Relevant bibliographies by topics / Disney film

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Disney film'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Disney film"

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Sheen, Erica. "101 and Counting: Dalmatians in Film and Advertising." Worldviews: Global Religions, Culture, and Ecology 9, no. 2 (2005): 236–54. http://dx.doi.org/10.1163/1568535054615385.

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AbstractIn both academic and animal welfare circles, Disney's live action films 101 and 102 Dalmatians have been criticised as a commercial exploitation of the breed. From this perspective, it was widely held that the Dalmatian has been subject to over-breeding and abandonment as a direct result of these films, and that Disney should be held responsible for this abuse. I question these assumptions. I discuss the Hollywood animal image as a form of intellectual property and provide a detailed account of negotiations between Disney and Dalmatian breed associations in America and the UK. In response to critics who described the films as "an advertisement for the breed", I suggest that Disney's animal imagery should be seen as a more complex cultural and economic negotiation between filmmaker and audience, and conclude that our understanding of the commercial deployment of the Dalmatian image must be situated in a more nuanced account of the relationship between advertising and film.
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Macaluso, Michael. "Postfeminist Masculinity: The New Disney Norm?" Social Sciences 7, no. 11 (November 5, 2018): 221. http://dx.doi.org/10.3390/socsci7110221.

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A recent trend in Disney scholarship attends to postfeminist readings of Disney film and media. This paper contributes to that conversation by focusing on the representations of masculinity that accompany postfeminist sensibilities in and through Disney media and its reception. With a sociological focus on postfeminist masculinity, this article reviews several Disney characters to argue for a new model of postfeminist masculinity advanced in recent Disney films, with a particular focus on the Incredibles films, and examines how this representation has been received in popular media.
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Oktarina, Rizki Nurmaya. "Ambiguitas yang Mencerminkan Rasisme dalam Film The Princess and The Frog." Paradigma, Jurnal Kajian Budaya 4, no. 2 (March 11, 2016): 161. http://dx.doi.org/10.17510/paradigma.v4i2.50.

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<p>Princess fairy tales have made the Disney Corporation so famous. At fi rst, Disney princesses were white skinned. As time goes by, Disney started fi lming animated movies with colored princesses. In 2009, Disney released a movie based on an African-American princess named Tiana in ‘The Princess and the Frog’ (2009). Ambiguities in terms of understanding black appear in the fi lm. To help analyzing this movie, Barthes’ semiotics theory will be used. By using that theory, the writer proposes that on one hand, Disney conveys that America has become “color blind,” but on the other, blacks are positioned as lower class. This movie refl ects Disney’s belief in what is true and ideal about the American society, but here we see that the notion “all men are created equal” writt en in the declaration of Independence is not fully implemented in the American society.</p>
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Saraswati, Rina. "DISTORSI DALAM FILM ADAPTASI “SNOW WHITE” VERSI DISNEY DAN NONDISNEY TERHADAP KARYA GRIMM BERSAUDARA (The Distortion in Disney’s and Non-Disney’s Film Adaptation on the Grimm Brothers’ “Snow White” )." METASASTRA: Jurnal Penelitian Sastra 7, no. 1 (March 11, 2016): 85. http://dx.doi.org/10.26610/metasastra.2014.v7i1.85-96.

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Dongeng karya Grimm bersaudara telah banyak diadaptasi ke dalam media film, salah satunya adalah “Snow White”. Penelitian ini membahas distorsi yang muncul dalam dua film adaptasi “Snow White”, yaitu “Snow White and the Seven Dwarfs” (1937) produksi Disney dan “Snow White and the Huntsman” (2012) produksi Universal Pictures. Dengan metode penelitian kualitatif berupa analisis deskriptif, ditemukan bahwa setiap adaptasi tersebut melakukan perombakan besar terhadap isi cerita yang menyebabkan perbedaan dengan sumber aslinya, yakni karya Grimm bersaudara. Film “Snow White” yang diproduksi oleh Disney mengalami proses adaptasi cerita, yakni dengan mengubah cerita yang pantas dan mudah diterima anak-anak. Adapun film produksi Universal Pictures menghasilkan suatu karya adaptasi yang berbeda, yaitu dengan adanya pengurangan atau penambahan dari cerita aslinya. Perubahan cerita tersebut ditujukan untuk menarik minat penonton. Hasil penelitian menunjukkan bahwa salah satu alasan perubahan yang dilakukan pada dua film adapatasi tersebut disebabkan oleh target penonton yang berbeda.Abstract:Grimm Brothers’ tales have been adapted into films. One of them is the story of Snow White. This study is to examine the distortion appearing in two Snow White film adaptations, namely: “Snow White and the Seven Dwarfs” (1937) by Disney as well as “Snow White and the Hunts- man” (2012) by Universal Pictures. By applying qualitative method, it is found that each film adaptation makes a lot of changes in its plot from its original version in the Grimm Brothers’. “Snow White” produced by Disney was changed into children story that was simpler and easier to understand. The one produced by Universal Picture, on the other hand, was made into different story by reducing or adding its original story. The change of the story is aimed at gaining more viewers. The result of the research reveals that one of changes in the two film adaptations is due to their different viewers target.
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Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 23–42. http://dx.doi.org/10.1386/ffc_00010_1.

