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van, Dam Bianca. "Disney's Fashionable Girls : Signs and symbols in the costume dress of Disney's female characters." Thesis, Stockholms universitet, Centrum för modevetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-105532.
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Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.
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Davis, Amy Michele. "Disney's women : changes in depictions of femininity in Walt Disney's animated feature films, 1937-1999." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/1382007/.
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The animated films of Walt Disney have played an important role in American culture. Most Americans, either during childhood or adulthood, have been exposed to at least some of them. The films themselves have, in some respects, reflected American society and culture. They may also, at least to some extent, have influenced them. As academic scholarship on the history of Hollywood film has grown, various aspects of Disney's influence and cultural position have likewise come to be the focus of study. In recent decades, also, there has been a continually greater interest in the role of women in American society and how that role is constructed. Uniting both these scholarly interests, this thesis analyses how Disney films depict femininity, and the ways in which such depictions correspond with those in the larger arena of Hollywood film. To make these issues more comprehensible, it describes the beginnings of animated film in the United States, together with the early career and works of Walt Disney. In order to cast light on the manner in which such portrayals have changed over time, the films examined are analysed in relation to three particular time periods: 193 7-67, 1967-89, and 1989-99. By examining the depictions to be found within individual films, and comparing these depictions both with one another and with selected live-action, mainstream Hollywood films of the same eras, a better understanding of the make-up of the Disney films as a body of work is achieved, and a corrective offered to some of the misconceptions of Disney to be found within American society in general.
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Harrington, Sean. "Walt Disney's world : homunculus, apparatus, utopia." Thesis, Brunel University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573595.
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This text seeks to provide an account of the subject as a consumer of mass-media. As such, the contemporary consumer must interact with corporate entities as socio-cultural institutions that enable a self-administration of gratification. The case under discussion is that of the Walt Disney Company, which is perhaps the most iconic purveyor of consumable media in the world. It is argued that the Walt Disney Company is structurally perverse, that the gratification of the Disney consumer is achieved at their expense, and that this expense is to the benefit of Disney commercially and structurally as a major socio-cultural institution. This text makes use of Lacanian psychoanalytic theory, film and cultural studies, and the industrial-organisational history of the Walt Disney Company to create an account of the subject's interactions within the apparatus of Disney media. The account of consumerism constructed within this text is organised by a synthesis of several theoretical constructs: the animated homunculus, the regressive cinematic apparatus and the Disney consumerist utopia. The homunculus refers to a point of contact for the subject's gratification. It is a fetishistic device used in animated films to create a focal point for the viewer's desire and identifications. This operates within the subject's relation to the screen as apparatus, which in the case of Disney is demonstrated to be regressive in its narrative structure and stylistic content. The regressive pleasures of Disney media support a system and economy of gratification that crystallizes in Disney as a commercial entity. The ideological and structural core of the Disney entity is demonstrated to be a utopian vision of consumerism and self-administration of gratification. The creation of socio-cultural structures that enable the subject to self-administrate their gratification is shown to be related to the problem of addiction; a dependency on consumables and consumption itself. Together these concepts create a holistic account of Disney as an object of study, as both commercial entity, visual medium and cultural institution.
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Pisha, Nicolette Lucinda. "Anime in America, Disney in Japan: The Global Exchange of Popular Media Visualized Through Disney's "Stitch"." W&M ScholarWorks, 2010. https://scholarworks.wm.edu/etd/1539626617.
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Kirkpatrick, Stephanie R. "The Disney-fication of disability the perpetuation of Hollywood stereotypes of disability in Disney's animated films /." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1248051363.
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Thesis (M.A.)--University of Akron, School of Communication, 2009.<br>"August, 2009." Title from electronic thesis title page (viewed 10/14/2009) Advisor, Mary Triece; Committee members, Therese Lueck, Carolyn Anderson; School Director, Carolyn Anderson; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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Tonn, Theresa. "Disney's influence of females perception of gender and love." Online version, 2008. http://www.uwstout.edu/lib/thesis/2008/2008tonnt.pdf.
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Eidt, Stephanie A. "Disney's Animated Animals: A Potential Source of Opinions and Knowledge." Malone University Undergraduate Honors Program / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ma1467902314.
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Burchfield, Amy Elizabeth. "Going the Distance: Themes of the Hero in Disney's Hercules." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/4291.
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Disney's Hercules is an apt modern reception of the ancient mythology of Herakles, acknowledging ancient and modern sources surrounding three types of classical hero: the archetypal hero, influenced by the ideas of Joseph Campbell; the Pan-Hellenic hero, distilled from ancient Greek exempla of heroism from epic and other genres of ancient literature; and the tragic hero, inspired by the heroic criteria presented in Aristotle's Poetics. By adapting these heroic types from their traditional ancient source myths, Disney's Hercules produces a new, contemporary definition of heroism—one informed by modern, Western family values. This adaptation renews the power of the myth of Herakles for a modern era, whose image and characteristics have been changed and adapted since ancient times to suit each receiving culture's conception of true heroism.
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Folkins, Claire. "Disney's girl next door exploring the star image of Annette Funicello /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143408809.
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Potgieter, Liske. "Deconstructing Disney's diva: a feminist psychoanalytic critique of the singing princess." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/3379.
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This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.
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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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Leventi-Perez, Oana. "Disney's Portrayal of Nonhuman Animals in Animated Films Between 2000 and 2010." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/81.
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This paper used the constant comparative method to examine the 12 animated features released by Disney between 2000 and 2010 for: (1) their representation of nonhuman animals (NHAs) and the portrayal of race, class, gender, and speciesism within this representation, (2) the ways they describe the relationship between humans and NHAs, and (3) whether they promote an animal rights perspective. Three major themes were identified: NHAs as stereotypes, family, and human/NHA dichotomy. Analysis of these themes revealed that Disney’s animated features promote speciesism and celebrate humanity’s superiority by justifying the subordination of NHAs to human agency. Furthermore, while Disney’s representation of NHAs remains largely anthropocentric, most of its animated features do not reflect the tenets of animal rights.
