Relevant bibliographies by topics / Disney's The Little Mermaid

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Academic literature on the topic 'Disney's The Little Mermaid'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Disney's The Little Mermaid"

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Nur Iman, Asrul, Dzakiyyah Dzikraa Paokuma, Elsa Hidayati, and Silvi Ramawati. "The Little Mermaid: Equality of Race and Skin Color to Criticism of Disney Film Fans on Twitter." Dinasti International Journal of Education Management And Social Science 5, no. 6 (2024): 2430–38. https://doi.org/10.38035/dijemss.v5i6.3225.

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The animated film The Little Mermaid, adapted by Walt Disney in 1989, is a heartwarming tale about a mermaid named Ariel who falls in love with a prince. Social media users, mainly young adults, have noticed that the film touches on issues related to race and ethnicity. This study utilizes a content analysis method with a qualitative approach to explore the messages of equality that Disney conveys through the film. By examining fan comments, scenes, dialogue, and various forms of media such as images and text, we tried to uncover how Disney promotes equality in The Little Mermaid. Based on fin
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Kapurch, Katie. "Once Upon a Fishtail in Aquamarine, an Ecofeminist Fairy Tale: Mermaids as Water Girls from the Nineteenth Century to Twenty-First-Century Disney." Interdisciplinary Literary Studies 26, no. 3 (2024): 320–54. http://dx.doi.org/10.5325/intelitestud.26.3.0320.

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ABSTRACT Guided by ecofeminist philosophy and fairy tale criticism, this article theorizes the metaphorical potency of mermaids via Alice Hoffman’s Aquamarine (2001). The novella narrativizes mermaids’ twined applicability to girlhood and the environment while resisting Disneyfied depictions of wish fulfillment. Although Hoffman actively distances her fishtailed water girl from Disney’s source, Hans Christian Andersen’s 1837 fairy tale, she recovers the little mermaid’s folkloric predecessors, the fairy Melusine and the water nymph Undine. Allusions to and divergences from this identifiable me
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Hastings, A. Waller. "Moral Simplification in Disney's The Little Mermaid." Lion and the Unicorn 17, no. 1 (1993): 83–92. http://dx.doi.org/10.1353/uni.0.0281.

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Lailiah, Alfia Rismatul. "Positive Gender Responses to Hate Speech of ‘The Little Mermaid’ on Twitter." Language Horizon: Journal of Language Studies 11, no. 2 (2023): 19–26. http://dx.doi.org/10.26740/lh.v11n2.p19-26.

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Hate speech indicates hatred, prejudice, or discrimination toward individuals or groups due to appearance, race, religion, etc. Hate speech quickly occurs on social media; everyone can be the victim, like Disney posted about Little Mermaid on Twitter. People filling the comment section of Disney posted with the reactions, including hate speech and positive responses toward Halle as the character of Ariel. This study aims to find the different positive responses of women and men toward hate speech using women's and men's language features, stereotyped language that appears in a positive respons
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Huang, Zhenqi. "Disney's Approach to Racial Representation: Superficial Changes or Genuine Cultural Engagement?" International Journal of Education and Humanities 15, no. 1 (2024): 200–202. http://dx.doi.org/10.54097/7c6xc606.

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This paper explores Disney's approach to racial representation in its films, focusing on whether changes are superficial or reflect genuine cultural engagement. Using Stuart Hall's theory of encoding and decoding, this study examines the impact of character changes in "The Little Mermaid" (2023) on cultural representation.
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Pressman, Jessica. "Hooked on Mermaids." Minnesota Review 2023, no. 101 (2023): 113–22. http://dx.doi.org/10.1215/00265667-10770219.

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This article is part reflection on how academic disciplines can stymie creative scholarship and part critical effort to break out of that orientation to reclaim the author’s personal passion for mermaids as subject for scholarly analysis. Pressman argues that contemporary mermaid literature has much to tell us about our most pressing social, cultural, and political issues. This article takes as its starting point the racist backlash over Disney’s 2019 casting announcement for its 2023 feature film and the 2020 antiracist graffiti on The Little Mermaid statue in Copenhagen as the complex site f
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Griszbacher, Norbert, Ildikó Kemény, and Ákos Varga. "Echoes of Our Favourite Childhood Figures." GiLE Journal of Skills Development 2, no. 2 (2022): 51–72. http://dx.doi.org/10.52398/gjsd.2022.v2.i2.pp51-72.