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Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess and the Frog (Clements and Musker, 2009), Tangled (Greno and Howard, 2010), Brave (Andrews and Chapman, 2012), Frozen (Buck and Lee, 2013) and Moana (Clements and Musker, 2016). This article first explores the films' use of costume simultaneously to establish the childness of the characters and visually foreshadow the 'princesses' they will become. It then turns to the implied child audience of these films, considering the Disney Princess line of merchandise and the role of clothing and costume within it.
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CAMP, GREGORY. "Mickey Mouse Muzak: Shaping Experience Musically at Walt Disney World." Journal of the Society for American Music 11, no. 1 (January 16, 2017): 53–69. http://dx.doi.org/10.1017/s1752196316000523.

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AbstractThe academic assessment of the products of the Walt Disney Company is usually highly negative, drawing out their sexist, racist, and mercenary factors. Although such views are not easily denied, their strong ideology often hides how Disney texts actually operate and how their audiences interact with them. This article explores how recorded music is used in the Disney theme parks to condition audience response, finding a middle ground between an ideological view, exploring the part music plays in social control, and a hermeneutic view, seeing how music functions in articulating and enhancing the experiences in which Disney's guests participate. Disney's Imagineers draw on the language of film music to create a wide variety of narrative musical spaces that give guests the impression that they navigate through these carefully staged narratives as protagonists. Film-musicological models show that guests are encouraged to feel that they control the respective spaces, although filtering the model through critical theory will demonstrate that the spaces can actually be seen as controlling them. While critical theory and structuralist hermeneutics might seem at first like strange bedfellows, analyses of both the narratives themselves and of their social effects can usefully reflect each other, together providing a more nuanced view of Walt Disney World's experiential texts than has been presented either in the academy or by Disney itself.
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Salsabil, Luna Safitri. "ANALISIS MAKNA PEREMPUAN MASKULIN PADA FILM DISNEY BRAVE DAN MOANA." DIALEKTIKA KOMUNIKA: Jurnal Kajian Komunikasi dan Pembangunan Daerah 7, no. 2 (December 1, 2019): 157–74. http://dx.doi.org/10.33592/dk.v7i2.368.

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Perempuan dalam konstruksi sosial selalu digambarkan feminim, seperti pada film Disney. Namun film Disney saat ini di awal tahun 2010an, muncul pergeseran citra perempuan pada film animasi Disney khususnya film Brave dan Moana. Perempuan yang pada dahulu film Disney mencitrakan diposisi subordinasi, dependen, dan pasif kini berubah menjadi sosok yang mandiri, mampu memimpin, aktif dan tidak membutuhkan laki-laki. penelitian ini bertujuan melihat bagaimana media memaknai perempuan maskulin. Teori yang digunakan teori gender yang membahas bagaimana konstruksi dan memetakan gender. Penelitian ini bersifat kualitatif dengan semiotika Chris Mertz dalam mengintrepretasi data. Paradigma dalam penelitian ini adalah konstruktivis sehingga dapat menjelaskan bagaimana makna dibentuk. Hasil penelitian ini mengkonstruksikan perempuan menjadi tokoh utama dalam film brave (merida) dan moana (moana) yang mengarah pada karateristik maskulin. Seperti kuat, rasional, berani, mandiri, petarung, bernegosiasi. Saran dari penelitian ini diharapkan penelitian ini dapat menjelaskan media memaknai perempuan dan referensi mengenai studi gender
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Primo, Cassandra. "Balancing Gender and Power: How Disney’s Hercules Fails to Go the Distance." Social Sciences 7, no. 11 (November 16, 2018): 240. http://dx.doi.org/10.3390/socsci7110240.

