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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 UniversityThis 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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Linder, Anne. "Bücher zu Disney-Filmen - Vergleich von ausgewählten Filmen und ihrer Umsetzung in Buchform." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11612102.
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Garza, Valerie F. "The Witch, the Blonde, and the Cultural "Other"| Applying Cluster Criticism to Grimm and Disney Princess Stories." Thesis, The University of Texas Rio Grande Valley, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827734.
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The Brothers Grimm and the Walt Disney Company have produced popular fairy tales for large audiences. In this work, cluster criticism—a rhetorical criticism that involves identifying key terms and charting word clusters around those terms—is applied to four Grimm fairy tales and four Disney princess films. This study aims to reveal the worldview of the rhetors and explore how values present in Grimm tales manifest in contemporary Disney films. Disney princess films in this study have been categorized as “White/European” and “Non-White/Cultural ‘Other.’” Because film is a form of non-discursive rhetoric, an adaptation of cluster criticism designed for film was been applied to the selected animated features. This study reveals that many patriarchal values present in Grimm fairy tales appear in contemporary Disney films, and while Moana (2016) features far fewer displays of these values, intersectional feminism should be kept in mind, with more diversity in princesses needed.
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Gamez, Kristina. "Musik i film : Hur musik används för att beskriva prinsess-karaktärer i animerade Disney-filmer." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3918.
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I läroplanen för gymnasieskolan framgår det att undervisningen bör utgå ifrån elevernas tidigare erfarenheter och intressen. Film och media har idag blivit ett av ungdomars största intressen vilket gör att de får sina flesta musikaliska upplevelser från media. Narrativ mediemusik påverkar åskådaren på ett omedvetet plan och behöver därav analyseras aktivt. Musik i samspel med rörlig bild kan få publiken att tolka rollfigurers karaktärsdrag i film på olika sätt. Syftet med den här studien är att få djupare kunskap om hur musik och andra uttrycksmedel används för att beskriva en karaktär i en animerad film. Tidigare forskning visar att liksom i samhället har synen på kvinnans roll ändrats i Disneys animerade filmer. Arbetet fokuserar på tre scener från Disneys animerade filmer där en prinsessa är en huvudkaraktär. De analyserade karaktärer är Snövit från filmen Snow White and the Seven Dwarfs (1937), Mulan från filmen Mulan (1998) och Merida från filmen Brave (2012). Analysen görs med hjälp av Chions (1994) analysmetod som består av masking, narrativanalys och jämförelseanalys. Resultatet visar på att det är ett samspel mellan olika faktorer som skapar en uppfattning om karaktären. Studien resulterar i åtta faktorer som påverkar åskådarens upplevelse av prinsessorna: kroppsspråk/utseende, sång/tal, Mickey-Mousing, musik i relation till sången, puls och tempo, dynamik, andra ljud samt kamerans perspektiv. Slutligen diskuteras hur filmmusik praktiskt kan appliceras i musikundervisning i förhållande till gymnasiets läroplaner för musikämnen.
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Melberg, Alexandra, and Tilde Gustafson. ""And the World has Somehow Shifted." : En kvantitativ studie av genuskonstruktioner i Walt Disney Pictures animerade långfilmer." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-36176.
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The Disney princess line includes nine films, in our study we have extended this line to include the latest three films from Walt Disney Pictures that follow the same pattern. These films are Tangled (2010), Brave (2012) and Frozen (2013). We have conducted our study using the same method used by England, Descartes and Collier-Meeks (2011) in their study of the first nine films, starting with Snow White and the Seven Dwarfs produced in 1937 to Princess and the Frog from 2009. A quantitative study was executed where we focused on gender role portrayal, the main characters behavioral characteristics and performed rescues. We applied the following theories to our result; the Social Constructivism, Laura Mulvey’s theory of the Male Gaze, Michel Foucault’s theory of power and discourse, intersectionality and Claude E. Shannon and Warren Weaver’s model of communication. Our result of the content coding shows a more nuanced depiction of both male and female main characters where the roles have shifted. The female main characters have been asigned a more traditionally masculine role in the films. The story in all of our three films revolves around the female main characters efforts to achieve their goals. The male main characters have abandoned their shiny armour and white horse and persued a role as the one who leads the female to her goal. A one-way analysis of variance was implemented to see differences over time in gender role portrayal of men and women. The result suggest that the male and female roles have changed over time, altough the men are those who have changed the most.
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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.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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Nordström, Johanna. "Lyckliga i alla sina dagar? : Makt, kön och heterosexualitet i tre Disneyfilmer." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-101727.