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Nelson, Andrew Kelly. "José, Joe, Zé Carioca: Walt Disney's Good Neighbor Colonial "Monument" in Brazil." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6246.
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Although Walt Disney's early animated feature films were successful, a variety of economic, operational, and external forces required him to continually be on the cutting edge of new ideas and technologies in order for his studio to continue operations. Latin America became the studio's source of inspiration in the early 1940s, sprouting from Walt Disney's involvement with the Office of the Coordinator of Inter-American Affairs. Saludos Amigos and The Three Caballeros were the result. While many critics have decried Disney's involvement in Latin America as being an apparatus of cultural imperialism and economic exploitation, they almost universally give him credit for his pursuit of cultural authenticity within the films. They are, however, sparing in what ways such was done and are reticent in declaring that he fulfilled that quest. As one who was involved politically and economically in the shaping of a nation, with his enterprise benefiting as a result, Walt Disney can in fact be seen as a colonial, imperial power. Within Brazil, José Carioca was the "monument" he erected to that end. Unlike full-fledged colonial figures in earlier centuries, however, his "monument" was overall friendly and was not based on the image of a sovereign leader, but a character that was intended to be seen as native. Where Disney was bound by the interests of the government he represented, and consequentially the Brazilian government, his "monument" was imbued with hues that were inherently skewed toward those entities; however, he worked within those parameters to present a credible image. This thesis seeks to substantiate those ways and how the original monument-like figure Disney erected in the Brazilian public square, the image of José Carioca in Saludos Amigos and The Three Caballeros, led to unity—and not division—as most imperial monuments had done in earlier centuries. A possible explanation as to how Disney's multiple nuanced iterations of the character leads to such critique of the original "monument" will also be provided.
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Batchelder, Daniel Lev. "American Magic: Song, Animation, and Drama in Disney's Golden Age Musicals (1928-1942)." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1523442817785887.
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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 heroine. Grounded in an understanding of Disney's cultural significance as dominant storyteller, the present study explores gender in The Little Mermaid by means of narrative performativity. Specifically, I analyze the film's songs "Part of Your World," "Under the Sea," and "Poor Unfortunate Souls" as metonymic narrative performances of gender that are (1) embodied, (2) materially situated, (3) discursively embedded and (4) capable of legitimating and critiquing existing power relations.
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Belli, Bianca. "The Facets Of Representation. A Study On Race and Gender Binaries in Disney's Zootopia." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13764/.
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Animation movies have long been praised and criticized for the implicit representation they make of human society and its values, and how these representations might affect younger people, their main audience. Disney and Pixar are the two main contributors to this tradition and have recently started to include a more varied representation of ethnicities and less gender-based stereotypes. We will thus study how their "most subversive" movie, Zootopia, represents the interrelation among race, sex and gender.
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Jacobs, Howard. "Animated enchantment : a psychoanalytic exploration of the enduring popularity of Disney's first feature films." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/6859.
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In this thesis I explore reasons for the widespread and enduring popularity of Disney’s first feature-length films (Snow White and the Seven Dwarfs (1937), Pinocchio (1940), Dumbo (1941) and Bambi (1942)). While acknowledging the historical, industrial and aesthetic features that have contributed to their success, my argument is that the continuing fascination of these films is in large part attributable to the manner in which they engage the spectator and evoke unconscious concerns about family cohesion, interpersonal conflicts and the death of parents. My investigation begins with an analysis of the films’ prefilmic provenance and narrative characteristics, placing an emphasis on the role of their narrative and extra-narrative components as embodying social, pedagogical and psychological meanings. In order to explore how the films engage with the spectator’s unconscious mind, I employ a number of Freudian and post-Freudian psychoanalytic concepts. The post-Freudian models include that of Jacques Lacan and those based on object-relations theory, particularly as developed by Melanie Klein and Donald Winnicott. These conceptual models are used to explore the content of the films, while that of Winnicott is also used to explore the visual fascination of the form Disney gave them. Although these films were designed for family viewing, and many of the more distressing aspects of their original stories were toned down in Disney’s adaptations, the films portray a remarkably dystopic version of family life, of childhood and of growing up. Moreover, psychoanalytic investigation suggests that concealed within the films’ attractive animation, music and humour, there lie recurrent ruminations on anxieties about death caused by germs (Snow White and the Seven Dwarfs) and old age (Pinocchio) and about culpability for injury (Dumbo) and death of mothers (Bambi). I conclude that the films reward the spectator by offering her/him the opportunity to engage with, fantasise about and work through the problems encountered by the films’ protagonists.
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Roca, Roxanne Elizabeth. "Depictions of non-Western musical cultures in Disney's film music of the 1990's." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12603.
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Thesis (M.M.)--Boston University<br>This thesis examines the depictions of non-Western musical cultures in the following Disney films: Aladdin (1992), The Lion King (1994), and Mulan (1998). Since these films are targeted at children, they need to be investigated in terms of what messages they communicate and how these messages are perceived by young audiences. This research includes close examination of the films in question, as well as literature on Orientalism, Exoticism, Disney history, and child aesthetics and cognition. Additionally, interviews were conducted with children aged four through eleven. This research highlights the importance of cross-cultural collaborations and further investigation into children's music.
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DiLullo, Gehling Dana M. "Starting with Snow White: Disney's Folkloric Impact and the Transformation of the American Fairy Tale." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/489417.