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Disney’s Hercules (1997) includes multiple examples of gender tropes throughout the film that provide a hodgepodge of portrayals of traditional conceptions of masculinity and femininity. Hercules’ phenomenal strength and idealized masculine body, coupled with his decision to relinquish power at the end of the film, may have resulted in a character lacking resonance because of a hybridization of stereotypically male and female traits. The film pivots from hypermasculinity to a noncohesive male identity that valorizes the traditionally-feminine trait of selflessness. This incongruous mixture of traits that comprise masculinity and femininity conflicts with stereotypical gender traits that characterize most Disney princes and princesses. As a result of the mixed messages pertaining to gender, Hercules does not appear to have spurred more progressive portrayals of masculinity in subsequent Disney movies, showing the complexity underlying gender stereotypes.
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Beveridge, Allan. "Images of madness in the films of Walt Disney." Psychiatric Bulletin 20, no. 10 (October 1996): 618–20. http://dx.doi.org/10.1192/pb.20.10.618.

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It has been demonstrated that images of madness in the media powerfully influence the general public and serve to perpetuate popular stereotypes of mental illness (Philo et al, 1993). While the cinema's treatment of psychiatric issues has received critical attention (Gabard & Gabard, 1987), there is one area of film-making that has, so far, been neglected: the work of Walt Disney. Perhaps, because it has been primarily regarded as entertainment for children, Disney's work has not been subjected to serious examination. This neglect, however, is surprising in view of the current debate about the influence of the media on children. When one also considers that Disney films are now available on video and are being seen by millions, it seems worthwhile to look at the images of madness they present.
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Bettella, Patrizia. "Collodi's Puppet in Film: Disney, Comencini, Benigni." Quaderni d'italianistica 25, no. 1 (January 1, 2004): 9–27. http://dx.doi.org/10.33137/q.i..v25i1.9208.

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Dissertations / Theses on the topic "Disney film"

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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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Cruceat, Dragos. ""Det var en gång..." : En ideologisk fördjupning inom Lejonkungen och Den lilla sjöjungfrun." Thesis, Linnaeus University, School of Language and Literature, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5551.

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Price, Thomas. "A Cauldron of Chaos and Cultivation: Rediscovering Disney Animation of the 1980s." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/7.

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This thesis examines the four transitional Disney animated features of the 1980s The Fox and the Hound (1981), The Black Cauldron (1985), The Great Mouse Detective (1986), and Oliver and Company (1988)— in order to reassess the significance of this period in Disney history. The Walt Disney Studio is internationally hailed for its animated features produced over the last eight decades, however, the animated films released in the 1980s have been ignored and neglected due to the negative evaluations of scholars and historians who favor Walt’s era and the 1990s renaissance period. A closer examination of the films reveals that Disney was not in a dark age but one of experimentation, excisement, and exploration in contrast to the perceived notions. Each film contributed to Disney animation’s return including a generational shift in creativity, application of computer animation, casting a celebrity as a voice-artist, and the use of theme songs and popular singers. These contributions were technically, thematically, and aesthetically important in reframing Disney’s animated products for future audiences leading to the 1990s successes beginning with The Little Mermaid.
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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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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
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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Mason, James Robert. "Disney film genres and adult audiences : a tale of renegotiated relationships." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/19239/.

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Disney films occupy a special place in the viewing habits of children, but their relationships with adult audiences are underappreciated and under-researched. At the same time, many assumptions are made about the concept of a Disney film, which is distinctive enough to warrant being described as a film genre but has not yet been described as such. Using an innovative mixed methods approach, this research investigates the ways in which adult audiences negotiate and renegotiate their relationships with Disney films. To do so, the research first sets about identifying what a Disney film is, and therefore defining a Tangible Disney Genre based on an analysis of Disney’s film output. An output survey analysing data based on 390 Disney films released between 1937 and 2015 allows a more comprehensive understanding of the Disney film than has previously been offered. Following analysis of the tangible film output, attention turns to the audiences of Disney films, from fans to antagonists. Building on previous work by the Global Disney Audiences Project (Wasko et al., 2001), the research employs a sample survey and focus groups to define a Disney genre that is grounded in shared audience perceptions. This Fantasy Disney Genre is based on data drawn from over 3,500 participants. Having established the Tangible and Fantasy Disney Genres, the two concepts are compared alongside evidence drawn from interviews and the autoethnographic experiences of the author to determine the effects of any differences and similarities between the genres. Within the comparisons between the two Disney genres is found the space for adult audiences to (re)negotiate their relationships with Disney films. The outcomes of the research include methodological innovations, an updated and comprehensive examination of Disney audiences, and establishment of Disney genres based on both the Hollywood studio’s tangible film output and the perceptions of adult audiences.
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Ketzer, Johannes. "Walt Disney ist ein Gott : eine religionspädagogische Studie zu Phänomenen impliziter Religion in der Lebenswelt der Moderne /." Wien [u.a.] : Lit, 2005. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=014803296&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Rosati, Angelica. "Why 'Moana' Became 'Oceania' – The Translation of Disney Film Titles in Italy." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21280/.

