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Journal articles on the topic 'Disney Frozen'

Author: Grafiati

Published: 12 December 2022

Last updated: 27 January 2023

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1

S. Rogers, Anna. "Are Disney Characters ‘Frozen' in Stereotypes? An Intersectional Analysis of Frozen." EDUCATION SCIENCES AND SOCIETY, no. 2 (January 2020): 23–41. http://dx.doi.org/10.3280/ess2-2019oa8427.

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This paper analyzes changes and continuities in the popular princess characters created by the Walt Disney Studios, specifically in the 2013 movie Frozen. The analysis focuses on five themes suggested by an intersectionality framework: the historical and geographical contexts of Disney characters; the controlling images that are revealed; the power relations among the characters; the macro and micro conditions of Disney movies; and the intersection of gender, sexuality, race, and class in the portrayed characters. The main finding is that the traditional Disney princess has made way for a new

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Gehry, Frank. "From Shiva to Disney: Frozen Motion." New Perspectives Quarterly 21, no. 1 (2004): 5–11. http://dx.doi.org/10.1111/j..2004.00633.x.

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GEHRY, FRANK. "From Shiva to Disney: Frozen Motion." New Perspectives Quarterly 30, no. 4 (2013): 19–23. http://dx.doi.org/10.1111/npqu.11397.

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Putri, Tia Aprilianti. "Viewing Female Depiction in Frozen 2." Language Circle: Journal of Language and Literature 15, no. 2 (2021): 265–74. http://dx.doi.org/10.15294/lc.v15i2.26416.

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Disney is one of the biggest animation companies in the world. They have released many animations since then until now. One of the most popular animations is the princess series. Until 20202, Disney has released fourteen princesses from Snow White and the Seven Dwarfs to Frozen 2. Gender role depictions of the female character(s) were examined with a focus on their behavioral characteristics in the films. The English subtitle of Frozen 2 was used to find out the attitudinal expressions about the female characters. In order to make the research easier and more accurate, a concordance tool named

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Dundes, Lauren. "Elsa as Horse Whisperer in Disney’s Frozen 2: Opportunity “Nokk”s to Quash Gender Stereotypes." Social Sciences 9, no. 5 (2020): 86. http://dx.doi.org/10.3390/socsci9050086.

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Frozen 2 (2019) provided Disney with the opportunity to move past discomfort about the confluence of women’s sexuality and power in Queen Elsa portrayed in Frozen (2013). Yet in Frozen 2, Elsa remains romantically unattached, despite audience interest in her love life in the six years following the release of Frozen. In Frozen 2, Elsa forms a bond with a mythological male horse, a Nokk, whom she first battles, and then tames, showcasing her horse-whispering talents while building intimacy with the equine. The symbolism of Elsa’s domestication of the willful Nokk relates to the gynocentric hors

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Kowalski, Christopher, and Ruchi Bhalla. "Viewing the Disney Movie Frozen through a Psychodynamic Lens." Journal of Medical Humanities 39, no. 2 (2015): 145–50. http://dx.doi.org/10.1007/s10912-015-9363-3.

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Llompart, Auba, and Lydia Brugué. "The Snow Queer? Female Characterization in Walt Disney’s Frozen." Adaptation 13, no. 1 (2019): 98–112. http://dx.doi.org/10.1093/adaptation/apz019.

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Abstract Hans Christian Andersen’s fairy tale ‘The Snow Queen’ (1845) and its film adaptations have been examined from multiple perspectives by previous scholarly criticism. Recently, Gender and Queer theories have placed particular emphasis on the presence of non-normative romantic relationships between characters, namely, attraction between a young boy and an older woman (Kay and the Snow Queen), homoeroticism (Gerda and the Robber Girl), and even incestuous desire (Kay and Gerda), among others. In this paper, we will concentrate on how the original fairy-tale female characters and their int

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Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 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

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Nurcitrawati, Vera, Evie Kareviati, and Nai Atmawidjaja. "FIGURATIVE LANGUAGE ANALYSIS IN DISNEY SONGS." PROJECT (Professional Journal of English Education) 2, no. 4 (2019): 494. http://dx.doi.org/10.22460/project.v2i4.p494-500.

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This research is titled "Figurative Language Analysis In Disney Song". The background of this research is to understand the use of figurative language contained in Disney song lyrics from the films Frozen and Tangled (Rapunzel). The objectives of this research are: (1) What types of figurative language are contained in the song, (2) figurative language functions contained in the song lyrics, and (3) what implicit meanings are contained in the lyrics of the song. The method used in this research is qualitative descriptive in observation, collecting data and conclusions from the research. The re

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Johnson, Michelle. "She's Beauty and She's Grace(less): The Mercurial Femininity of the Modern Disney Princess." Congress on Research in Dance Conference Proceedings 2016 (2016): 229–34. http://dx.doi.org/10.1017/cor.2016.31.

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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Di

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Linando, Inesia. "Disney Portrayal of Gender Roles in Snow White and the Seven Dwarfs, Beauty and the Beast and Frozen." IMOVICCON Conference Proceeding 2, no. 1 (2021): 208–14. http://dx.doi.org/10.37312/imoviccon.v2i1.76.

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Many parents consider giving fairytales books and films with the “happily ever after” theme with princesses and princes charming characters to their little ones. For parents, fairytale means Disney’s products. Disney, as one of the largest media companies in the world has been using traditional approach for producing their films. However, Disney changed their approach and recently has been using progressive approach in the contemporary setting. Disney also sets an example to transgress and shape ways of thinking in the society worldwide. Using Mulvey’s theory about male gaze and three Disney’s

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Putri, Artanti Eka Ellasari, and Pratiwi Retnaningdyah. "Women's Role in Overcoming Nature Exploitation in Disney Movie Frozen II." Humanitatis : Journal of Language and Literature 7, no. 2 (2021): 129–42. http://dx.doi.org/10.30812/humanitatis.v7i2.1255.