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English<br>Ph.D.<br>Since the late 1960s and early 1970s, critical scholarship concerning the fairy tale genre has done much to address the social, historical, cultural, and national motivations behind transformations of the fairy tale from a European starting point. However, the fairy tale’s development in the United States, including both its media-based adaptations and literary extensions, has been given limited attention. While the significance of Walt Disney’s animated films to the American fairy tale tradition has been addressed (by literary and film scholars alike), an interdisciplinary study drawing together Disney’s European and early twentieth century precursors (from literature, stage, and film); his own influential, modern debut; respondent literary and animated work of his immediate successors; and postmodern and twenty-first century adaptations has not been done. By examining the trajectory of a single tale, Snow White (or for Disney, Snow White and the Seven Dwarfs), this dissertation aims to acknowledge the scholarly attention given to Disney’s animated films, while further examining attributes which I suggest have enabled Disney to have a “folkloric impact” on the fairy tale genre in the United States. Disney’s work stands upon the bedrock of not only European but American Snow White variations and makes these “new” through an innovative deployment and unification of word or language, sound, and image, unimagined prior to the debut of Snow White and the Seven Dwarfs (1937). The effects of Disney’s influence, as a master storyteller, on both the fairy tale genre and commercial market were so profound that this particular version of the tale refuses to be forgotten, its shadow haunting successors who aimed to counter or redefine its understanding of fairy tale in light of shifting American values and culture. Therefore, even as the fairy tale is frequently understood to have moved beyond its folkloric “origins” (I use this term loosely, as the origins of fairy tale are surrounded by controversy), using the critical framework of folklorists Steven Swann Jones and Linda Dégh, as well as filmic folklorists, Sharon R. Sherman and Juwen Zhang, I explore how Disney’s patchwork of tradition, new technology, and media generated an easily recognizable and communicable tale, one that would be recalled, repeated, and reformed through adaptation by generations of audiences. These subsequent storytellers, in turn, extend American fairy tale tradition and lore still further.<br>Temple University--Theses
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Malacane, Christine Ann. "Preliminary design of a public transportation system to support a theme park." Master's thesis, This resource online, 1994. http://scholar.lib.vt.edu/theses/available/etd-10222009-124841/.
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Cruz, Robert Jr. "The animated roots of wildlife films: animals, people, animation and the origin of Walt Disney's 'True-Life Adventures'." Thesis, Montana State University, 2012. http://etd.lib.montana.edu/etd/2012/cruz/CruzR0512.pdf.
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Although Walt Disney's nature films mark a turning point for wildlife film, no satisfactory explanation has been offered as to how Disney managed to come up with such a successful concept. This thesis will examine the history and production of the True-Life Adventures productions to demonstrate that, rather than being mere live-action iterations of Disney's animated films, the Disney nature films had their origins in the studio's travelogue endeavors of the 1940s. The logical consequence of these origins is that the films present the natural world as a cultural entity rather than a scientific one. Analyzing the True-Life Adventures from this perspective allows for a better assessment of how they influenced all later wildlife documentaries. In particular, two innovative strategies were crucial to the success of these films: 1) the Disney gaze and 2) the associated, highly manipulated presentations of the natural world, formatted to tweak the emotions of the human observer. Additionally, because his studio extensively promoted the work of the naturalist-photographers and the scientist-cameramen, Disney can be credited with having commercialized documentary-style film shooting. The fostering of such filmmaking inside his studio's walls helped to popularize the so-named "nature film," laying the foundation for what would one day become a thriving film industry in its own right.
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Galiano, Michael. "Hoppin' Down the Bunny Trail: Behind the Banishment of Walt Disney's Song of the South in search of Uncle Remus." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/474.
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This study is an informative discussion on the history behind Walt Disney's film, Song of the South, based on the Uncle Remus tales originally written by Joel Chandler Harris, which will be addressed in Chapter One. Chapter Two elaborates on the methods within the vehicles of two distinct media versions in two different time periods as the problematic source of perception. Chapter Three relates why this is due to cultural sensitivities pertaining to the film and the suggested media guidelines by minority organizations that have gained power since the Civil Rights movement. Chapter Four discusses the historical data showing the transition of folklore that was not indigenous to North America, but an oral tradition carried from the heart of Africa. Chapter Five will present the Analysis and Discussion of the cultural and economic ramifications surrounding this particular folklore to be followed by a review of the information in the conclusion.
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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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Winter, Michelle, Josephine Persson, and Malin Prené. "The Disney Cliché : Relationsdynamik i Disneys animerade filmer från 2000-talet ur ett genusperspektiv." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-36075.
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Disney is one of the largest media companies in the world. They have been critizied for portrayting men, women and love relationships with stereotypical behaviours and attributes. This may lead to negative effects on childrens and adolescents perception of reality. The purpose of this study was to investigate how Disney portrays the dynamic between the characters within the love relationship in their movies launched in the 21st century. This study has examined four movies released in the 21st century containing a love relationship between a man and a woman. Movies examined were; Atlantis - The Lost Empire, The Princess and the Frog, Tangled and Frozen. For this study, a quantitative content analysis with qualitative elements was applied to answer the purpose and issue of the study. The study measured the frequency of the characters activities and actions when they are with and without each other, what they are doing together and who is the initiator of classical love actions. The results for this study presented interesting patterns. Both female and male characters were often portrayed with stereotypical behaviuors in Disneys animated movies. However, these patterns differed when the characters were with and without each other. When the characters were together, the female characters tended to be portrayed with more male attributes, whilst the male characterstended to be portrayed with more female attributes. Additionally, Disney tend to portray love relationships in a stereotypical and unrealistic way.
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Kirkpatrick, Stephanie Renee. "The Disney-Fication of Disability: The Perpetuation of Hollywood Stereotypes of Disability in Disney’s Animated Films." University of Akron / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=akron1248051363.