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The purpose of this thesis was to examine the ways in which the constructions of heterosexuality and gender in three Disney movies about princesses affect the power relations between men and women in the movies, and how discourses on gender and heterosexuality have changed over time. Research questions were: How do characters in the movies talk about gender and heterosexuality? How does the interplay between gender and heterosexuality affect the power relations between men and women in the movies? What are the likenesses and differences between movies from different time periods? Discourses were mapped out using a model based on Ernesto Laclau and Chantal Mouffe’s political theories. These discourses were then analyzed with a theoretical framework consisting of Yvonne Hirdman’s concept of gender system and gender contracts, Judith Butler’s view on the heterosexual matrix and an understanding of power relations based on Michel Foucault. Results showed that the construction of gender and heterosexuality are intimately connected, as the main character’s desire or lack of desire for the prince was central to the plot in all three movies. Results also indicate that the most recent film was the most subversive in terms of constructions of gender and heterosexuality. Power relations between men and women remained relatively stable through all three movies, since most expressions of opposition did not really challenge patriarchal norms. My conclusion is that the development of gender portrayal in popular culture is going in the right direction, since women and girls now have access to a wider spectrum of gender expressions as exemplified in this study. But the lack of men venturing into areas and displaying behaviour traditionally associated with women suggests a reinforcement of a patriarchal structure where masculinity is viewed as preferable to femininity. This view is limiting men’s possibilities of expressing themselves, as well as downgrading women who express femininity.
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Ray, Emily Grider. "Part of Their World: Gender Identity Found in Disney Princesses, Consumerism, and Performative Play." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3320.pdf.
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Bergman, Angelica. "Happily Ever After : A Linguistic Study of the Portrayals of the Female Characters in One Old and One New Disney Film." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40858.
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This study seeks to answer the following research questions: which stereotypical linguistic profile characteristics and/or typical linguistic profile characteristics, if any, can be found in the old film and the new film respectively? Does the time difference between the films seem to have affected the female characters’ language use, if so in what way? Works by Lakoff (2004), Coates (2004) and Holmes (2013) are used to create a profile for stereotypical female speech and a profile for typical female speech. These profiles are applied to the transcripts of two Disney Princess films; one old film representing the classical Disney Princess films, and one new film representing the modern Disney Princess films. In order to suit this study all non-conversational utterances such as singing, and non-human utterances, are removed from the transcripts. The features are counted and then converted to frequencies of 1 feature per 100 words, in order to account for the differences in amount of words uttered. The results show that stereotypical features as well as typical features are present in both films. However, the old film contains more stereotypical features than typical features, and the new film contains more typical features than stereotypical features. Therefore, it would appear that the old film presents a more stereotypical image of women than the new film. Furthermore, the results indicate that power relations, and not just gender differences, play an important role in both films. The importance of these power relations would benefit from further investigation in future studies.
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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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Music, Mirela. "En prinsessa, en skurk och ett lyckligt slut -En jämförande analys av tre versioner av sagan om Törnrosa." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-89857.
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Syftet med studien är att undersöka likheter och skillnader mellan tre versioner av sagan Törnrosa i deras framställning av berättelsens struktur, karaktärers funktion och teman, samt hur sagan förändras när den filmatiseras. Studiens syfte är även förankrad i läroplanen för att visa vilka möjligheter det primära materialet har utifrån ett didaktiskt perspektiv. Studien bygger på Algirdas Julien Greimas aktant modell (1983), Maria Nikolajevas (2017) karaktärsskildring och Åsa Jernudds (2010) filmpoetiska begrepp. Analysen visar att de karaktärer som är nödvändiga för intrigen i samtliga versioner är ett subjekt, ett objekt, en hjälpare och en motståndare. Det framgår tydligt i samtliga versioner att oavsett vem huvudpersonen är och oavsett vilket problem skurken skapar ska samtliga berättelser nå ett lyckligt slut. Bröderna Grimms Törnrosa (1981) och Disneys Törnrosa (1959) skildrar prinsessans öde. Disneys Maleficent (2014) skildrar istället den onda fens öde.
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Roth, Raphaël. "Bande originale de film, bande originale de vie : pour une sémiologie tripartite de l'emblème musical : le cas de l'univers Disney." Phd thesis, Université d'Avignon, 2013. http://tel.archives-ouvertes.fr/tel-00987167.