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In order to discern what patterns emerge in the translation into Italian of film titles produced by the Walt Disney Animation Studios and Pixar Animation Studios, this paper analyzes a corpus of 80 movies whose titles are originally in English. The corpus includes motion pictures released between 1937 and March 2020, and further data was gathered thanks to online film databases such as the Internet Movie Database (IMDB) and Movieplayer.it. The findings of this study have been divided into two sections: titles in English and titles in Italian, with the latter being the dominant category. The research yielded that the most important factors that distributors take into account to ensure the success of a film title are the target culture and the target audience, and the strategies that have been identified reflect this focus. Despite the rather scarce pieces of research available, title translation remains an interesting field of study that needs to be further developed.
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Gilberg, Susanne, and Sonja Mesrouj. "Jungfru i nöd? : En kvalitativ studie om hur Disney prinsessor gestaltas på film." Thesis, Mittuniversitetet, Avdelningen för medie- och kommunikationsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-30139.

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Disney har tidigare kritiserats för att de använder typiska könsroller, som exempelvis passiva kvinnor och modiga män. Därför har vi valt att studera hur sex Disney prinsessor gestaltats från 1930-talet till 2010-talet. Vårt syfte var att undersöka om kvinnan hade stereotypa roller och hur gestaltningen sett ut genom åren. För att fullborda vårt arbete har vi gjort en kvalitativ innehållsanalys med hjälp av en semiotisk analys. För att fastställa prinsessans utseende och personlighet har vi utgått från Margareta Rönnbergs kategoriseringar på feminina rolltyper i sagor. Med hjälp av genusteori och feministisk forskning har vi analyserat könsrollerna i filmerna och kommit fram till att de tidigaste prinsessorna är opersonliga och i ständigt behov av en man. De senare prinsessorna har utvecklats till mer självständiga kvinnor som får både karriär och kärlek.
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Kern, Jordan. "The Mouse Sees No Color: An Examination of the Disney Corporation’s Recent Depictions of Race in American History." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/etd/3907.

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Walt Disney Studios possesses a checkered past in how its films dealt with racism and representation. Some of the earliest films involved songs and characters that go against modern sensibilities. In recent years, the studio's films have attempted to go against their forebears' racist connotations. Racism, however, proved a constant problem for the company. This paper shall explore the various ways Disney feature films addressed (or did not address) themes of racism and discrimination in its films from 1990 to 2018. The first chapter discusses the business reasoning behind Disney's continued reluctance to address race issues adequately, chiefly fear of losing monetary revenue from alienated whites. The second chapter explores the different types of coding filmmakers employed to keep from directly address race, coding all characters as white in the process. This method lasted until the Princess and the Frog's release because the film's blatant use of Jim Crow imagery caused a considerable amount of backlash. The final chapter concerns how the corporation's current method of dodging race in its films. Dubbed the "Fantastical Reality," this method relies on leaning into the fantastic aspects of a setting (magic or otherness) to explain why race and racism do not appear in a film. This method came under heavy scrutiny with Zootopia and Black Panther's release, both of which make race a significant theme.
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Books on the topic "Disney film"

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O'Pray, Michael. Eisenstein and Stokes on Disney: Film animation and omnipotence. London: University of East London, School of Architecture, Art and Design, 1995.

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Pictures, Walt Disney. Disney Pixar Finding Nemo: The story of the film. Bath: Parragon, 2013.

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1952-, Barsocchini Peter, and Disney Enterprises (1996 ), eds. Disney High school musical 2: Book of the film. Bath: Parragon, 2008.

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Krystina, Madej, and SpringerLink (Online service), eds. Disney Stories: Getting to Digital. New York, NY: Springer New York, 2012.

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Hahn, Don. Animation magic: A behind-the-scenes look at how an animated film is made. New York: Disney Press, 2000.

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Hahn, Don. Animation magic: A behind-the-scenes look at how an animated film is made. New York: Disney Press, 1996.

