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little Burton Blue Tim Burton and the Product(ion) of Color in the Fairy-Tale Films The Nightmare Before Christmas and Corpse Bride
Are fairy-tale films, or films targeted at youngsters, propaedeutic in creating childhood preferences for certain palettes?
Jack David Zipes points out that "as commodity, the fairy-tale film sacrifices art to technical invention, innovation to tradition, [and] stimulation of the imagination to consumption for distraction."15 As Henry Giroux argues, "Disney was one of the first companies to tie the selling of toys to the consuming of movies."16 Many times, especially in recent years, Disney products associated with a film are released before the actual film itself, relying on film trailers and Internet promotions to communicate the desire for the fantasy world the film delivers.
Today's children are growing up with a palette that represents a childhood mix of soft, comforting pastels framed or overrun by deeply saturated, dangerous marginal greens, reds, blues, and purples, and when they reach adulthood, that palette will be used to market their childhood utopias as a return to the fantasy worlds depicted in today's fairy-tale films.
Disney has been slow to adopt the deeply saturated, nonprimary colors and still produces almost all of its films and products in the same pastel primaries of the Victorian childhood ideal; however, in the 1990s a new crop of fairy-tale films emerged that I believe has been influential in changing the palette of American childhood.
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