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Cette thèse présente les résultats d'une recherche sur la musique au cinéma et la prolongation de l'expérience cinématographique en dehors de l'espace et du temps du dispositif cinématographique par l'écoute de la bande originale du film. Plus particulièrement elle aborde la bande originale du film en tant que musique emblématique de l'univers filmique. Elle instruit une réflexion sur la place de la musique dans nos vies et sa capacité à créer et recréer des expériences esthétiques du quotidien. A partir de la tripartition sémiologique développée par Jean Molino, nous proposons d'appréhender la bande originale de l'univers Disney depuis les conditions et le contexte de sa production d'abord, c'est-à-dire au niveau "poïétique ". Nous procédons à l'analyse de l'univers filmique et musical ensuite en nous plaçant au niveau " neutre " de l'œuvre. Enfin, par le biais d'une enquête par questionnaire dans le cadre d'un protocole de recherche expérimental nous analysons la réception de la bande originale de film à son niveau " esthésique ". Le mickeymousing, technique cinématographique définissant la ponctuation narrative des mouvements par la musique, est appréhendé comme une forme d'esthétisation du réel. Entre synchronisation, emblème et réel esthétisé cette recherche porte, in fine, sur l'esthétisation cinématographique du quotidien par la musique. De la bande originale de film à la bande originale de vie, les fonctions emblématiques de la musique sont décrites par une ethnographie de la musique au quotidien (festivals, trains, Disneyland, rayons des disquaires).
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Pukszta, Claire A. "Star Wars and Franchising: Emotional Ownership and Tensions in the Digital Age." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1257.
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This paper unpacks the franchise system and the often-tumultuous relationship between Producers and Consumers, especially around the release of new films by the Producers. Star Wars represents far more than just a corporate product. There is a thriving ecosystem around pieces that have touched fans lives personally.
The reaction of fans to new media texts in existing franchises is in constant flux. Tumultuous emotions of betrayal come in waves from fans immediately following the release of new content. Specifically focusing on reception to prequel films, Episode 1: The Phantom Menace (1999) and Solo: A Star Wars Story (2018), reveals how both generational differences and technology affect fan interaction and reaction across iterations of the franchise.
Fans attempt to remediate the differences in cannon and their own interpretations of the franchise through fan creation. Fans have historically been early embracers of new technologies and have used increasingly available editing software and cameras to express their passion for the franchise. A digital world has created ever expanding platforms of interactivity in which Producers/Consumers can reach one another. The spaces in which these interactions occur have evolved from personal fan websites to social media sites. The amount of online information available to consumers, from reviews to fan content, has diminished the power of official franchise content. The release of Solo revealed a dangerous level of apathy from consumers. As opposed to the fervor surrounding powerful media texts at the time of The Phantom Menace, the diversified media landscape has undoubtedly affected Star Wars.
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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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EnglishPh.D.
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.
Temple University--Theses
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Wolf, Melissa Ann. "From Steamboats to Snow White| How the Mickey Mouse Short Films Between 1928 and 1934 Resulted in a Shift from an Abstract to a Naturalistic Animation Style in the Disney Studios." Thesis, University of California, Riverside, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10010562.
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This thesis claims that between 1928 and 1934, technological developments, along with cultural shifts in the acceptance of machines in American society, led the studio away from the abstract style of their silent films toward the naturalism that would work to create the illusion of the fantasy worlds of Disney?s full-length feature films.
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Karlsson, Roosa. "Men var är jag : En etnografisk studie om vikten av etnisk representation i Nordamerikansk animation." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-43773.
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Björkqvist, Sara. "A comparative study between factual animation and cartoon animation in a learning context." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130021.
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Film har påvisats vara en populär metod för effektiv inlärning men inga tidigare undersökningar berör hur den visuella stilen av film i undervisning kan påverka inlärningen. Denna studie går därför ut på att undersöka skillnaderna mellan en saklig, informativ animerad film och en cartoon-animerad film i hur de fungerar och uppfattas i ett lärandesammanhang. Studien innefattar en litteratursökning kring multimediainlärning, kommunikation i film och animationsprinciper som sedan mynnat ut i två animerade filmer, en saklig och en med cartoon-karaktär. Dessa filmer har jämförts i kvalitativa användartester med en högstadieklass för att undersöka förståelsen och uppfattningen kring filmerna. Slutsatserna från studien är att båda filmerna skulle passa i ett lärandesammanhang, dock krävs en djupare och större undersökning för att förstå hur de olika filmerna påverkat inlärningen. Den största skillnaden mellan filmerna ligger i hur underhållande de upplevs, den cartoon-animerade filmen upplevs vara roligare och väcker intresset hos många av testpersonerna, dock upplevde flera att den även var distraherande och att de fokuserade mer på underhållningen än faktan som presenterades. För att fullt svara på syftet krävs en fortsatt studie kring ämnet.
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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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Alsén, Emelie. "Prinsessa i tiden : En kvalitativ innehållsanalys av skillnader i hur två klassiska Disneyprinssessor gestaltas i de animerade originalfilmerna jämfört med deras nya spelfilmer utifrån ett genusperspektiv." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-36140.
