal |
| issn | 0347-772X |
| language | Danish |
| last_indexed | 2024-04-11T10:17:05Z |
| publishDate | 2022-10-01 |
| publisher | Svenska Barnboksinstitutet |
| record_format | Article |
| series | Barnboken: Tidskrift för Barnlitteraturforskning |
| spelling | doaj.art-4133dc6d619342a9a236708478acb0672022-12-22T04:29:54ZdanSvenska BarnboksinstitutetBarnboken: Tidskrift för Barnlitteraturforskning0347-772X2022-10-014510.14811/clr.v45.721“I must have been changed several times since then”Jade Dillon Plagued in Wonderland by questions of self-uncertainty, Alice endures a journey of nonsensical adventures only to wake up and discover it was all a dream. However, the Caterpillar’s enigmatic question – “who are you?” – prevails, and this article asks the same question of Camille Rose Garcia’s illustrated Alice – who is she? This article explores the character of Alice in Garcia’s Wonderland and investigates the impact of Walt Disney’s 1951 animated film on her illustrative styling. The Disney metapicture is an important lens here as the uncanny resemblance to the 1951 Alice looms in Garcia’s depiction of Carroll’s protagonist. Thus, I perform a close reading of a selection of illustrations from her 2010 published edition of Alice’s Adventures in Wonderland through a Disney lens. The idea of a “gothic Alice” is quite significant in relation to girlhood studies as it (re)-positions the notion of normative femininity and allows for expanded interpretations of what it means to identify as “girl.” In this case, Garcia’s Alice repositions the protagonist away from the image of the Victorian child (John Tenniel’s image in the first edition) and the docile, doe-eyed young girl of Disney’s construction. Instead, she represents the “other.” Overall, Garcia’s version of Alice stems from the haunting presence of Disney’s 1951 animated dreamchild. Through allusion and metapicture, Garcia creates a wasteland that adds to the contemporary (re)-interpretation of Alice. https://www.barnboken.net/index.php/clr/article/view/721Alice studiesDisney studiesgirlhoodvisual artillustrationadaptation |
| spellingShingle | Jade Dillon “I must have been changed several times since then” Barnboken: Tidskrift för Barnlitteraturforskning Alice studies Disney studies girlhood visual art illustration adaptation |
| title | “I must have been changed several times since then” |
| title_full | “I must have been changed several times since then” |
| title_fullStr | “I must have been changed several times since then” |
| title_full_unstemmed | “I must have been changed several times since then” |
| title_short | “I must have been changed several times since then” |
| title_sort | i must have been changed several times since then |
| topic | Alice studies Disney studies girlhood visual art illustration adaptation |
| url | https://www.barnboken.net/index.php/clr/article/view/721 |
| work_keys_str_mv | AT jadedillon imusthavebeenchangedseveraltimessincethen |