Once upon a time snow white and other two face women

Bruno, the hunter, used his camera to realize the stepmother's dream. Someone, finally, would fulfill the sentence: to kill Snow White. He saved the girls from their destiny as dupes.

The b
eautiful, white, submissive and two-faced heroine now belongs once and for all, to "once upon a time". The technical image that was born with photography in the days in which Snow White belonged to the realm of the imagination to serve moral values, today comes to save us from the myth, ending once and for all the fantasy of redemption for the pretty little girl who is saved because she's enslaved and is enslaved because she's pretty.

he others, Little Red Riding Hood, Alice and whoever else is around can go alongside.
Perhaps Bruno Vilela does not imagine the revolution he has just promoted. Vilém Flusser, author of Filosofia da Caixa Preta, affirmed that the photographer is always a hunter. We cannot waste the analogy between hunter and photographer in the light of the work that we see here. Its soul, the camera, confirms the link between the imaginary and the real,
between the prod
uction of the image and the way in which women can see themselves from now on. Feminism is grateful. Likewise, beyond feminism, are all those who know the power of production of the image in the construction of subjectivity. It is a punch in the stomach of the show. Bruno Vilela put an end to the myth of the pretty little girl, who needs a man to stay alive, be he in the form of a group of dwarves who exploit their capacity for domestic work, or be he the prince who takes dead beauty on board in his marriage programmed.

Who would have the courage to tell children the tale of the good girlies, the orphan heroines? From the submissive girl to the wickedness of the stepmother who denies maternity and succumbs to vanity; of the one who temporarily loses the only place in the world she desire, that of the princess, to later recover it in the grandeur of the status of wife and queen. Who could tell of the girl who lives from the magic effect of marriage? Or the one saved by the little forest animals, by the group of generous and frightened dwarves; of the girl who is given to romanticizing; the one who is ignorant of the dangers of the forest; of the one who is unaware of a wolf’s cunning? Who would have the courage to tell that the hunter tired of his pitiful role that the bodyguard of the meek girls no longer wants to hear lies, of an imagination that serves ideologies? The heroines' hunt favours another reality.
And now, can it be that Bruno will pay a high price for mercilessly exposing these truths in front of our eyes that do not wish to see them?

Márcia Tiburi

english version: Milena Durante