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Since its founding, Disney has become the symbol of values such as joy, magic, entertainment, and family in our lives through loveable stories, characters, and unique experiences. Disney also has had a significant impact on youth culture with its ability to appeal to universal human experiences through its versatile character portfolio. Disney's recent tendency to reproduce their earlier success in modern adaptations (e.g., The Little Mermaid and Snow White coming in 2023) is the focus of this paper. It aims to examine the influence of Disney's representation of the mechanisms of our world on
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Putri, Zalfa Melanie. "Perbandingan dalam Film Animasi The Little Mermaid (1989) dan Versi Adaptasi Live-Action The Little Mermaid (2023)." Syntax Idea 5, no. 6 (2023): 612–20. http://dx.doi.org/10.46799/syntax-idea.v5i6.2374.

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Animated films are one of the most popular children's literature, various themes and genres of animated films are certainly like friends for children. This study aims to analyze the comparison in an animated film and its adaptation work qualitatively and comparative in the overall exposure of the animated film The Little Mermaid (1989) and The Little Mermaid (2023) live-action produced by Disney with the musical-fantasy genre, where this study focuses on the transformation (alih wahana). An animation that is made into a live-action certainly experiences differences in terms of addition, reduct
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G'Sell, Eileen. ""Wandering Free, Wish I Could Be . . .": Ambition, Art, and Nostalgia in Disney's The Little Mermaid." Hopkins Review 16, no. 4 (2023): 159–66. http://dx.doi.org/10.1353/thr.2023.a911585.

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Avissar, Ariel. "Under the sea." Teknokultura. Revista de Cultura Digital y Movimientos Sociales 21, no. 1 (2024): 95–96. http://dx.doi.org/10.5209/tekn.90515.

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This video applies a deformative logic to images taken from Disney’s The Little Mermaid (1989), connecting them intertextually with the film Under the skin (2013), which provides the music for the piece. It thus highlights and accentuates the violent, rageful gender dynamics of The Little Mermaid, reimagining it as a nightmarish scene of body horror and female subjugation.
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Dissertations / Theses on the topic "Disney's The Little Mermaid"

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Polanco, Raquel. ""He's a Human, You're a Mermaid": Narrative Performance in Disney's The Little Mermaid." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc30429/.

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Disney animation represents a powerful source of economic and cultural production. However, following the death of Walt Disney, the animation division found itself struggling to survive. It was not until the 1989 release of the hugely successful animated film The Little Mermaid that Disney would reclaim its domination among children's cultural producers. Additionally, The Little Mermaid inaugurated a shift in Disney's portrayals of gender as the company replaced the docile passive princess characteristic of its previous animated films with a physically active and strong willed ambitious heroin
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Batchelor, Jenna Lynette. "Representations of camp in Disney's 101 Dalmatians and The little mermaid." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/batchelorj/jennabatchelor.pdf.

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Do, Rozario Rebecca-Anne Charlotte. "Disney animated and theatrical musicals : interpreting the magic from The little mermaid to The little mermaid." Monash University, Centre for Drama and Theatre Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/5660.

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Sharp, Ashli A. "Once Upon a Time in a Single-Parent Family: Father and Daughter Relationships in Disney's The Little Mermaid and Beauty and the Beast." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1630.pdf.

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Thesis (M.A.)--Brigham Young University. Dept. of Humanities, Classics, and Comparative Literature, 2006.<br>Colored illustrations in electronic copy only. Includes bibliographical references (p. 136-142).
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Lindqvist, Elias. "På egna ben : En genusvetenskaplig analys av huvudrollerna i The Little Mermaid och Kiki’s Delivery Service." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413124.