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This study has analysed the dialogue in two of the oldest Disney animated movies with a princess in the lead role, Cinderella from 1950 and Sleeping beauty from 1959 and compared them with their new live action remakes, Cinderella from 2015 and Maleficent from 2014, from a gender perspective. The purpose was to find out if there has been a change in the way the princess was shaped based on their personality and their relation with the prince. Selected scenes have been transcribed from the four films and through a qualitative content analysis they have been coded based on a code scheme. The analysis has been based primarily on Rönnberg's theory of feminine role types in film and Yvonne Hirdman's gender contract. Davies 'previous research on stereotypes in fairy tales and England, Descartes and Collier-Meek and Hine´s et al. study about gender in Disney movies through the ages also support the interpretations of the analysis'. The results show that both of the older animated films portray the princesses based on a more stereotypical image of women and from a perspective where men are superior and the heroes in the story. In the live action movies, the stereotypical feminine image of the princesses has developed. In Cinderella, the main character develops during the film. At first the main character Ella shows similarities with the classic Cinderella which is very gender stereotypical. During the film, the character of Ella changes and in the end, she finally dares to stand up for herself which is a big change compared to the classic movie. In Maleficent, on the other hand, Princess Aurora is portrayed in a completely different way compared to classic Sleeping Beauty. This movie shows a side that is not as stereotypically feminine. Aurora is not saved by a prince, she is curious and dreaming of taking over the magical land that Maleficent comes from. The change you can see in the result indicates a social change in the way of how men and women are viewed. The live action movies show a world where women are allowed to take more space, be strong for themselves and have dreams that do not involve a prince.Den här studien har analyserat dialogen i två av de äldsta animerade originalfilmerna från Disney med en prinsessa i huvudrollen, Askungen från 1950 och Törnrosa från 1959. Därefter har de jämförts med deras nyutgivna spelfilmer, Berättelsen om Askungen från 2015 och Maleficent från 2014, ur ett genusperspektiv. Syftet var att undersöka om det skett en förändring i hur prinsessans personlighet och hennes relation med prinsen gestaltas mellan filmerna. Utvalda scener har transkriberats från de fyra filmerna och genom en kvalitativ innehållsanalys har de kodats utifrån ett kodschema. Analysen har därefter baserats framförallt på Rönnbergs teori om feminina rolltyper i film samt Yvonne Hirdmans genuskontrakt. Davies tidigare forskning om stereotyper i sagor samt England, Descartes och Collier-Meek och Hines et al. studie om genus i Disneyfilmer genom tiderna stöttar också analysens tolkningar. Resultatet visar att båda de äldre animerade filmerna gestaltar prinsessorna utifrån en mer stereotyp bild av kvinnor samt utifrån ett perspektiv där männen är överordnade och hjälten i historien. I de nya spelfilmerna har den stereotypa feminina bilden av prinsessorna utvecklats. I Berättelsen om Askungen utvecklas huvudkaraktären under filmens gång. Huvudkaraktären Ella visar till en början stora likheter med den klassiska Askungen som är väldigt könsstereotypiska. Under filmens gång får man följa en förändring i Ella och i slutet vågar hon äntligen stå upp för sig själv vilket är en stor förändring i jämförelse med den klassiska filmen. I Maleficent däremot, gestaltats prinsessan Aurora på ett helt annat sätt i jämförelse med klassiska Törnrosa. Filmen visar en sida av Aurora som inte är lika stereotypiskt feminint. Aurora blir inte räddad av en prins, hon är nyfiken och drömmer om att själv ta över det magiska landet som Maleficent kommer ifrån. Den förändring man kan se i resultatet tyder på en samhällelig förändring i hur man ser på män och kvinnor där kvinnor tillåts ta mer plats, vara starka i sig själva och ha drömmar som inte involverar en prins.
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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.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.
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).
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Hermansson, Malin. "Från Snövit till Frost : En genusstudie av kvinnliga relationer iDisneyfilmer och hur dessa har utvecklats över tid." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40692.
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This study examines how women are portrayed in four of Disney’s feature films, withthe focus on the presentation of relations between women. The films examined areSnow White and the Seven Dwarfs (1937), Sleeping Beauty (1959), The Little Mermaid(1989) and Frozen (2013). The aim is to analyse the development that has taken placefrom a gender perspective, from the earliest film, Snow White and the Seven Dwarfs(1937), to the latest, Frozen (2013), and to reveal the significance of the femalecharacters for each other. The films’ portrayal of women and female relations isdiscussed in relation to previous criticism of Disney for their stereotyped portrayal ofwomen, and through a thematic comparison with the known fairytales on which thefilms are based. The analysis has been performed with the aid of content analysis basedon Stukát (2011) and Ledin & Moberg (2010). The theoretical foundation is gendertheory, chiefly using Jarlbro (2006), Nilson (2010) and Davies (2003).One finding of this study is that it is only in the recent films that more room has beengiven to a positive relationship between women. In the early films there is more hatebetween women, who are therefore not shown as good objects for young girls toidentify with, whereas the later films often depict relations between women as loving.However, the mother figure and female friends are often absent from Disney’s films.These relationships are often described as being the most important for girls’ identitydevelopment, and therefore the early Disney films can be assumed to lack goodidentification possibilities for girls. Another finding is that the female characters havebecome more complex in the recent films, not following traditional female behaviour.
