Yggdrasil's WN Library


Snow White and the Seven Dwarfs


A White Nationalist Classic.

I have watched a number of Disney animated features intended for children.

The messages in these films are so clear and so overpowering that it is a wonder none of the volunteer reviewers on Amazon see them.

But they don't, and I suppose it is just as well.

Five are White Nationalist Classics. These are Snow White, Cinderella, Sleeping Beauty, Pinocchio, and Fantasia. Several others make the list but fall short of the WNC class.

None of these feature-length animated films deals with race or race conflict, so then why do any of them merit the WNC classification? The answer is that they encourage the other side of the WN coin, the code of amity, or broadly speaking, the behaviors and attitudes necessary to keep the group's cradle full.

The importance of these films is best illustrated by the very first Disney feature length animated movie - Snow White and The Seven Dwarfs - produced in 1937.

The story line is taken from one of Grimm's Fairy Tales. Snow White is a princess who, at the end of the story, marries her handsome prince. However, "Snow White" is not really a romance. She interacts with the Prince for only about two minutes, once at the very beginning of the movie and a minute or so at the end. Love and life-long commitment are automatic in this Movie. The fact of romance needs no development whatever and gets none. It is instinctive and instantaneous.

Thus, in order to find out what this movie is really about we must observe Show White's actual conduct - what does she spend her time doing in this film? And once we focus on exactly what Snow White spends her time doing, we see that if Snow White were a real princess, then she would be a most unusual one indeed.

When we first see her she is dressed in a plain torn skirt humming contentedly as she scrubs the steps of the Castle. Once in the forest, she finds the house of the Seven Dwarfs and notices that it is a filthy mess. She sets about merrily and lovingly washing dishes and cleaning the house with the help of her animated animal friends. Once the dwarfs discover her in their house, she cooks their dinner and affectionately asks them to bathe first - something the dwarfs apparently have not done in months, if ever.

Thus, Snow White brings to these seven diminutive miners the bare minimum of sanitation and civilization - regular baths, a clean house and clean dishes, and regular meals. And she does it cheerfully with her own labor.

She cooks their breakfast and kisses each one tenderly on the forehead as they go off to work. When they come home, she greets them affectionately at the door and has dinner ready.

Snow White is a selfless, sweet, maternal homemaker. She displays all of the peasant virtues. The message of Grimm's fairy tale as well as Walt Disney's movie is that the cheerful labor that goes into making a home and raising babies is the true royal quality, and it is that quality which ultimately merits the love of a handsome prince.

Of course, it has been at least 800 years since a European royal has actually swept a floor or washed a dish. But what Grimm and the European parents who bought his books recognized is that certain attitudes toward work and sacrifice were necessary in order for our race to survive and increase over generations.

In this modern age, our daughters have become so skilled at manipulating mom and dad into maid and butler service that they never wash dishes or do the laundry. The cohesion of the family dinner has given way to our fractured schedules and the isolation of the microwaved TV dinner. Parents leave the piles of dirty clothing which we find strewn all over our daughters' bedroom floors in hopes that they might someday clean up their own mess, but they never do. For some strange reason, the boys seem to do a slightly better job of picking up after themselves.

When they finally do move out of the house, their apartments are such a dreadful mess - and the sink and dishwasher are so jammed with months-old dirty dishes - that they never entertain friends at home, but feel compelled to frequent bars and restaurants for social interaction, falling head over heels into credit card debt, and losing a significant advantage which territorial boundaries can provide in maintaining standards in the mate selection process.

The basic building blocks of civilization celebrated in Snow White are melting away before our eyes.

Under the current cultural regime, only those with the most powerful instincts will be able to make the sacrifices necessary to form stable relationships and to raise children. As the gentle restraints and pressures of civilized norms crumble, huge numbers will succumb to their own self absorption, their lack of behavioral restraint, and their disdain for labor. They will leave no traces of their presence on this earth in the next generation.

Snow White lives to make life bright, cheerful and clean for all those around her, no matter what circumstances she may be placed in by others. She is the model of the female role you will see in re-runs of the 1950's family television series like The Donna Reed Show, Ozzie and Harriet, and Father Knows Best. It is the behavior which so infuriated the inner party critics of our culture, most famously Susan Sonntag who railed against the suburbs in the early 1960s as "Christian breeding grounds."

