During the scene in which the children lick the allegedly candy-flavored snozberry wallpaper in the chocolate factory, it was really flavored like an old Irish playwright's. So, it's "all there, in black and white, clear as crystal," as Wonka would say. "I grabbed hold of his snozzberry and hung onto it like grim death and gave it a twist or two to make him hold still.' 'There's only one way when they get violent," Yasmin said. "'How did you manage to roll the old rubbery thing on him?' The article then goes on to explain that the term 'snozzberry' comes up when Yasmin Howcomely recounts her (obviously fictional) experience with playwright George Bernard Shaw: The witty and disgusting story revolves around Oswald Hendryks Cornelius, the titular uncle and 'greatest fornicator of all time.' Along with his sexy accomplice Yasmin Howcomely, he devises a complicated get-rich-quick scheme that involves Howcomely seducing Europe's most famous men and then selling used condoms full of their spent semen to women wishing to birth famous progeny." "Dahl decided to revisit snozzberries in his adult novel My Uncle Oswald. The film (and its literary namesake) existed a good eight years before Oswald came out, but as it turns out, "snozberries" always had a special place in the heart (and crotch) of Dahl's comedic vision. He just decided to use the term in two drastically different contexts. According to Cracked: Through heavily relying on primary and secondary sources dealing with the classics of Disney, the current research endeavors to offer a qualitative analysis of the stereotypes filling Disney’s classics and to establish a link between the latter classics and American culture as well as the widespread media forms in the US.Author Roald Dahl was brilliantly witty, and no stranger to lewd humor. One of his most famous acts of ribaldry involved a plot detail from his adult novel My Uncle Oswald sneaking into 1971's Willy Wonka & the Chocolate Factory (which was, of course, based on his equally beloved series of books). An additional objective of the present study is to shed light on the gender stereotypes omnipresent in Disney’s classics as well as on their negative impact on women and on the paramount role these stereotypes play in shaping American culture. The current research also seeks to prove that the stereotypes permeating Disney’s classics seem to market and promote ideals like cultural imperialism and white privileging, thus victimizing minority groups due to the various ethnic stereotypes they include. This study examines how the gender and ethnic stereotypes embedded in Disney’s classics serve as symbols of their times and stand witness to cultural trends like consumerism, patriarchy, the Sexual Revolution, the Women’s Liberation Movement, the melting pot ideology and multiculturalism. As a result, these classics turn out to be a teaching tool for children and a major means of shaping child culture, and consequently American culture. Viewers of Disney’s classics, which are chiefly children, are deeply affected by the gender and ethnic stereotypes encompassed in the classics. Such fact accounts for the success of Disney’s classics which have become box-office hits, garnering millions of dollars for their production company and serving as a source of inspiration for Americans. Classics such as Snow White and the Seven Dwarfs, Cinderella, Mulan, Pocahontas and others, despite being inspired from universal fairy tales and folk tales, have been molded by the Disney Corporation in order to fit into the American culture. From the days of its inception by Walt Disney, the Disney Company has been known for its classical films.
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