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Madsén, Jenny, and Susanne Nyman. "Identitet, identifikation och kulturella skillnader i animerad film." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2449.
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This essay examines an excerpt of the wide range of animated films that our children has access to in Sweden today.It takes up questions about what kind of messages the films are delivering, if there are certain patterns that are being followed, differences between the films relating to the cultures where they’re from, but above all, what the hero is about and what kind of shape he or she assumes. The film analyses that are being made are anchored in two theoretical investigations; one about how children are influenced by-, and how they use, the stories that are being told in films to develop their own identity. The other one treats classical and traditional patterns and genres in stories.
Denna uppsats undersöker ett utdrag av det utbud av tecknade filmer som våra barn tar del av här i Sverige i dag. Den tar upp frågor som vilka budskap filmerna egentligen sänder ut, om det finns vissa givna mönster som följs, skillnader mellan filmerna i förhållande till de kulturer de kommer ifrån, men framförallt hur hjälterollen ser ut och gestaltas. De filmanalyser som utförs förankras i två teoretiska undersökningar, dels en om hur barn påverkas av och använder filmsagor i sitt utvecklings- och identitetsarbete och dels en som behandlar traditionella klassiska mönster och genrer.
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Taylor, K. Vivian. "National Identity, Gender, and Genre: The Multiple Marginalization of Lotte Reiniger and The Adventures of Prince Achmed (1926)." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3377.
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Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children's television programs. Animated films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals, such as such as Animation Journal and Wide Angle, to one of the most mainstream English-language publications, the Modern Language Association's Profession, which included Judith Halberstam's article "Animation" in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated feature film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated feature film, The Adventures of Prince Achmed (1926).
Because of the international and interdisciplinary qualities of animation, my project draws upon a wide array of disciplines including film theory, historiography, and criticism; European modernisms; animation studies; early German culture; folklore; and literary adaptation. In order to explore such diverse subject matter I utilize feminist, discourse, Marxist/cultural, and film theories.
My first chapter demonstrates inconsistencies concerning the development of the animated film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated feature film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization.
In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German film industry. I argue that (German) national identity negatively impacted her and the film's discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balazs, and Arnheim. An analysis of the film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed's Berlin and Parisian releases, was a particularly difficult time for the German film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German film. Anti-German sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy.
In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview of contemporaneous female artists and filmmakers elucidates the complicated relationships between women and film and women and modernity. Invoking Guyatri Chakravorty Spivak's interrelated concepts of the "politics of interpretation," "cultural marginalia," and "masculist centrality/feminist marginality," I posit Prince Achmed as a feminist celebration of handicraft and a critique of modern culture. Reiniger embraces her relegation to the private/domestic/feminine realm by revolutionizing silhouette cutting in the form of animated (feature) film. In Prince Achmed she critiques the contradiction between imagery of the New Woman and the actual plight of women in modernity.
After situating animated film within the larger genre of film, in chapter four I reflect upon the scholarly tendency to relegate film to a status subordinate to traditional visual media, thereby further marginalizing animation. In this chapter I also define and debunk the Disney myth, which includes widespread misconceptions that Disney invented the multiplane camera and pioneered the animated feature film. I highlight contributing factors such as a noticeable lack of animation scholarship (Edera; Pilling) and a gap in interwar German history during which Prince Achmed was produced (Kracauer; Arnheim; Edera). The concept of "historical imaginary" developed by Elsaesser and Foucauldian "mechanisms of power" assist an understanding of the creation and nearly century-long perpetuation of the Disney myth, which has lost relevance to contemporary critical discourse.
Having established primary and tertiary causes of the marginalization of Reiniger and Prince Achmed, I determine that this is a timely project since, according to Walter Benjamin, all images become intelligible only in later corresponding epochs. This "synchronicity" renders Prince Achmed comprehensible to critics in contemporary American animation-saturated culture. Because each chapter focuses on an element of otherness, my project illuminates the individual and culminating effects of national identity, gender, and genre on film history and discourse. By restoring Lotte Reiniger and Prince Achmed to their rightful discourse positions, my dissertation challenges existing understandings of the origins of animated film and development of the medium of film. Furthermore, my project encourages interdisciplinary scholarship, ongoing recovery of women and other historically overlooked groups, and interrogations of literary and other canonization.
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Horvat, Amy C. "Identifying the Real Alice: The Replacement of Feminine Innocence with Masculine Anxiety." Marietta College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1304104165.
