SNOW WHITE AND THE HUNTSMAN BOOK PDF

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type, introduces Robert Coover's novel Stepmother, which she . In Snow White and the Huntsman, the queen is so blindingly evil that she seemingly. Snow White and the Huntsman by Lily Blake - book cover, description, publication history. Then she summoned a huntsman and said to him, "Take Snow-White out into the woods. I never want to see her again. Kill her, and as proof that she is dead.


Snow White And The Huntsman Book Pdf

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Snow White & the Huntsman book. Read reviews from the world's largest community for readers. A breathtaking new vision of a legendary tale. Snow Whit. . And the red looked pretty upon the white snow, and she thought to herself, " Would that I had . she knew that the huntsman had betrayed her, and that little Snow-white was still alive. And so she thought . book, Disney Press. Stone, K. ( ). child as white as snow, as red as blood, and as black as the wood of The huntsman consented, and led her away; but when he drew his cutlass to pierce.

If done properly, this book would have been at least a hundred pages longer and much better. And don't give me this "you should have known the writing wouldn't be amazing because all movie-to-novelizations are poorly done" speech.

Snow White and the Huntsman

The eerie tone was perfect, the mysetery was there, I felt the danger -- and let me add in this little detail; I hated the movie, yet I liked the book. Well, I liked the book until the author decided to piss me off by not including the last f.. I'm still peeved about how they never made an edition including the end. Sorry, sorry.

I'm getting off track. Was there a page limit or something? I don't know. For shame, four authors. Okay, I'll stop now. But at least I amused myself. So what was wrong with the Snow White in this tale? Your probably looking at all the promotional posters and pictures and trailers and watching Kristen Stewart running around in her shiny silver armuor with sword in hand and your wondering how could I find her useless.

That's why. In both book and movie she was as interesting as paint drying. After watching the movie I will admit I was upset that our pure maiden actually didn't do much save for riding on a horse in said shiny armuor and was view spoiler [flung around by the Queen only to get a lucky stab before she could finish her off hide spoiler ], I sort of got it into my mind that maybe the book actually featured something else she did. Nothing happened.

Remember that useless knife-wielding lesson Eric AKA the huntsman gave her in the movie? That wasn't even in this book. I find it difficult enough to believe that Snow White rode to battle with one lesson.

Now you expect me to believe she did it without any lessons at all? After being stuck in a tower for years? This Snow White doesn't have to rely on actions. It's who she is -- that's why she's so special.

She is so full of natural goodness and healing, that she makes everyone smile in her presence. Once again she brings magic with that beautiful green-eyed gaze and pouty lip-bite. The weird thing is that the authors thought there was plenty of time reminiscing about Eric's and Queen Ravenna pasts, yet they couldn't bring themselves to write proper battle scenes or training episodes? At least mention that she had some training. Don't just expect me to think that she was secretly a sword wielding Lara Croft after all the time wasted walking around a forest acting like a hippie and petting white dear.

You don't become a warrior with just a snap of your fingers. It just doesn't happen, mi amigo. So for the most part this cool picture above lies. You lie, cool poster with Kristian Stewart in battle armor with crows flying about. You lie. So it's no secret that you might notice that I didn't enjoy any of the Snow White parts in either movie or book. But what about everything else?

Like I've said before this movie is a very visually beautiful film. But with the writing this dampers the scenery with it's hurried nature and simplicity.

There were so many moments that could have been described wonderfully, but was utterly wasted with this writing style. And not once were the outfits described. Not even the tiniest little sentence. For all I knew they were all butt naked. And for those who don't believe clothing can be described, I present to you Sarah J. I admit I don't like Miss Maas's books, but damn she can write about purdy dresses.

I said it once and I say it again; four shame. But what about Eric and William? Did they enchant me at all?

They were, unfortunately, very flat in the novelization. Poor prince William didn't have a whole lot of time to shine in the movie, but in the book he might as well not have been there.

While Eric was more colourful then the prince he was still very fusty to read about. Even the info-dumps about his past were oddly placed. Granted we learn more about him and his wife in the book, but still In this novelization, the romance is completely half-baked. At least in the movie you could feel a small spark, yet here it's lazy and came out of freaking nowhere. It went just as quickly as it came, too. So I gave this book two stars.

Why on earth did I do that? I did it because of my darling Queen Ravenna. I loved her in the movie, and I loved her in the book. No questions asked. Admittedly I never had sexual thoughts to anyone in my gender, but then this throne-robbing witch came into my life. But it's not like I was the only one.

We had so many moments with her for the first and second chapters, and it was marvelous. It was simply delicious to read about her way of thinking and her schemes to rule all the kingdoms. It was just amazing, and possibly the best parts in the book not that there were many good ones. And then we switched over to Eric's and Snow White's views and, well, here we are. Not only was this change a major let-down but it also made me see something I had never seen before and therefore tainted my love for the movie and Ravenna herself.

I realized that Queen Ravenna was one of those stereotypical man-hating feminists. This is not a rivalry created by the women but by the socio-cultural context in which they live. Although the male characters are predominantly absent or helpless 5 they are the crux to the discourse of female sexuality and the subsequent commodification of "woman" for her youth, beauty and fertility.

Once these commodities have run their course she unavoidably loses her market "value" in her society. This intrinsically establishes the conflictive relationship between Snow White the Count's ideal of beauty and the Countess who no longer seems to hold the Count's esteem. What we have in the rewriting is the solution of this devaluation of the older woman: outwit the younger woman with the wisdom of lived life experience.