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Nauta, Melanie. "Walt Disney’s Moana, “We are Polynesia” : A CDA of Disney’s representation of the Polynesian culture inside Moana." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-40639.
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Disney is known for their family animation movies with a non-western or indigenous cultural background. Nevertheless, Disney is basically very influential for the perception of cultures by a global audience. Many studies have proven that Disney’s depiction of a certain represented culture has not always been that clean. Of course two side notes are that Disney does make movies from an American dominant perspective and second, there is no such thing as a ‘real’ or ‘correct’ culture. Now, with the movie Moana freshly released in 2016, Disney took a step in the indigenous Polynesian culture. This research uses a thorough Critical Discourse Analysis to analyse how Disney portrays Polynesia and the Polynesian culture inside four selected samples of the movie Moana. This analysis is combined with the theories and concepts of Americanisation, Disneyfication and cultural appropriation to find out mixtures of the portrayed Polynesian culture with American and Disney values. Interesting findings were that Disney indeed portrays a hotchpotch of many cultures that can be found in Polynesia. Disney took care of highlighting the culture in the general storyline, in the characters and in the small details. Disney uses details of Polynesian mythology and the history around the ancient voyagers and wayfinding techniques for the storyline. What Disney emphasises is the importance of family, their history and their culture. Disney always portrays the culture with a certain emission of power and pride. However, the American dominancy is still noticeable. For example, the depiction of the coconut and the plumeria flower are signs of Americanised Polynesia. The American and Disney values are all visible during the whole movie and can be found in quotes, gestures and behaviour of characters as Moana, the ocean and demigod Maui. Especially Maui is being portrayed as the ‘American dominant hero’ even though Maui is considered to be a honoured and popular Polynesian demigod.
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Olsson, Helen, and Shpresa Salihu. "Disneys sagor : En värld kantad av stereotyper?" Thesis, Högskolan Kristianstad, Sektionen för Lärarutbildning, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-7671.
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Kritiker anklagar ständigt Disney och deras verk då de hävdar att dessa innehåller stereotypa skildringar gällande bland annat genus och etnicitet, som i sin tur skapar negativ inverkan hos barn. Syftet med denna studie har därför fokus på att undersöka om Disneys sagor innehåller några stereotypa skildringar gällande könsroller, mansbild, kvinnobild, onda karaktärer samt raser/etnicitet och hur pass frekvent dessa i så fall förekommer. De problempreciseringar som studien tar sin utgångspunkt ur är: Förekommer det frekvent tydliga stereotypa skildringar i Disneys sagor, och i så fall vilka?, Hur skildras Disneys figurer då och nu, finns det några skillnader och/eller likheter? samt Hur påverkas barn av dessa, eventuella, stereotypa skildringar? Den empiriska forskningsdelen grundar sig på både en kvantitativ samt kvalitativ studie där slutligen 17 sagor, innehållande i huvudsak mänskligt skildrade karaktärer, från Disneys klassiker har granskats, dokumenterats och tolkats av oss. Studien har utmynnat i ett resultat där det tydligt framkommer att Disneys verk innehåller stereotypa skildringar av olika slag och att dessa, i stort, inte förändrats märkbart över tid. Vidare framkom det däremot, ur vår litteratur, skilda åsikter gällande om barn påverkas av dessa framställningar eller ej samt hur pass allvarligt vuxna och pedagoger bör förhålla sig till detta.
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Kletschke, Irene [Verfasser]. "Klangbilder : Walt Disneys "Fantasia" (1940) / Irene Kletschke." Stuttgart : Franz Steiner Verlag, 2012. http://d-nb.info/1073646327/34.
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Persdotter, Klara. "Disneys Frost : ”A Frozen Heart Worth Mining”." Thesis, Högskolan Väst, Avd för medier och design, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-8367.
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Den här studien syftar till att undersöka hur och vad Disney kommunicerar till sin publik genom deras film Frost (2013). Eftersom Disney idag står för en dominerande part av filmunderhållningen för barn bär de också ett ansvar för de budskapen de förmedlar genom sina filmer, då barn kan komma att påverkas av dem. I den här studien har Frost (2013) studerats genom en kvalitativ textanalys med hjälp av Peter Dahlgrens metod för att analysera medietext, med fokus på textens uppbyggnad och den narrativa dynamiken i medietexten (filmen). Analysen har gjorts utifrån ett normkritiskt perspektiv. Analysen visade att Frost bryter sig loss från flera av Disneys tidigare mönster och strukturer och lyckas skapa en mindre förutsägbar saga. Analysen visade också framträdandet av en ny roll; den falska skurken, som användes just i syftet att skapa en mindre förutsägbar saga. Till skillnader från flera tidigare porträtteringar av Disney-prinsessor visar Frost två feminint starka och självständiga kvinnliga karaktärer, som agerar på eget bevåg. Frost ifrågasätter också Disneys tidigare attityd kring att kärlek kan uppstå vid första ögonkastet, samt att romantisk kärlek är det starkaste och mest värdefulla typen av kärlek. För första gången någonsin porträtterar Frost familjekärlek som starkare än romantisk kärlek.<br>This study aims to examine how and what Disney is communicating to its audience through its movie Frozen (2013). Since Disney currently is a dominant party of the movie entertainment for children they bear a great responsibility for the messages they convey through their movies, as children may be influenced by them. In this study, Frozen (2013) has been studied by a qualitative text analysis using Peter Dahlgren's approach for analyzing media text, with focus on the textual construction and the narrative dynamics of the media text (the movie). The analysis was made based on a norm-critical perspective. The analysis showed that Frozen breaks free from many of Disney's past patterns and structures and manages to create a less predictable tale. The analysis also showed the emergence of a new role; the fake villain, used precisely in order to create a less predictable tale. In differences from several earlier portrayals of the Disney Princess Frozen shows two feminine strong and independent female characters, who act on their own authority. Frozen also questions Disney's previous attitude concerning that love can arise at first sight, and that romantic love is the strongest and most valuable type of love. For the first time in forever in a Princess movie Frozen manages to portray love between family members as stronger than romantic love.
