Mountain Witches: Yamauba by Noriko Tsunoda Reider (review)

Abstract

tion as well as fairytale studies at large, which rarely addresses issues of ableism. The third section, “Posthuman and Posttruth Cinderellas,” begins with a posthumanist take on Cinderella with dragons and cyborgs in Rachel L. Carazo’s “Dragons, Magical Objects, and Social Criticism” and Alexandra Lykissas’ “Cyborgerella.” Ryan Habermeyer’s “Once Upon a Time in NaziOccupied France” concludes the final section with a shift to posttruth. He specifically positions the film Inglourious Basterds (2009) in the growing posttruth culture surrounding Brexit and Donald Trump’s presidency. As Woltmann states in the introduction, this collection does not intend to engage with the traditional folkloric, deep historical, or psychoanalytic approaches used in folklore or fairytale studies. Rather, this collection creates a wideranging social history for recent Cinderella adaptations, making it especially useful for classes or research that address film and television adaptations of fairy tales. As with similar studies, the scope of this study is as much a drawback as it is a necessity. However, the diversity of perspectives and adaptations add to recent conversations about Cinderella as two new film adaptations of this fairy tale premiere this year. Woke Cinderella is an engaging read that juxtaposes an equal number of experienced scholars with new voices in fairytale studies, highlighting the continued power and relevance of this fairy tale today.