The Countess then has to witness the Count have sexual intercourse with the child as his attempt to resuscitate her unsuccessfully since the child melts away leaving behind a blood red stain in the snow7. Snow White has already replaced her birth mother she dies giving birth to her and now, in her maturation, is well on the way of replacing her second mother within the familial and social hierarchy.

Neill Gaiman in "Snow, Glass, Apples"9 replaces "Snow White's perspectival dominance" with the Queen's first person narrative voice that is finally permitted to reveal the lies told about her by Snow White in the original fairy tale. Snow White here is not the innocent little girl but a very hungry vampire that feeds off her father and stepmother as well as local townspeople. One questions here Snow White's purity since, as a vampire, she is now the penetrator, penetrating her victim--and capturing patriarchy--with her fangs as evidenced by the bite marks on her father's penis.

In some cases an act of auto-protection the Queen looks to the male figure for affirmation of her self-worth and currency in the marketplace of male desire. In Carmen Boullosa's Mexico, short story "Blancanieves"10, the forester admits to having disobeyed and tricked the Queen because of his love for Blancanieves.

This cannibalism is the physical embodiment of the Queen's desire to recapture what she has lost: her youthful beauty. Interestingly, in the film Snow White and the Huntsmen the Queen literally sucks the life out of young beautiful women so that she can remain youthful reminiscent of the stories surrounding the Bloody Countess Elizabeth Bathory.

The Queen presents such a threat to other women that there is a whole tribe of women you purposely disfigure their faces with scars so that they may be safe from the Queen killing them for their beauty.

It seems to be inevitable that the characterization of the Queen is achieved primarily through language and in relation to the Other--insisting on the social structures that mediate her personal awareness of her self, body and sexuality and its value in her context. Her social environment makes her think she is expendable in order to be able to continue to control her female sexuality because the fact that she is no longer virginal nor impregnable, there are no social markers that prohibit her from having sexual encounters for pleasure and not being physically pregnancy, broken hymen or socially accountable.

In addition, the fact that the Queen does not have any biological children of her own makes her more evil, more monstrous, because she has not fulfilled this predetermined female biological role and been, thusly, marked by the phallocentric coding of the female body by the male.

When her child is stillborn she suffers a psychological break and reverts to her knowledge of magic to kill the King and Snow White--the forces that are to blame for her losses. Nevertheless, metaphorically, the mirror is the element that condemns the Queen because: authority remains vested in the male voice [or also the male desire] of approval in the mirror; the standard by which both mother and daughter are judged resides outside themselves, so that neither can claim true authorship.

The Queen's prescribed role, that she is predestined to fill, is to exist as the contrast to Snow White, even though both are entrapped by the same restrictive concept of idealized feminine beauty.

For the Queen, within the traditional patriarchal context of the fairy tale, there is no other conclusion for feminine sexuality other than death or perversity. There also exists a construction of a narrative of female desire in some of these revisions. These anxieties are verbalized by her mirror.

In recent filmic adaptations the mirror takes on a more centralized "role": in Mirror, Mirror the Queen's mirror is located in a separate dimension while in Snow White and the Huntsmen the mirror is a shiny copper plate that dissolves to form a three dimensional figure and in Snow White: The Fairest of them All the Queen is not subject to a mirror but rather to a room of wall-to-wall floor to ceiling mirrors. However, in the television series Once Upon a Time Regina's mirror in Storybrooke is an actual persona that she is able to manipulate to her own needs.

What seems to emerge in these revisions are alternate and multiple perspectives on the same fairy tale but still seemingly centred on the feminine question of beauty and social worth.

Snow White and The Huntsman

As a result, the mirror metaphor extends to also affect the interpretation of the text by further emphasizing the concept of alterity—one looks at the mirror not only to see how one looks to others but also to assess how one may be judged by the prejudices and preconceptions of others.

On the other hand, the male figures blame their inadequacies on either the magical potion or spell that the Queen forces him to ingest.

Yet, they are not sexually objectified as the Queen, and it is only the Queen that is defined as a being to be sexually used by others. In both Once Upon a Time and "Blancanieves" the Queen speaks of her escape from the land of enchantment as her only way out.

Regina admits that the only way to escape her own "evil" mother is to leave the fairy tale world altogether. This becomes her only form of escape from the reality that predestines her to not being accepted as she is by her love and even by her own mother. But are these "absent" males the real monsters of this story? Do they not form the ever powerful value system that feeds the insecurities of the older Queen that she must fight to remain valuable within this phallocentric order?

Notes 1 Amie A. Anne C. Herrmann and Abigail J.

Signs New York: Avon Books, Austin: University of Texas Press, Philadelphia: University of Pennsylvania Press, Knopf, ]. Bibliography Bacchilega, Cristina. Bettelheim, Bruno. New York: Alfred A.

Knopf, They ruin us and when they are finished with us, they offer us to the dogs like scraps. Geppetto is released, and insists that Pinocchio goes to school.

Snow White and the Huntsman

If done properly, this book would have been at least a hundred pages longer and much better. The book that is the hit movie, based on the fairy-tale classic Snow White and the Seven Dwarves, but with a different twist. These texts will be compared alongside films that also look at recasting the Queen as victim of her socio-cultural environment and patriarchal standards of beauty in films such as: Mirror, Mirror and Snow White, The Fairest of them All and the television series Once Upon a Time.

The Hidden World [Blu-ray]. One of the dogs breaks his chain, and chases him. My favorite scene was when Ravenna was surrounded by her yeah, you guess it ravens.

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