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Hochsess, Evelina. "Bröderna Grimms Törnros vs Disneys TörnrosaEn adaptionsstudie." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-89875.
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Denna uppsats undersöker vilka skillnader som gjorts när man adapterat en bok till film. Boken som behandlas är Bröderna Grimms folksaga ”Törnros” (1981, som är översatt från en utgåva år 1913-14) och den modernare filmatiseringen av Walt Disney (1959). Uppsatsen följer en komparativ struktur och båda verkens berättelser beskrivs med en narrativ metod för att klargöra verkens särart och skillnaden mellan dem. Det som behandlas och jämförs är hur karaktärer, miljö och motiv förändrats från boken till filmen. Förutom fastställandet av de stora skillnaderna som finns kommer uppsatsen behandla hur materialet kan användas i den pedagogiska verksamheten för årskurs 1-3.
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Ekelund, Johanna. "Grimms ”Rapunsel” & Disneys Trassel : – En komparativ studie." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-50651.
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DuGar, Grace A. "Passive and Active Masculinities in Disney’s Fairy Tale Films." Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1367849096.
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Gagnon, Monika. "Race-ing Disney, race and culture in the Disney universe." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ37702.pdf.
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Senekovic, Tanya. "Genuskonstruktioner i Disney." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-37251.
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Heiligenthal, Britta [Verfasser]. "Zeichentrickmusik : Funktionen der Filmmusik in Zeichentrickfilmen Walt Disneys / Britta Heiligenthal." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2016. http://d-nb.info/1106336755/34.
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Palmcrantz, Nicolina, and Marlene Gröning. "Disneys feministiska ikon – eller? : En feministisk analys av filmen Mulan." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-26933.
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I denna uppsats analyseras Disneyfilmen Mulan från 1998 ur ett feministiskt perspektiv. I en tid då feminismen återigen står högt upp på dagordningen och eftersom det fortfarande debatteras kring Mulan och feminism ville vi författare undersöka på djupet om Mulan kan kallas för feministisk. Med utgångspunkt i Judith Butlers feministiska teorier om hur genus konstrueras och är en maskerad kompletterat med Laura Mulveys teorier kring den manliga blicken i film samt Margareta Rönnbergs förklaring av den kvinnligt kodade hedoniska makten kontra den manligt kodade agoniska så har vi författare gjort en narrativ analys av filmen Mulan samt en karaktärsanalys av karaktären Mulan och hittat tydliga exempel på hur filmen bryter med rådande genusnormer, bekräftar maskeradbegreppet och bryter mot den manliga blicken. Filmen är dock problematisk då den innehåller scener som också bekräftar rådande makt- och genusstrukturer och där scener mellan kvinnor ges väldigt lite speltid, något vi utforskat genom Bechdel-Wallace-testet. Ser man dock till filmen i sin helhet, går in på djupet i dess narrativ och undersöker karaktären Mulan så är det denna uppsats mening att Mulan är en feministisk film.<br>In this essay the Disney-movie Mulan from 1998 has been analyzed through a feminist approach. In a time when feminism once again is a burning issue and since there is still a debate regarding Mulan and feminism this essay wanted to investigate if Mulan could actually be called a feminist movie. Based on Judith Butler’s feministic ideas regarding how gender is a construction and a masquerade combined with Laura Mulvey’s theory about the male gaze in movies and Margareta Rönnbergs explanation of the female coded hedonic power versus the male coded agonic we writers have made an narrative analysis of the movie Mulan and also an analysis of the character Mulan and found clear examples of how the movie breaks with current norms of gender, confirms the theory of masquerade and doesn’t conform to the male gaze. However, the movie is problematic since it contains scenes that also confirm current power and gender structures and scenes with just women are given very short screentime, something we have explored through the Bechdel-Wallace-test. If you look at the movie as a whole, goes in depth into the movies narrative and look at the character Mulan it is this essays conclusion that Mulan is a feministic movie.<br><p>Cecilia Mörner var examinator för den här uppsatsen medan Per Vesterlund var examinator för kursen och den som attesterade kursens betyg (och därför står som examinator på titelsidan men inte i metadata).</p><p></p>
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Berggren, Ronja, and Lundqvist Mathilda. "Disney och den postfeministiska prinsessan : En semiotisk undersökning av kvinnliga Disney-protagonister." Thesis, Stockholms universitet, JMK, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157287.
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The Walt Disney Company has been producing feature films for almost a decade, allowing children as well as grown ups to enter their world of fairytales. Along the years there have been different ways to portray the characters, this can be seen in results from previous research. The purpose with our essay is to examine five female main characters in modern princess-movies from Disney; The Princess and the Frog, Tangled, Brave, Frozen and finally Moana. With a base in the ideas of postfeminism, we wanted to investigate how the female characters were portrayed in terms of physical appearance, personality and stereotypical femininity. We made a semiotic analysis to discern signs in respective movie, we used Roland Barthes’s theory consisting of the idea of denotation, connotation and myths. Our analysis lead us to the conclusion that several changes can be seen. Instead of portraying female characters as innocent, love-seeking and in the need of rescue, the modern princesses are physically strong, determined and adventurous. The viewers are also being introduced to new kinds of relationships that differs from the previous heterosexual standards. Even though some gender roles and intersectional standards were remained visible, we found new stereotypical ways of portraying women in Disney.
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Folkins, Claire Victoria. "Disney’s Girl Next Door: Exploring the Star Image of Annette Funicello." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143408809.