The modern hatred of all that Snow White represents shows up clearly in the 2004 remake of "The Stepford Wives." And it is this hatred which commands our unwavering allegiance to Snow White and the Seven Dwarfs.

Perhaps the best way to demonstrate the uniqueness and importance of Snow White is to contrast that movie with a more recent Disney effort at exploiting the apparently instinctive desire of little girls to find their "handsome prince."

The 1990 animated piece entitled "The Little Mermaid" follows the same broad outline.

However, when we examine the behavior of The Little Mermaid, we see a young girl who is completely self absorbed. She routinely disobeys her father and the rules of her society. She is willful and headstrong. She fails to show up at music rehearsals and performances, inconveniencing others. She manipulates those around her to get her way, and she is vain about her appearance. Finally, she abandons her family, her friends and her race - all those who should be most dear to her - never to see them again, so that she can become a human and marry her prince. She would never dream of cleaning the house or washing dishes.

I should note in passing that the typical Christian viewing "The Little Mermaid" would look for an abstract conceptual formula - marriage with no pre-marital sex - and conclude that The Little Mermaid is a "Christian friendly movie." However, the little mermaid's actual behavior is pure poison and profoundly anti-Christian. The little mermaid displays none of the behaviors which indicate a capacity for making the kinds of sacrifices necessary to stay married or to undertake the drudgery involved in caring for and cleaning up after children - or even to show up at feeding times. In fact, the movie glorifies the opposite behaviors.

The Little Mermaid is particularly seductive because it gets the aesthetic exactly right - the prince in that movie is a robust, aggressive, attractive and unambiguously white male - exactly the kind you would want your daughter to marry. And aside from her fish tail, the Little Mermaid is a very attractive and unambiguously white girl - one who wins the ultimate prize despite her behavior.

The message to Christians is clear. Focus on the behaviors which are being encouraged and celebrated in a film - and do not apply formulas based on conceptual abstractions or theological formulas. Hollywood can easily cripple your children by producing movies that conform to your conceptual abstractions, while encouraging behaviors and conduct which are wildly destructive of your childs ability to form a stable family.

Snow White and the Seven Dwarfs also established the pattern of demonstrating a single female's maternal qualities through her interactions with animated animals. Snow White's animated animal friends all serve as child substitutes - allowing her to display all of those qualities which add up to fitness for motherhood. Disney repeats these kinds of interactions to the same effect in Cinderella and Sleeping Beauty.

Snow White had a profound influence on other movies.

For example, you can see Snow White's behavior toward animals exhibited by Ava Gardner in the John Ford masterpiece, "Mogambo" (1953) - a romance set in Africa also starring Clark Gable and Grace Kelly. The good hearted prostitute - one suited for marriage - is one of Hollywood's favorite themes. In "Stagecoach" (1939) John Ford has John Wayne's love interest display her maternal qualities with an actual baby born to another passenger. In Mogambo, John Ford has Ava Gardner's character demonstrate maternal qualities by mothering a baby elephant - a rough one who knows what he likes and grabs it (and Ava Gardner had lots to grab) and tosses her in the mud several times. Through it all Gardner remains true to Snow White's tender behavior, imitating her gestures and mannerisms as well as the inflection and tone of her voice. The similarity to the animated classic is uncanny. In these scenes, Gardner's character demonstrates that she is just an ordinary farm girl who has temporarily gone astray, with all the maternal peasant virtues of Show White.

Contrast the development of the "good hearted prostitute theme" in John Ford's classics with a more recent effort - "Pretty Woman" - in which we see no maternal qualities at all. Rather, we see behaviors which bespeak fitness for shopping, and fitness for tasteful selection of fashions appropriate to the role of high class, childless and relatively monogamous courtesan - a conception of the role of wife that is quite popular in Hollywood these days. The behaviors we see in "Pretty Woman" are those which display fitness for passing the time pleasantly as our race drifts toward extinction.

Conceptual abstractions and theological formulas are unreliable guides for judging whether a movie is good for your children. Movies, like church going, teach us very specific behaviors. Thus it is the behavior being promoted that counts. Little else matters.

You are what you watch.

Yggdrasil-


Back

Design © 2005 Yggdrasil. All rights reserved. Distribute texts freely.