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Junges, Suélen Hernandes Moraes. "TIANA, UMA PRINCESA ÀS AVESSAS?: A REPRESENTAÇÃO DA PERSONAGEM FEMININA NO FILME DE ANIMAÇÃO A PRINCESA E O SAPO DA WALT DISNEY." Universidade Catolica de Pelotas, 2012. http://tede.ucpel.edu.br:8080/jspui/handle/tede/202.
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Previous issue date: 2012-03-31This essay aims at investigating how is the construction and representation of the female protagonist in Disney s animated film "The Princess and the Frog" (2009). In order to accomplish the main objectives, I take as reference theoretical concepts from different areas of knowledge, emphasizing on the genres of speech, intertextuality and polyphony, in accordance with Bakhtin and his Circle, besides focusing on the notions of stereotype and gender as a cultural category linked to the feminist criticism critique. This work is divided into two chapters. In the first one I present the theoretical framework, a brief history of fairy tales and comments about their film adaptations, from the panorama of the movie production of the nine Disney Princesses. In the second chapter, I highlight the methodology employed in the linguistic analysis and imagery from the movie "The Princess and the Frog" on the basis of what I call contextual nucleus which include the following elements: 1) time / space / family constitution, 2) economy / true love / happy ending, 3) scenario / songs / colors and traces 4) fantastic / wonderful / mysticism. I also suggest at this stage a study of Tyana´s physical and behavioral characteristics in comparison with the tale "The Frog Prince by the Grimm Brothers and, three of the "Disney Princesses": Snow White, Cinderella and Aurora. I believe that animation films and adaptations of traditional fairy tales that are directed to children, broadcast standards, values and meanings bring a great influence on the formation and construction of gender identities. Throughout the approach to cinematic language (verbal and imagery), it is possible to unveil the ideology that pervades this midia due to social interchange whereas it is an intertextual discoursive space
Esta dissertação tem por objetivo investigar de que modo ocorre a construção e a representação da personagem feminina no filme de animação A princesa e o sapo (2009), dos Estúdios Disney. Para realizar esse estudo, tomo como referencial teórico conceitos de distintas áreas do conhecimento, salientando-se os de gêneros do discurso, intertextualidade e polifonia, conforme Bakhtin e seu Círculo, além de enfocar as noções de estereótipo e de gênero, como categoria cultural, vinculados à crítica feminista. Este trabalho encontra-se dividido em dois capítulos. No primeiro, apresento o referencial teórico, um breve histórico dos contos de fadas e um comentário acerca de suas adaptações para o cinema, a partir do panorama da produção fílmica das nove princesas dos Estúdios Disney. No segundo capítulo, destaco a metodologia empregada na análise linguística e imagística do filme A princesa e o sapo com base no que denomino de núcleos contextuais , os quais compreendem os elementos seguintes: 1) tempo/espaço/constituição familiar; 2) economia/amor verdadeiro/happy end, 3) cenário fílmico/canções/cores e traços e 4) fantástico/maravilhoso/misticismo. Proponho ainda nessa etapa, um estudo das características físicas e comportamentais de Tiana, em termos comparativos com o conto O rei sapo , dos Irmãos Grimm e três das princesas Disney : Branca de Neve, Cinderela e Aurora. Acredito que os filmes de animação, adaptações de contos de fadas tradicionais, voltados para as crianças, transmitem normas, valores e significados, que influem diretamente na formação e construção de identidades de gênero. Por meio da abordagem à linguagem cinematográfica (verbal e imagística), foi possível desvelar a ideologia presente nesta mídia de intercâmbio social, enquanto espaço intertextual discursivo
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Luckner, Victoria. "“I AM NOT A PRINCESS BUT…”: AN IDEOLOGICAL CRITICISM OF “FEMINIST” IDEOLOGIES IN DISNEY’S MOANA." CSUSB ScholarWorks, 2018. https://scholarworks.lib.csusb.edu/etd/753.
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In 2016, Disney animation studios released their newest princess film Moana. The film follows a seemingly feminist plot line of a young female heroine who saves the world from destruction. This study examines Moana (2016) in relation to the views on feminism in the U.S. Disney’s large social and economic influence provides rich grounds for this research. Using an ideological rhetorical criticism, I uncovered the presented and suggested elements of the film. These elements combined with research on U.S. feminist ideology allowed three ideological themes to emerge: ecofeminism, power feminism, and post-feminism. The three themes are threaded to create a seemingly feminist patchwork ideology. I argue that the patchwork ideology that is created is a result of the political and economic conditions present around the production of Moana. Furthermore, I argue that this patchwork ideology is ultimately harmful to current feminist ideology in the U.S. This study adds insight into how feminist ideology is used in popular media.