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Kettunen, E. (Eveliina), and I.-M. (Iida-Maria) Kurki. "Disney-elokuvat tunnekasvatuksen apuna." Bachelor's thesis, University of Oulu, 2019. http://jultika.oulu.fi/Record/nbnfioulu-201905071623.
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Tiivistelmä. Tunteet ovat osa kokonaisvaltaista hyvinvointia, joten niiden ymmärtäminen ovat merkittävä taito oppia jo lapsuudessa. Tunteiden oikeanlainen tunnistaminen, nimeäminen ja hyväksyminen lapsena auttavat tunteiden kohtaamista aikuisena. Uudessa varhaiskasvatussuunnitelmassa painotetaan aikaisempaa enemmän tunnekasvatuksen merkitystä.
Tutkimuksemme tarkoituksena oli ensimmäisen tutkimuskysymyksen avulla selvittää Disney-elokuvien mahdollisuutta osaksi monipuolista tunnekasvatusta. Näin pyrimme tuomaan uutta näkökulmaa tunnekasvatuksen toteuttamiseen. Toinen tutkimuskysymys johdatteli meitä etsimään Disney-elokuvissa esiintyviä tunteiden ilmaisun tehokeinoja. Tämä edesauttoi löytämään kolmanteen tutkimuskysymykseen “Miten tunnekarttojen tunnekohdat näkyvät Disney-elokuvien hahmojen tunteiden ilmaisussa?” vastauksia.
Tutkimus on toteutettu laadullisena elokuva-analyysinä, jonka tarkastelun näkökulmana on rakenneanalyysi. Tässä empiirisessä tutkimuksessa olemme vertailleet tunnekarttoja ja Disney-elokuvissa esiintyvää hahmojen tunteiden ilmaisua. Yhdeksi kriittiseksi kohdaksi tutkimuksessamme nousi sen luotettavuus, sillä olemme suorittaneet analysoinnin kahdestaan. Käytimme kuitenkin analyysin tukena monipuolista lähdekirjallisuutta. Yleistettävyyttä tuli myös pohtia kriittisesti pienen otoskoon johdosta. Tutkimuksemme kattoi kolme Walt Disney Picturesin suosituinta elokuvaa.
Tutkimus osoitti, että Disney-elokuvia voidaan käyttää materiaalina tunnekasvatukseen, esimerkiksi hyödyntämällä elokuvien musiikkia. Elokuvien avulla voidaan käsitellä haastaviakin tunteita, turvallisen etäältä. Disney-elokuvista löytyi yhtäläisyyksiä tunnekarttojen kanssa, mikä antoi merkityksen elokuvien hahmojen tunteiden ilmaisuun ja samalla myös näkökulmaa tunnekasvatuksen toteutukseen. Nämä voivat helpottaa lapsen omien tunteiden tunnistamista.
Jatkotutkimuksena pohdimme empiiristä tutkimusta lasten näkökulmasta. Lapset voivat kokea tunteita eri tavalla kuin aikuiset, joten tällöin lasten ääni saataisiin kuuluviin. Tunnekasvatuksen lisäksi tutkimukseen voisi ottaa esimerkiksi suvaitsevaisuuskasvatuksen näkökulman.Disney movies supporting emotional education. Abstract. Emotions are part of holistic well-being, so handling and understanding them are important skills to learn in childhood. Proper identification, naming, and acceptance of feelings as a child will help you to confront emotions as adults. The new Early Childhood Education Plan emphasizes the importance of emotional education.
The purpose of our first research question was to investigate the possibility of Disney films becoming a part of versatile emotional education. By this we strive to bring a new perspective to the realization of emotional education. The second research question led us to seek out the powerful means of expressing emotion in Disney movies. This helped us to find the answers to the third research question, "How do emotional points in bodily maps of emotions appear in the expressions of emotions of characters in Disney films?"
The research has been carried out as a qualitative film analysis, the analysis of which is based on structural analysis. In this empirical study, we have compared emotional maps and the expression of emotions in characters in Disney movies. One of the critical points in our research was its reliability because we have carried out the analysis on our own. However, we used versatile source literature to support the analysis. Publicity also had to be critically considered due to the small sample size. Our research covered three of Walt Disney Pictures’ most popular films.
The research showed that Disney films could be used as material for emotional education, for example, by using movie music. Movies can handle challenging emotions safely from a distance. Disney movies found similarities with the bodily maps of emotions, which gave meaning to the expression of the emotions of the movie characters and at the same time the perspective of emotional education. These can help identify the child’s feelings.
As a follow-up study, we consider empirical research from a child’s perspective. Children can experience feelings differently from adults, so the voice of the children can be heard. In addition to emotional education the perspective of tolerance education could be taken into consideration.
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Rudetska, I. O. "The Walt Disney Company." Thesis, Видавництво СумДУ, 2012. http://essuir.sumdu.edu.ua/handle/123456789/26086.
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Allan, Robert Mumby. "Walt Disney and Europe : European influence on the animated feature films of Walt Disney." Thesis, University of Exeter, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.335467.
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Richardson, Ashley Sarah. "Producing The Latina Disney Princess." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192827.