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Synen på vad som utgör den så kallade starka kvinnliga karaktären har varit objekt för förändring, vilket kan synliggöras bland annat via filmmediet. Syftet med studien är att granska och jämföra två tecknade kvinnliga protagonister utifrån ett genusvetenskapligt perspektiv. Metoden för studien utgörs av två genusvetenskapliga modeller som kategoriserar manligt och kvinnligt beteende, samt semiotisk bildanalys. Materialet består av Disneys The Little Mermaid och Studio Ghiblis Kiki’s Delivery Service. Resultatet visade att karaktärerna uppvisar liknande personliga egenskaper, då de båda är vac
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Martín-Castaño, Mónica. "Translating Disney songs from The Little Mermaid (1989) to Tarzan (1999) : an analysis of translation strategies used to dub and subtitle songs into Spanish." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/91531/.

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The area of audiovisual translation indisputably awakens a growing interest amongst scholars. However, the study of the translation of songs in an audiovisual context (AVC) has not been thoroughly explored. The purpose of this research is to offer a descriptive analysis on the area of translating songs (from English into Spanish) in an AVC. In particular, the research focuses on the translation of the songs included in nine animated Disney films from the Disney Renaissance Period (1989-1999). The study assesses how non-linguistic elements such as rhyme, rhythm, images or lip synchrony affect t
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Lewis, Alicen M. "Fish Out of Water: A Transmedia Adaptation of The Little Mermaid." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/601.

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Fish Out of Water: A Transmedia Adaptation of The Little Mermaid is a critical examination of how by using transmedia approaches to storytelling we are able to make characters with less common background more relatable. In this project the story of Maria, a first generation student, is told through the mediums of vlogs, blog posts, tumblr, and twitter.
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Wang, Yi-Han. "Cinderella or Little Mermaid? : transition stories and changing identities of foreign wives in Taiwan." Thesis, University of York, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444748.

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Mostert, Linda Ann. "Feminist appropriations of Hans Christian Andersen's "The little mermaid" and the ways in which stereotypes of women are subverted or sustained in selected works." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1371.

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According to Lewis Seifert, “Fairy tales are obsessed with femininity … These narratives are concerned above all else with defining what makes women different from men and, more precisely, what is and is not acceptable feminine behaviour” (1996: 175). This study, then, will demonstrate how certain patriarchal ideas associated with fairy tales are disseminated when fairy tale elements are reworked in film, visual art and the novel. The aim of this project, more specifically, is to show how certain stereotypical representations of women endure in works that could be read as feminist appropriatio
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Seller, Lori. "Why the Little Mermaid stopped singing: how oppressive social forces silence children's voices, and rob them of the opportunity to develop and exercise autonomy in the health care context." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=94946.

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The “new sociology of childhood” replaces the historical notion of children as inherently vulnerable, helpless and in need of protection, with a perception of children as capable of competent, autonomous, social participation. Although this new sociological perception underlies current children's rights literature, Canadian common law, and important Canadian pediatric health care guidelines, children's autonomy in health care contexts remains easily denied or subverted in favour of adult conceptions of their best interests. In order to try to understand why, I use a feminist, relational appro
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Books on the topic "Disney's The Little Mermaid"

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Little, Jean. Disney's The little mermaid. Western Pub. Co., 1994.

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Liberts, Jennifer. Disney's The little mermaid. Random House, 2001.

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ill, Heinzen Kory, and Yamada Kenny ill, eds. Disney's The little mermaid. Mouse Works, 1997.

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ill, Marvin Frederic, ed. Disney's The little mermaid. Disney Press, 1992.

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ill, DiCicco Sue, and Walt Disney Company, eds. Disney's The little mermaid. Golden Books Pub. Co., 1999.

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illustrator, Hicks Russell, ed. Disney's The little mermaid. Western Pub., 1995.

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Balducci, Rita. Disney's The little mermaid. Western Pub. Co., 1993.

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McCafferty, Catherine. Disney's The little mermaid. Mouse Works, 1998.

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Braybrooks, Ann. Disney's the little mermaid. Disney Press, 1997.

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Birney, Betty G. Disney's The little mermaid. Western Pub. Co., 1992.