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Hahn, Don. Animation magic: A behind-the-scenes look at how an animated film is made. New York: Disney Press, 1996.

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Sitkiewicz, Paweł. Miki i myszy: Walt Disney i film rysunkowy w przedwojennej Polsce. Gdańsk: Słowo/obraz terytoria, 2012.

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Company, Walt Disney, ed. Le grand film de Porcinet. Montréal: Phidal, 2003.

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The princess story: Modeling the feminine in twentieth-century American fiction and film. New York: Peter Lang, 2012.

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Book chapters on the topic "Disney film"

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Lee, Newton, and Krystina Madej. "Capturing Life in Animated Film." In Disney Stories, 55–64. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-2101-6_7.

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Madej, Krystina, and Newton Lee. "Capturing Life in Animated Film." In Disney Stories, 53–62. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-42738-2_6.

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Harty, Kevin J. "Walt in Sherwood, or the Sheriff of Disneyland: Disney and the Film Legend of Robin Hood." In The Disney Middle Ages, 133–52. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137066923_8.

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O’Flynn, Siobhan. "Data Science, Disney, and the Future of Children’s Entertainment." In The Palgrave Handbook of Children's Film and Television, 507–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_28.

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King, Sally. "New Shoes, Old Paths: Disney’s Cinderella(s)." In The Palgrave Handbook of Children's Film and Television, 111–29. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_6.

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Missouri, Montré Aza. "It Is Easy Being Green: Disney’s Post-Racial Princess and Black Magic Nostalgia in The Princess and the Frog." In Black Magic Woman and Narrative Film, 168–79. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137454188_7.

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Verevis, Constantine. "Trading Places: Das doppelte Lottchen and The Parent Trap." In Transnational Film Remakes. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407236.003.0009.

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In 1961, Walt Disney Productions released The Parent Trap. A huge popular and commercial success for the Disney studio, it was theatrically re-issued in 1968; extended through three television sequels (1986, 1989, 1989); and remade in 1998. Perhaps less well known is that Disney’s 1961 version of The Parent Trap was itself already a remake of German, Japanese and British versions – Das doppelte Lottchen (1950), Hibari no komoriuta (1951), and Twice Upon a Time (1953) – each in turn derived from Erich Kästner’s 1949 novel Das doppelte Lottchen. While the cultural production does not end here – with subsequent versions reported in India, Iran and Korea, and animated and live action remakes in Japan and Germany – this chapter inquires into the transnational connections between Kästner’s novel and the US and German versions (originals and remakes). This chapter extends its analysis beyond Kästner’s twin figures of Lisa (from Vienna) and Lotte (from Munich) to chart not only a cartography of transnational flows – a political economy of textual production and reception – but also indicate the way in which the films’ exchange of twins is symptomatic of that between original and transnational film remake.
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Meeusen, Meghann. "Theory and Pedagogy: A Disney Approach." In Children's Books on the Big Screen, 143–64. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828644.003.0006.

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Chapter six is a pragmatic application of the theory of binary polarization in children’s’ adapted film, offering specifics about how the theory might be useful in a classroom setting and implemented as a foundation for teaching film in introductory literary analysis, adolescent literature, and specialized children’s literature classes. This chapter uses Disney films, which have been repeatedly criticized for their ideological underpinnings, to suggest how teachers can build from this criticism, pairing it with a consideration of the trend of binary polarization in order to help students delve more deeply into children’s film studies, adaptation studies, and analytical thinking and writing. The chapter offers varying approaches to teaching Disney’s The Princess and the Frog, Maleficent, and The Jungle Book, closing the study by not only recapping key tenants of the theory, but also examining how to apply them.
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"Walt Disney and the Beginnings of Feature Animation." In The Hollywood Family Film. I.B.Tauris, 2012. http://dx.doi.org/10.5040/9780755693962.ch-002.

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Fleury, James. "World-building, Retconning and Legacy Rebooting: Alien and Contemporary Media Franchise Strategies." In Film Reboots, 189–204. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474451369.003.0013.

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This chapter examines reboot efforts within the Alien franchise during the 2010s within the conceptual frame of “transmedia franchising.” Looking particularly at Prometheus and Alien: Covenant, as well as several video games, it analyses how various promotional materials and narrative devices have taken variable approaches toward rebooting this franchise, including retconning and legacy rebooting. The chapter asserts that the Alien universe ‘has not necessarily followed a systematic, planned path,’ and accordingly shows how the franchise’s IP holder (first 20th Century-Fox, now Disney) devised variable ways to appeal to potential audiences.
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Conference papers on the topic "Disney film"

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Sharma, Rajesh, and Brian Wherry. "Software Development for Disney Animated Feature Film Production." In 2009 Agile Conference (AGILE). IEEE, 2009. http://dx.doi.org/10.1109/agile.2009.60.