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In our contemporary moment, which some are suggesting is a “Golden Age” of American television, programs featuring Latinx characters, especially Latinas, remain scarce. The history of Latinx representation in American television is filled with stereotypical portrayals of violent drug dealers and forlorn domestic workers. This thesis examines how the animated fantasy television program Elena of Avalor (2016-) offers alternative, and potentially empowering, narratives for Latinas. Elena challenges gender norms, explores the ramifications of colonialism, and imagines a world in which whiteness is not the default. However, the show often fails to acknowledge the colorist and anti-Black discourses prevalent within the US and Latin America. as a product of the Disney empire – a corporation that for years has faced criticism for its portrayals of Latinxs in their live action and animated films and shows – Elena embodies the struggle for representation and the fight against commodification. Though a “Latina Disney Princess” can be a source of inspiration to Latinas around the world, there remains the question of how the Latina body is commodified by and for white, non-Latinx consumers. By analyzing the episodes and tie-in merchandise of Elena alongside other Latina-centric programs like Once Upon a Time (2011-2018) and Disney films like Saludos Amigos (1942), I argue that Hollywood’s fixation with cultural and ethnic authenticity is reifying hegemonic notions of Latinidad. While shows like Elena have the potential to dispel stereotypical understandings of Latin America, the US film and television industry continues to disregard the cultural complexity of its Latinx viewers, normalizing whiteness and exoticizing Latinidad.
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Hjertén, Alma, and Soplin Betsy Alva. "De formade ögonbrynens ilska : Queer coding inom Disneys porträttering av manliga skurkar." Thesis, Högskolan Väst, Avd för medier och design, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-12812.
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This study aims to examinehow and what Disney communicate to their target audience, by analyzing the four animated feature films Peter Pan (1953), The Lion King (1994), Pocahontas (1995), and Princess and the Frog (2009). The animated movies have been analyzed through a qualitative method to get a better understanding of how Disney portray their male antagonists through queer coding. Through semiotics, and Peter Dahlgren's approach to analyzing media texts, we have gained a deeper understanding of what Disney is communicating. The study shows that there are many obvious cases of queer coding because of the stereotypically feminine way that the male villains are portrayed. The villains show signs of this femininity through everything from facial features to bodily movements. Through this detailed analysis it has come to our attention, that there is no doubt that the villains are being portrayed in a much more feminine way in comparison to the remaining characters in the movies.<br>Den här studien syftar till att undersökahur och vad Disney kommunicerar genom de fyra animerade filmerna Peter Pan (1953), Lejonkungen (1994), Pocahontas (1995) och Prinsessan och grodan (2009). Målet har varit att få en djupare förståelse för hur Disney porträtterar sina manliga antagonister utifrån queer coding. I den här studien analyserades filmerna genom en kvalitativ och semiotisk textanalys med hjälp av Peter Dahlgrens metod för att analysera medietexter. Studien visar att det förekommer flera antydningar till queer coding, nämligen stereotypiska porträtteringar av genuskonstruktioner, hos de manliga skurkarna. Vi har analyserat att de signalerar stereotypisk femininitet genom allt från ansiktsdrag till rörelsemönster. Att de manliga antagonisterna porträtteras med tydligt feminina drag, särskilt i jämförelse med övriga karaktärer inom filmerna, är uppenbart.
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Axelsson, Berg Lina. "Bambi : – en komparativ analys av Felix Saltens bok och Walt Disneys film." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-60741.
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Lina Axelsson Berg (2017). Bambi – en komparativ analys av Felix Saltens bok och Walt Disneys film. (Bambi – a comparative analysis of Felix Salten’s book and Walt Disney’s film). Independent project, Swedish, Specialization in Grades 4-6, Advanced Course, 15 credits. School of Humanities, Education and Social Sciences. The aim of this study is to examine the changes that have occurred when Saltens novel Bambi was adapted to Disney’s Bambi. The specific elements that are examined are the scenes, some of the characters and the environment. This has been done through a comparative analysis. The results shows that the changes that has been done when Disney adapted Bambi is fairly small but the (for some) underlying meaning of Saltens Bambi, that it can be read as an allegory, is gone. There has been a change of characters, for Disney has chosen to ignore a couple of the significant characters in Salten and choose to add a couple of new characters which is a reason to why the underlying meaning of the story has changed. The study also examines if and how the story of Bambi (mostly Saltens) can be used in school subjects, primary when working with human values and how human treat animals. The result shows that the story can be used for that purpose but that the pedagogy who chooses to use is have to see to their own students and how they would react to a story like Saltens.
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Velasco, Bárbara Marcela Reis Marques de. "Das Disney’s faces : representações do Pato Donald sobre a Segunda Guerra (1942-4)." reponame:Repositório Institucional da UnB, 2009. http://repositorio.unb.br/handle/10482/5254.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, 2009.<br>Submitted by Allan Wanick Motta (allan_wanick@hotmail.com) on 2010-07-14T19:23:11Z
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Previous issue date: 2009<br>A presente pesquisa é resultado de um estudo sobre 10 produções animadas do início da década de 1940, dos estúdios Walt Disney. Protagonizadas pelo personagem Pato Donald, verifica-se nelas as mais diversas formas de representações traçadas pelos estúdios a respeito da Segunda Guerra Mundial e de alguns de seus atores: os Estados Unidos da América e seus inimigos. Pela análise de diálogos, de letras de músicas, das interações entre as personagens das tramas, tenta-se enxergar a construção da imagem do inimigo (os países do Eixo) e de si (EUA); também, a possível construção de uma memória sobre eles (Alemanha, Estados Unidos, Japão...) que hoje se faz presente. ________________________________________________________________________________________ ABSTRACT<br>This research is the result of a study of 10 Walt Disney‘s animated productions of the early 1940.With Donald Duck, the Disney Studios drawn forms of representations on the Second World War and some of its actors: the United States and its enemies. For the analysis of the dialogues, the lyrics, the interactions between the characters of the frame, one tries to see the construction of the image of the enemy (the countries of the Axis) and the construction of the self image (USA). It is also tried to see the possible construction of a memory on them (Germany, United States, Japan ...) that is present today.
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Meier, Lori T. "Imagineering Elementary Social Studies: Pre-Service Teachers’ Curricular Experiences with Walt Disney’s EPCOT." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/5908.