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Book chapters on the topic "Disney's The Little Mermaid"

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Wesseling, Elisabeth. "Chapter 2. Transcorporeality in 21st-century mermaid tales." In Children’s Literature, Culture, and Cognition. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.16.02wes.

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This chapter takes its cue from the dominant presence of the mermaid trope in 21st-century media culture. It opens with a sampling of contemporary mermaid figurations, which are driven by the desire to break out of the Romantic paradigm as shaped by Hans Christian Andersen’s The Little Mermaid and its various Disney adaptations. This paradigm is premised on a heteronormative love plot, with a rigid gender binary and a persistent emphasis on the superiority of humans over more-than-humans. In 21st-century adaptations, it is the other way around, but a mere reversal of a hierarchy does not suffi
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Rousu, Matthew C. "The Little Mermaid." In Broadway and Economics. Routledge, 2018. http://dx.doi.org/10.4324/9781315168364-79.

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Hurley, Nat. "The Little Transgender Mermaid: A Shape-Shifting Tale." In Seriality and Texts for Young People. Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137356000_14.

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Baker, Samuel. "“The Forsaken Merman,” “The Little Mermaid,” and early modernism." In The Aesthetics of the Undersea. Routledge, 2018. http://dx.doi.org/10.4324/9780429444203-8.

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Meimaridi, Maggie. "“Et max laryngitis”: Silencing the Siren in The Little Mermaid." In The Philosophical Power of Fairy Tales from Around the World. Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-60373-0_8.

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Wilson, Bernard. "Mutilation, Metamorphosis, Transition, Transcendence: Revisiting Genderism and Transgenderism in The Little Mermaid Through Gake no Ue no Ponyo." In Asian Children’s Literature and Film in a Global Age. Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2631-2_6.

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Lauritsen, Thevakorn K., Delan Kasim Ali, Niklas Fruerlund Jensen, Irene Ubieto Alamillo, and Thomas Bjørner. "How to Engage Young Adults in Reading H. C. Andersen’s Fairy Tale the Little Mermaid, Through a Serious Game." In Lecture Notes in Computer Science. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-63464-3_28.

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Kessler, Kelly. "Haven’t I Seen This Somewhere Before? The Little Mermaid Live!, Content Cannibalization, and Disney’s Television Legacy." In The Oxford Handbook of the Disney Musical. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197633496.013.25.

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Abstract This chapter explores both how The Little Mermaid Live!—Disney’s first foray into the twenty-first-century live television musical—differed stylistically from earlier live television musicals of the 2010s such as Grease Live! and Hairspray Live! and how its hybrid format, one using generous chunks of Disney’s 1989 film of the same name, was perhaps fully predictable in the context of Disney’s prior sixty years on the small screen. From its placement on the Disney-owned ABC network to its self-promoting advertising spots to its hybrid format, The Little Mermaid Live! was classic Disney
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Lescher, Mary E. "Shutting Down the Studio (2000–2004)." In The Disney Animation Renaissance. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044779.003.0006.

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By chapter 5, computer-generated imagery has led to the end of the Disney Renaissance. This chapter heralds the passing of the second golden age, marked by the upheaval of Disney’s executive board, and illustrates the continuing development in technology by examining the Florida studio’s other theatrical releases, Lilo and Stitch (2002) and Brother Bear (2003). By the time the Florida studio closed, almost fifteen years after the premiere of The Little Mermaid, traditional hand-drawn animation production had all but ceased at Disney, and CGI was regarded as the cutting edge in feature film ent
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Bádue, Alex. "“There May Be Something There That Wasn’t There Before”." In The Oxford Handbook of the Disney Musical. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780197633496.013.26.

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Abstract This chapter demonstrates the dramatic functions that new songs composed for Disney’s Broadway musicals acquire and the character development that they promote when film musicals are adapted to stage productions. It examines the new songs based on three categories: new songs for the protagonists, new songs for the villains, and new songs that enhance the characterization of supporting female characters. Representative cases come from Disney stage musicals that played on Broadway from Beauty and the Beast (1994) to Frozen (2018), including The Lion King (1997), Tarzan (2006), Mary Popp
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