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Magic shoes: Dorothy, Cinderella, Carrie
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The stories of Dorothy in The Wizard of Oz (Fleming 1939) and Cinderella focus on magic slippers that can only be worn by the ‘right’ person. In various cinematic versions of Cinderella (most notably the 1911 Méliès version), the Prince tries the glass slipper on the feet of a number of ‘wrong’ women before finding the perfect match in Cinderella. In both The Wizard of Oz and Cinderella, as in more recent films that invoke these narratives such as Sex and the City (1998), shoes are a commodity associated with rites of passage and, ultimately, with power. This essay examines the economy of magic shoes, symbolic exchange, and sexual difference, arguing that these films are as much about shopping and the act of trying on as they are about finding one’s feet in a male-dominated world.
Title: Magic shoes: Dorothy, Cinderella, Carrie
Description:
The stories of Dorothy in The Wizard of Oz (Fleming 1939) and Cinderella focus on magic slippers that can only be worn by the ‘right’ person.
In various cinematic versions of Cinderella (most notably the 1911 Méliès version), the Prince tries the glass slipper on the feet of a number of ‘wrong’ women before finding the perfect match in Cinderella.
In both The Wizard of Oz and Cinderella, as in more recent films that invoke these narratives such as Sex and the City (1998), shoes are a commodity associated with rites of passage and, ultimately, with power.
This essay examines the economy of magic shoes, symbolic exchange, and sexual difference, arguing that these films are as much about shopping and the act of trying on as they are about finding one’s feet in a male-dominated world.
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