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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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Dekle, Mark. "Gulliver’s Travels to the Screen, Giant and Tiny." Scholar Commons, 2009. https://scholarcommons.usf.edu/etd/1928.
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Gulliver's Travels, by Jonathan Swift, has captured readers' imaginations for almost three hundred years, spawning countless adaptations over several different mediums. As different means of communicating and transforming art have been invented, these adaptations have grown to fill the new mediums and make use of the various possibilities each form has created. Film in particular has created an enormous opportunity to re-imagine Gulliver's Travels, since it can directly show the audience the fictional foreign locations in which Gulliver finds himself.
In this study, I examine seven screen adaptations of Swift's novel to determine what our current culture views as the core of the work, or what we see as the important pieces to pass on to current and future audiences.
The seven chosen adaptations were selected based on how well they have survived over the last century; adaptations which are no longer available for commercial purchase and/or viewing were excluded from the study. I have also only included works which maintain a resemblance to the original story in structure, even if merely loosely, and have excluded works which bear only a thematic tie; I based my choices on the works which make an overt claim to be interpretations of the original text. This study examines only the works which seek to directly represent the original novel. By looking at Swift's work through the lens of adaptation, this study will show how Swift's work is currently perceived, and examines what that may mean for the future of Swift's legacy. As cultural views and connotations of language have changed, the directors of the adaptations have used different means to achieve sometimes similar, sometimes different messages.
Gulliver's Travels was originally a satiric work that addressed social problems of eighteenth-century England. Popular views on society have changed, however, as have the politicians holding office. Certain events in Gulliver's Travels, such as the reading of Gulliver's offences in Lilliput, no longer have nearly the same relevance. Therefore, it is important to examine how the directors address these changes to determine what will retain relevance over time.
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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."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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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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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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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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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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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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Zhao, Shi Qi Jennifer. "The use of accents in Disney animated feature films 2010-2015." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953579.
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Mäki, F. (Fanni). "“From zero to hero”:representations of hegemonic masculinity in Disney films." Master's thesis, University of Oulu, 2013. http://urn.fi/URN:NBN:fi:oulu-201309121686.
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The aim of this study was to find out how hegemonic masculinity is represented in the main male characters of four Disney feature-length films from the 1990s. My hypothesis was that Disney films use the same representations as other mainstream entertainment where hegemonic masculinity is promoted as the ideal and the desired form of masculinity. As theoretical background for my research I used R. W. Connell’s theory of hegemonic masculinity that is formalized in the book Masculinities. I also used other theories from the field of masculine research, including feminist theory, theories of power, pop psychology approach and research on fairytales. Some of the theories that I used were to complement Connell’s theory, but some approached masculinity from another perspective. My corpus consisted of Disney films Beauty and the Beast, Pocahontas, Hercules and Tarzan. I chose a main male character from each of the films, examined their every scene and determined whether they represented hegemonic masculinity or not. In addition to the four main characters, I briefly analyzed a few other characters and what kind of masculinity they represented. I arrived to the conclusion in my study that all the four male protagonists had traits of hegemonic masculinity. Two of the four were very straightforward representations of hegemonic masculinity and the other two had some characteristics of it. In other male characters, that were briefly analyzed, there was a character who did not have any of the traits associated with hegemonic masculinity. My hypothesis, that hegemonic masculinity is represented in the main characters of the films, was confirmed and thus, Disney films promote traditional representations of menTutkimuksen tavoitteena oli selvittää miten hegemoninen maskuliinisuus ilmenee miespäähenkilöiden representaatioissa neljässä Disney-elokuvassa 1990-luvulta. Oletuksenani oli, että Disneyn elokuvissa käytetään samoja miehen esitystapoja kuin muussakin valtavirtaviihteessä, jossa hegemoninen maskuliinisuus esitetään ideaalina ja tavoitelluimpana. Teoriapohjana tutkimuksessa käytin R. W. Connellin hegemonisen maskuliinisuuden teoriaa, joka on esitelty kirjassa Masculinities. Taustamateriaalina käytin myös muita teorioita maskuliinisuuden tutkimuksen kentältä, kuten feminististä teoriaa, valtateoriaa, populaarimpaa sosiobiologista lähestymistapaa sekä satujen tutkimusta. Osa tutkimuksesta oli linjassa Connellin tutkimuksen kanssa tai sitä tukevaa, mutta osa tutki maskuliinisuutta muista lähtökohdista. Aineistonani käytin Disneyn elokuvia Kaunotar ja Hirviö, Pocahontas, Herkules ja Tarzan. Valitsin jokaisesta elokuvasta päähenkilöihin kuuluvan mieshahmon, jonka jokaisen kohtauksen tutkin hegemonisen maskuliinisuuden ilmentymisen kautta. Lopuksi kävin lyhyesti läpi myös muutaman muun hahmon esitystavat. Tutkimukseni tulos osoitti, että kaikissa neljässä tarkemmin tutkitussa miespäähenkilön esitystavassa oli piirteitä hegemonisesta maskuliinisuudesta. Kahden miespäähenkilön esitystavat toteuttivat suoraviivaisesti hegemonisen maskuliinisuuden kaavaa ja toiset kaksi toteuttivat sitä osittain. Lyhyesti läpikäydyissä muissa mieshahmoissa oli myös esitystapa, joka ei sisältänyt lähes lainkaan hegemoniseen maskuliinisuuteen kuuluvia ominaisuuksia. Oletukseni, että hegemoninen maskuliinisuus ilmenee valitsemieni elokuvien päähenkilöiden representaatioissa, piti kuitenkin paikkansa ja tästä päätellen Disney-elokuvat vahvistavat perinteisiä maskuliinisuuden esitystapoja
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Lavoie, Elizabeth Marie. "A Content Analysis of Disney Animated Films: Identifying Teachable Moments for Parents." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/LavoieEM2008.pdf.