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Widayanti, Sukasih Ratna, and Kustinah Kustinah. "Speech Act Analysis on Walt Disney Film Entitled 'Frozen' (A Pragmatic Study)." In Fourth Prasasti International Seminar on Linguistics (Prasasti 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/prasasti-18.2018.79.

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Robinson, Katrina, and Beth Jorgensen. "From blindness to sight environmental epistemology in 1990s Disney films." In 2013 IEEE International Professional Communication Conference (IPCC 2013). IEEE, 2013. http://dx.doi.org/10.1109/ipcc.2013.6623913.

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Xu, Mo. "Analysis on the Influence of Female Characters in Disney Films." In 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210806.061.

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Xiao, Yang, Ziqi Xiao, and Zhuyanyan Xue. "The Study on the Transformation of Disney Animated films Based on Consumerism." In 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210806.114.

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Aszo´di, Attila, Bogda´n Yamaji, Judit Silye, and Tama´s Pa´zma´ndi. "Expedition to the 30-km Chernobyl Exclusion Zone and the Utilization of Its Experience in Education and Communication." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89510.

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Between May 28 – June 4, 2005, under the organization of the Hungarian Nuclear Society (HNS) and the Hungarian Young Generation Network (HYGN) — which operates within the framework of the HNS — a scientific expedition visited the Chernobyl Nuclear Power Plant and the surrounding exclusion zone. The participants were young Hungarian nuclear professionals supervised by more experienced experts. The main scientific goals of the expedition were the followings: • Get personal experiences in a direct way about the current status of the Chernobyl Power Plant and its surroundings, the contamination of the environment and about the doses. • Gather information about the state of the shut down power plant and the shelter built above the damaged 4th unit. • Training of young nuclear experts by performing on site measurements. The Hungarian expedition successfully achieved its objectives by performing wide-range of environmental and dosimetric measurements and collecting numerous biological and soil samples. Within the 30-km exclusion zone the influence of the accident occurred 20 years ago still could be measured clearly; however the level of the radioactivity is manageable in most places. The dosimetrical measurements showed that no considerable exposure occurred among the members of the expedition. The analysis of samples has been started at the International Chernobyl Center in Slavutich. During the expedition not only environmental sampling and in-situ measurements were carried out but it was also well documented with photos and video recordings for educational, training and PR purposes. A documentary TV film was recorded during the expedition. The first-hand knowledge acquired during the expedition helps the authentic communication of the accident and its present-day consequences, which is especially important in 2006, 20 years after the Chernobyl accident. Since Ukraine and Hungary are neighbor countries the media constantly discuss the accident, the consequences and the risks of using nuclear energy. In addition in November 2005 Hungary’s parliament approved plans to extend the lifetime of the country’s four-unit nuclear power plant. In order to have the crucial public support for nuclear energy it is very important to dispel unrealistic dismay and misbelieves regarding these questions. Thus it is extremely beneficial to have a film on this topic created by nuclear professionals especially for the public audience. In 2005 a book on the Chernobyl accident was published in Hungary that covers this expedition in a full chapter [2]. We plan to present the film to the audience of the conference.
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Qi, Zhang, and Ang Lay Hoon. "Subtitle Translation Strategies of Dish Name in the Chinese Documentary-A Bite of China 1." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.16-2.

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With the implementation of “go globally” strategy of Chinese culture, a large number of Chinese films and TV programs have been produced to go abroad. As a medium and carrier of cultural communication, the quality of documentary subtitle translation determines whether Chinese culture can be appropriately disseminated or not. This paper aims to investigate the translation strategies of culture-specific items with special focus on name of dishes. The object of study in this paper is A Bite of China 1 produced by CCTV in 2012, which is not only about Chinese foods but also geography, local customs and dietary habit. Firstly, by using comparative approach, the linguistic characteristics are discussed to identify the similarities and differences between source and translated dish names. Then the translation strategies for dish name are examined. Next, such factors affecting translation strategies as cultural ideology is analyzed. The objective of this paper is to study what translation strategies are possibly adopted when translating Chinese dish name into English in the documentary. The findings show that in the process of dish name translation of Chinese documentaries, domestication and foreignization are two frequently used strategies which is complementary to each other.
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