Another Cinderella Story

By: Jennifer Rodriguez 

Introduction

Another Cinderella Story is a romance/ musical production made in 2008. This movie is a different version of Cinderella. The movie is intended for teens to watch. In this version, Selena Gomez plays Cinderella or Mary, and she is a shy young girl who can dance. She is a modern girl, and the movie captures teenage girls at that time. It includes pop stars, magazines and multiple genres of music and dance. Since this version was aired during the third wave of feminism, we can start to observe the ideas in the film. Girls are no longer only meant to be seen but rather also meant to be heard. Another Cinderella Story exemplifies a kind of multicultural feminist idea through challenging the can-do girl, redefining the can-do girl, and including an intersectional perspective throughout the movie.

The Can-Do Girl vs At Risk

The can-do girl is typically a white, cis, heteronormative girl who is not poor. The can-do girl is thriving in many aspects of her life. In school, she gets good grades and is involved in multiple organizations. Can- do girls actively maximize their future chances (Harris, ). The can-do girl is the model that society wants to be followed. Lyn Mikel Brown stated, "when one thing is so dominant, it is no longer a choice; it is a mandate…" (Orenstein, 2006). Princesses can do girls, and they signify the duties of becoming. That is done through a heteronormative matrix. Cinderella depicts how to carry yourself in a ladylike manner and do as you are told and indicates traditional stereotypical gender roles. Cinderella and the legacy that Princesses leave create this reproduction of an idealized girlhood.

Mary being Cinderella already makes her the can-do girl. Due to the history of Cinderella, we know that there is a better ending than the circumstances presented in the beginning. She is skilled at what she does, which is dancing. As Harris has stated, "can-do girls are notable for their high ambitions… and their commitment to elaborate planning for success in their careers (Harris, 2004 ). Although Mary is not allowed to take time to herself and invest in herself, she finds the time to. Despite her guardian trying to sabotage her future, Mary finds out about her acceptance to a dance school and decides to put herself first.

When discussing the can-do girl, there is always an alternative, in other words, the at-risk girl, known as the failure (Harris, 2004 ). At-risk girls are stereotyped to be African American or Latina girls. At-risk girls are presented as an individual problems meaning that they caused to be at risk through poor personal choices, laziness, or incompetence. Harris states that "the state of at-risk is depicted as a set of personal limitations that can be overcome through sufficient effort" (Harris, 2004). There is an underlying assumption that at-risk girls choose to be at-risk over anything else.

In Another Cinderella Story, one may describe Mary as the girl at risk. Harris argues that the at-risk girl is someone who "'lacks self-esteem'" (Projansky, 2014 ). Mary obeys her guardian's commands throughout the movie and does as told. She hardly stands up for herself and accepts her circumstances as is. Harris mentions that young women are disciplined to create successful life trajectories and take personal responsibility if they fail" (Harris, 2004 ). Mary is upset about not being accepted into the dance school, and she blames herself for that and becomes discouraged. Essentially, Mary is the can-do girl while also representing at-risk girls.

The Can-Do Girl Redefined

As we all are familiar with a version of Cinderella, I have realized that their power is in the legacy of Cinderella (Orenstein, 2006). All movies with their origin in Cinderella have similar characteristics. Another Cinderella Story characterizes an alternative girlhood. A common theme of traditional womanly roles exists during the first era of Disney Princesses. The second era of Disney Princesses includes what some may consider masculine traits like independence (Parsons, 2004). The notice of the changes/ adaptation represents the need to include other girls. Projanksy argues that “various alternative girls- often girls of color and/or queer girls – are right there in front of us in the vast mediascape. Alternative girls are not being seen or listened to despite being right in front of us.

Another Cinderella Story includes alternative girls through broadcasting a different lifestyle. Like SOLHOT using hip hop to express themselves, the movie uses dance and music. With remakes and the creation of Cinderella movies, different girls are starting to be represented. As Brown articulates, “The goal is to create a space that facilitates collective action, and then to organize that space so the girl with so much to say can say it, the girl with nothing to say can dance it, and the girl who wants to say it, but cannot write, will learn” (Brown, 2009).

Another Cinderella Story not only includes a multicultural feminist view through intersections, but it also redefines who Cinderella is and what she represents. It is not only about womanly stereotypes but about opportunities. This version includes a career path for Mary that she desires. It teaches girls, especially alternative girls, that it is okay to put their goals first.

Intersectional Perspective

Whether we discuss the can-do girl or the at-risk girl, girls have always been in the media. Projansky states that "girls have appeared in U.S media culture… work through cultural anxieties… (Projansky, 2014). We see different cultural intersections throughout the movie. The movie aired in 2008, and at the time, we were starting to advance with technology. In this modern retelling of Cinderella, the shoe is replaced by a zune which is a portable music player (Renae, 2019). Another important thing is the clothing, especially Mary's dress from the school dance. It is bright red and short compared to other Cinderella dresses.

The dancing is also different while paying attention to the dress and other details. This is a dance movie; therefore, there are various dancing styles; however, they dance the tango and salsa during the school dance. Traditionally, these dances originated from Hispanic countries. The main character is Hispanic, and while the movie does not directly relate to culture, we can see some influences of the culture.

Another culture that is important to girlhood and demonstrated in Another Cinderella Story is the best friend. When you think of Cinderella, the fairy godmother is often also thought about. In this case, the fairy godmother is Mary's best friend, Tami. Tami is supportive and probably one of the only people who knows and understands Mary. Best friends are vital to any childhood, especially girls. It is similar to having a diary, but it is a person this time. A best friend allows for girls to be girls and focuses on a girl's being. In other aspects, girls are taught how to be girls to become women. Coulter and Moruzi announces that "girls are defined by this future potential rather than by their inherent identities as girls today" (Coulter Moruzi, 2020). A best friend helps validate the state of being that the girl is.

Conclusion

Another Cinderella Story represents the can-do and the at-risk girl simultaneously. To state someone as is, Cinderella also means publicizing the person as the can-do girl. Another Cinderella Story helps challenge the narrative of what a can-do girl looks like. She is not waiting on her Prince the entire movie; instead, she is waiting on an opportunity to enhance her career/ living. The movie's focus reproduces this idea that girls are capable of achieving more with support. It supports alternative girls, gives them their space, and allows them to occupy it the way they choose to—the intersections throughout the film highlight essential aspects for teens at the time. The time frame depicted is a crucial point in girls' lives. Not only is she, the teen girl, focusing on her future, but she is also experiencing life. Luckily for Cinderella in Another Cinderella Story, she has her best friend through it all. The challenging of the can-do and at risk girl and then redefining what that means highlights the changing mediascape of girls. The intersectional perspective establishes a need to look at girls from all perspectives. Looking at girls in a holistic view will recognize the intersections of difference

References

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Orenstein, P. (2006, December 24). What's Wrong With Cinderella? The New York Times Magazine, 34(L). https://link.gale.com/apps/doc/A156335162/LitRC?u=new67449&sid=bookmark-LitRC&xid=cebdec20https://link.gale.com/apps/doc/A156335162/LitRC?u=new67449&sid=bookmark-LitRC&xid=cebdec20

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Renae, K. (2019, October 5). How 'Cinderella' has changed over time, from animated classics to live-action remakes. Insider. Retrieved May 6, 2022, from https://www.insider.com/how-cinderella-is-different-in-every-movie