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Harris, Jason Marc: "We All Live in Fabletown. Bill Willingham’s Fables—A Fairy-Tale Epic for the 21st Century." In: Humanities 5.2 (2016), S. 180–211. 
Added by: joachim (23 May 2017 23:04:17 UTC)   Last edited by: joachim (23 May 2017 23:13:53 UTC)
Resource type: Journal Article
Languages: englisch
Peer reviewed
DOI: 10.3390/h5020032
BibTeX citation key: Harris2016
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Categories: General
Keywords: "Fables", Adaption, Figur, Märchen, USA, Willingham. Bill
Creators: Harris
Collection: Humanities
Views: 3/24
Views index: 6%
Popularity index: 1.5%
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Abstract
Bill Willingham’s Fables comic book series and its spin-offs have spanned fourteen years and reinforce that fairy-tale characters are culturally meaningful, adaptable, subversive, and pervasive. Willingham uses fairy-tale pastiche and syncreticism based on the ethos of comic book crossovers in his redeployment of previous approaches to fairy-tale characters. Fables characters are richer for every perspective that Willingham deploys, from the Brothers Grimm to Disneyesque aesthetics and more erotic, violent, and horrific incarnations. Willingham’s approach to these fairy-tale narratives is synthetic, idiosyncratic, and libertarian. This tension between Willingham’s subordination of fairy-tale characters to his overarching libertarian ideological narrative and the traditional folkloric identities drives the storytelling momentum of the Fables universe. Willingham’s portrayal of Bigby (the Big Bad Wolf turned private eye), Snow White (“Fairest of Them All”, Director of Operations of Fabletown, and avenger against pedophilic dwarves), Rose Red (Snow’s divergent, wild, and jealous sister), and Jack (narcissistic trickster) challenges contemporary assumptions about gender, heroism, narrative genres, and the very conception of a fairy tale. Emerging from negotiations with tradition and innovation are fairy-tale characters who defy constraints of folk and storybook narrative, mythology, and metafiction.
  
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