Reality Remixed: Neomedieval Princess Culture in Disney’s Enchanted

Abstract

“The real world and the animated world collide.” This tagline, used to market the 2007 Disney film Enchanted, assumes an audience that knows what is meant by “real world” and “animated world.” In particular, the animated world implied by the tagline is one defined by a history of Disney fairy-tale tropes, which invites potential viewers to enjoy its “collision” with reality. The slogan for this mixed animated and live-action Princess narrative suggests a subversive approach to the Disney canon, one that promises to grapple with the disjuncture between the medievalisms of its fairy-tale realms and the trappings of modern life. The result, however, is a film that refuses any historical anchor for Disney’s fairy-tale ethos, fashioning instead what Carol Robinson and Pamela Clements call “neomedievalism,” in order to insist upon the pervasive relevance of that ethos in the contemporary world.1

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