Jakeline Placido Marcon – OPINION
In recent years, many stories have been deconstructing the traditional role of
princesses, presenting more independent and self-possessed female characters
their own destinies. However, princes are still often portrayed
within rigid standards of masculinity, often summarized in the figure of
perfect heroes or unquestionable saviors.
In the case of the new Snow White film, Disney brings an innovative approach
by introducing Jonathan, a prince who breaks away from the classic archetype. He is not
heir to a kingdom, but rather a thief who defends the most disadvantaged,
reminiscent of the figure of Robin Hood. More than just a love interest of the
protagonist, he is a rebel who fights against the Evil Queen, presenting himself as
a reluctant and multifaceted hero. Unlike the Prince Charming of the
previous, Jonathan adds layers to the story and establishes a more
consistent with Snow White, making the dynamics between the characters richer
and engaging.
This reinterpretation is interesting because it presents us with a prince who doesn't need to be
the absolute hero nor the princess's savior. On the contrary, he is also in
a journey of self-discovery, which can be sensitive, insecure and questioning.
Its construction escapes the obligation to personify an unshakable masculinity,
allowing him to express emotions and weaknesses without compromising his strength or
relevance in the plot.
This deconstruction does not only occur in cinema. Children's literature also has
explored new representations of gender roles. An example of this is the book
The Frog Who Wouldn't Be a Prince, which features a frog who, unlike the
traditional prince charming, has no interest in being transformed,
defying the expectation that one must follow a predestined role to achieve
the princess. This story subverts the classic concept of transformation and reveals
a freer and more authentic vision of the characters, showing that they all have the
the right to be who they really are, without the pressure to conform to stereotypes
social. These stories recognize that it is not just princesses who
carry a persona built around appearances and expectations;
Princes also face pressure to live up to ideals of courage and
heroism that often ignores their humanity.
Another striking example is the film Shrek, which also deconstructs archetypes.
traditional. At first, Shrek is portrayed as a lonely and unconventional ogre,
challenging the figure of the heroic and perfect prince. Princess Fiona, who
initially appears to be the typical damsel in distress, but reveals herself to be a strong woman,
determined and with her own vulnerabilities. The story of Shrek and Fiona is a
clear example that princes and princesses can be imperfect,
multifaceted and, instead of fitting into rigid molds, have the right to
seek your own path, live your own stories and be happy the way you want
are, without the need to conform to standards of beauty or heroism
imposed by society.
The central issue is not a fight against men, but against the imposition of
rigid roles that limit the expression of pain, suffering and fragility,
regardless of gender. After all, violence and oppression are not exclusive
of a single sex; they can occur from women to men or between
people of the same gender.
As in the verses of So as Not to Say That I Didn't Talk About Flowers, by Geraldo Vandré:
“There are armed soldiers, loved or not / Almost all lost with weapons in hand”
The song, an anthem of resistance and fight for equal rights, reminds us that
the real battle is for freedom and justice for all. By expanding the possibilities
of representation in narratives, we pave the way for a world where each
individual can be recognized in his/her complexity, free from stereotypes that
imprison. After all, as the song also says:
“Those who know make the time, they don’t wait for it to happen.”
This text is the responsibility of the author and does not necessarily reflect the opinion of H2FOZ.
Want to share your opinion? Send your article to the email portal@h2foz.com.br