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Karlsson, Nordqvist Rebekka. "Gender Roles Via Hedging in Children’s Films." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-16216.
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Lachance, Julie. "L'actualisation de la pensée amoureuse platonicienne dans les films d'animation de Disney." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30594/30594.pdf.
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Ce travail aborde les relations existant entre l’amour platonicien et l’amour présent dans les films d’animation de Walt Disney. Disney étant l’un des plus grands médias culturels occidentaux, si ce n’est mondiaux, retrouver Platon chez Disney, c’est voir l’influence de la philosophie grecque sur l’Occident actuel et son héritage. La comparaison sera déployée selon quatre grands thèmes : le rôle du beau dans l’amour, ἔρως comme intermédiaire, l’amour comme folie divine, l’amour comme méthode éducative. Nous commencerons par exposer les mœurs en Grèce antique, pour présenter adéquatement la position de Platon. Nous nous demanderons ensuite les causes pouvant expliquer l’apparition de la théorie platonicienne de l’amour chez Disney. Nous présenterons par la même occasion les contes qui ont inspiré Disney et qui peuvent parfois avoir des racines platoniciennes. Finalement, nous comparerons les films de Disney avec la pensée de Platon au sujet de l’amour.This paper presents the existing correlations between the concept of platonic love and the love displayed in Walt Disney's animated movies. Disney being one of the biggest media in Occident, if not in the world, finding Plato's theory in Disney movies means seeing the traces of Greek philosophy in today’s occidental world, and its heritage. We will ask ourselves why there is an existing relationship between Plato’s theory and Disney. The comparison will be made around four themes: the role of beauty in love, ἔρως as intermediary, love as divine foolishness, love as educational method. We will first expose the customs of ancient Greece in order to present adequately Plato’s position. We will present the fairy tales that inspired Disney, which sometimes find their origin in Platonism. Finally, we will compare Disney movies with Plato’s reflections about love.
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Roy, Travis Brandon. "The Edutainer: Walt Disney, Nature Films, and American Understandings of Nature in the Twentieth Century." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/345277.
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HistoryM.A.
Throughout much of the twentieth century Walt Disney wielded considerable influence in American culture. By identifying and commercially exploiting a strain of environmental thought that sentimentalized and romanticized nature, Walt Disney influenced the attitudes of millions of Americans concerning how they conceptualized environmental issues. The Walt Disney Company’s nature documentaries and their popularity as both entertainment as well as educational material helped disseminate the virtues of conservation within the American mindset. The Disney interpretation of conservation clashed with other post-war environmental understandings of the ethic, as did the company’s consistently inaccurate representations of nature on film. Disney’s particular strain of environmentalism, based on an Edenic appreciation for nature, the belief that to conserve land it must be developed, and practice of moralizing to humans through anthropomorphized depictions of animal behavior, stood out in contrast to other existing post-war environmental mindsets during the controversy surrounded the proposed construction of a vacation resort in Mineral King, California, following Disney’s death.
Temple University--Theses
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Donofrio, Elaina C. "The Wonderful World of Gender Roles: A Look at Recent Disney Children’s Films." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3061.
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Thesis advisor: Lisa CuklanzFor my Communication Honors Program thesis for Boston College, I plan to analyze gender roles and how gender is constructed in recent children’s films produced by Disney. Since the Disney Corporation is so prominent in today’s culture and thus influential to its audience, this topic of study is very important. It impacts many people including its main target audience—children. Existing research proves that children develop their gender schemata early in life. Furthermore, the media they interact with influences children and their concepts of gender. Therefore, the way that Disney portrays gender in its children’s movies is worth analyzing since it can impact the way children develop and view gender and stereotypes
Thesis (BA) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication Honors Program
Discipline: College Honors Program
Discipline: Communication