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This presentation shares qualitative research on how elementary pre-service teachers’ social science literacies and curricular experiences have been constructed, influenced, and informed by popular-culture, bounded ritual spaces (Moore, 1980), such as Walt Disney World’s EPCOT. Implications for pre-service teacher reflection, elementary social studies education, and critical pedagogy are discussed.
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Johansson, Tennivaara Sabina. "Svarta ögon och långa naglar : hur skurkarna i Disneys tecknade långfilmer framställs visuellt." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-17809.
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I uppsatsen undersöker jag hur skurkarna i Disneys tecknade långfilmer framställs visuellt, vilka attribut som Dinsey använder sig av för att visa att någon är ond. Observationerna utförs på 39 stycken Disneyskurkar och det insamlade materialet blir belyst ur Patti Bellantonis färgteori och Karin Johannissons texter om fysionomi. I uppsatsen kommer jag fram till att det finns återkommande visuella utmärkande egenskaper som till exempel vissa ansiktsdrag, klädval och färger som skaparna av Disney använder sig av för att porträttera en ond karaktär och bl.a. ett oattraktivt utseende verkar vara sammankopplat med ondska. En potentiell följd av att lyfta fram särskilda fysiska attribut som onda är att människor som i realitet ser ut så kan särbehandlas negativt.
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Doganson, Eveline. "Pocahontas -en komparativ studie av Virginia Watsons, Indianprinsessan Pocahontas och Walt Disneys Pocahontas." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-89940.
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Syftet med denna studie är att undersöka vilka förändringar som har skett mellan VirginiaWatsons bok, Indianprinsessan Pocahontas (1925) och Disneys utgåva av Pocahontas(1995). Det jag kommer att undersöka djupare är vad som tagits bort, respektive lagts till iromanen och bilderboken. Jag kommer även att jämföra böckernas karaktärer, miljöer ochgenrestruktur för att se vad som skiljer dessa åt. Studien kommer även att ta upp böckernasteman, där jag undersökt likheter och skillnader. Slutligen kommer studien även beröra endidaktisk del där jag diskuterar böckernas olika användningsområden i en undervisning. Idetta avsnitt berör jag de för- och nackdelar som skulle kunna förekomma vid användadet avdessa böcker inom utbildningssyfte.Jag har valt att göra en komparativ studie där resultatet har visat att Disneys utgåva(Pocahontas, 1995) valt att inte ta med delar av händelserna som är inkluderade i WatsonsIndianprinsessan Pocahontas (1925). En av de primära skillnaderna mellan böckerna ligger iatt den nyare utgåvan av Disney förvandlats till en kärlekshistoria där huvudkaraktärernadelar en mera intim relation. Medan det finns en stark relation mellan karaktärerna i Watsonsbok är den kärleksfulla sidan mellan parterna tämligen vag i jämförelse och en bidragandefaktor till detta ligger troligtvis i det faktum att det finns en stor ålderskillnad mellan dem.Eftersom böckerna är olika, kan de ha olika användningsområden i skolan. Disneys bilderbokkan ha betydelse då elever behöver utveckla sin analys och fantasiförmåga.Studien visar att Watsons bok stämmer in på vad forskare antyder om Pocahontas vid mångatillfällen, detta gör att boken skulle kunna användas i utbildningssyfte, för att få lär- ochkännedom om vem Pocahontas var.
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Cheang, I. Ian. "Deconstruction of the Disney Princess Empire." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1874212.
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Barbosa, Miguel Sousa Montes Ferreira. "Equity research - The Walt Disney Company." Master's thesis, Instituto Superior de Economia e Gestão, 2020. http://hdl.handle.net/10400.5/20569.
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Mestrado em Finanças<br>Este Relatório de Equity Research foi escrito como Trabalho Final de Mestrado em Finanças e segue o formato recomendado pelo CFA Institute. A escolha da The Walt Disney Company para este trabalho deveu-se a vários motivos: a longa e interessante história da empresa que, com pontos altos e baixos, é uma oportunidade de aprendizagem com o seu estudo; o seu negócio dividido em vários segmentos que, apesar de terem diferenças significativas, são altamente sinergéticos e, em alguns casos, estão mudar o paradigma da indústria do entretenimento; mais importantemente, sabiamos à partida que a empresa tinha passado por uma reestruturação e que se encontrava num processo de aquisição. A segunda e terceira razões elevaram o desafio significativamente, o que, na nossa opinião, seria apropriado para um verdadeiro Trabalho Final de Mestrado. Naturalmente, a pandemia COVID-19 desafiou-nos adicionalmente e, como tal, foi considerada neste projecto. Para avaliar a Disney, utilizámos um modelo DCF, bem como um DDM e uma anállise de múltiplos. Chegámos a um price target de USD 144.11, implicando um upside de 26.00% face ao preço de USD 114.37 a 19 de Maio de 2020 e levando a uma recomendação de Buy.<br>This Equity Research Report was written as a MSc in Finance's Final Work and follows the format recommended by the CFA Institute. The Walt Disney Company was chosen for this Final Work for several reasons: firstly, it is a company with a long and interesting history, with its ups and downs, which provides a learning opportunity while studying it; secondly, its business is across several segments which despite showing significant differences are highly synergetic and in some cases changing the entertainment business paradigm; thirdly and most importantly, we knew beforehand that the Company had gone through a business restructuring and was in the middle of an acquisition process. The second and third reasons increased the challenge considerably, which in our opinion was fitting for a proper Master's Final Work. Naturally, the COVID-19 pandemic increased the challenge even further and as such, was accounted for in this project. To value Disney, we employed a DCF Model as well as a DDM and multiples analysis. A price target of USD 144.11 was reached, implying a 26.00% upside potential from our reference price of USD 114.37 on May 19, 2020, and a Buy recommendation.<br>info:eu-repo/semantics/publishedVersion