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The purpose of this paper is to analyze the interrelation between women and nature in an animation movie produced by Walt Disney and directed by Chris Buck and Jennifer Lee. The study aims at examining the relationship between women and nature in Walt Disney’s Movie Frozen II (2019), with a special focus on the destruction of nature that occurs in the movie and the role of female characters in repairing the environmental damage. Moreover, Gaard’s theory of Ecofeminism serves as the theoretical framework upon which women and nature relations are examined within the gender and ecological context

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Streiff, Madeline, and Lauren Dundes. "Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess." Social Sciences 6, no. 2 (2017): 38. http://dx.doi.org/10.3390/socsci6020038.

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Langsdale, Samantha. "Disney classics and ‘Poisonous Pedagogy’: The fairytale roots of Frozen (2013)." Animation Practice, Production & Process 4, no. 1 (2014): 27–43. http://dx.doi.org/10.1386/ap3.4.1.27_1.

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Potter, Katie. "A Crushing Weight: Examining Disney’s Family Dynamics in Encanto." Film Matters 13, no. 2 (2022): 94–98. http://dx.doi.org/10.1386/fm_00231_7.

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The 2021 release of Disney’s Encanto was a magical surprise for viewers worldwide during the COVID-19 pandemic. The memorable songs and engaging animation helped the film solidify its place as one of the most popular animated films in Disney’s prestigious library. This article discusses Encanto’s divergence from the all too familiar themes in Disney narratives, allowing the film to explore anxieties that can arise under the weight of familial expectations. Through comparison to the equally popular Disney film Frozen, this piece analyzes the power behind the lyrics of Encanto’s music that offer

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Lee, Reyun. "An Analysis of Factors about Closing of Disney Musical on Broadway 『Frozen』." Popular music contents society 5, no. 2 (2021): 20–35. http://dx.doi.org/10.53755/pmcs.2021.5.2.20.

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Low, Katherine. "Paganism, Goddess Spirituality, and Elsa in Disney’s Frozen 2." Journal of Religion and Popular Culture 33, no. 2 (2021): 89–104. http://dx.doi.org/10.3138/jrpc.2020-0020.

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Audiences in the United States recognize Pagan elements like the use of magic and animism in the Disney film Frozen 2. This article discusses such Pagan ideas in the Frozen films and then applies two archetypal themes from Goddess spirituality to Elsa’s characterization. Scholars like Carol Christ and Starhawk of nature-based Pagan Goddess movements in the United States are employed to compare Elsa in Frozen 2 with notions about the fifth element and rebirth. The article engages neo-Pagan religious ideas about female independence, balance, and transformation, providing a comparison to Elsa’s h

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Teodoro da Silva Junior, Mário Sérgio. "ESTILO E ETHOS NA DISNEY: TRANSFORMAÇÕES DA IDENTIDADE." Revista do GEL 14, no. 1 (2017): 288–308. http://dx.doi.org/10.21165/gel.v14i1.1347.

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Nos últimos anos, a semiótica discursiva ganhou, em seu repertório de reflexões teóricas, contribuições significativas para o estudo do fato de estilo com Discini (O estilo nos textos, 2013; e Corpo e estilo, 2015), permitindo reflexões sobre a identidade, alteridade e modo de ser do sujeito-enunciador no mundo social e semiológico. A identidade da Walt Disney, os estúdios de animação, é uma das mais persistentes temporalmente, com mais de 70 anos, e de grande popularidade. Pretendemos explorar no presente trabalho como um estilo pode permanecer tão constante e atual ao longo desse intervalo d

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Chon, Bum-Soo. "Determinants of Satisfaction and Evaluation for Two Disney Animations : 〈Frozen 2〉and 〈Aladdin〉." Korean Journal of animation 17, no. 4 (2021): 161–79. http://dx.doi.org/10.51467/asko.2021.09.17.3.161.

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Fonneland, Trude. "Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency." Religions 11, no. 9 (2020): 430. http://dx.doi.org/10.3390/rel11090430.

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This paper explores the religion-making potential of a particular secular institution, namely the Walt Disney Studios. Focusing on the animation film Frozen II that was launched in November 2019, the current article enters into debates about the manner in which indigenous religion is part of the commodity presented—how religion is produced, packaged, and staged. In the article I argue that contemporary media-scapes can be seen as agents of religion-making, of religious circulation, and renewal. As such, religion, as it is expressed in Frozen II, is outlined and produced by a particular media-f

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Ruiz, Juliana Machado, and Rafael De Tilio. "Uma nova mulher (?): gênero feminino na filmografia contemporânea da Disney." Revista Ártemis 25, no. 1 (2018): 163. http://dx.doi.org/10.22478/ufpb.1807-8214.2018v25n1.36099.

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O objetivo dessa pesquisa foi compreender os discursos (efeitos de sentidos) ligados ao gênero feminino e à heteronormatividade concernentes à filmografia contemporânea da Disney. Foram utilizados para a análise três filmes (Valente, 2012; Frozen, 2013; e Malévola, 2014) que compuseram o corpora de análise. Três Formações Discursivas (Feminilidade Hegemônica, Ato Heroico, Amor Romântico) foram constituídas e analisadas a partir da Análise do Discurso de tradição francesa de Michel Pêcheux. Essas animações estão dotadas de elementos simbólicos (explícitos e implícitos) que propiciam a discussão

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Soares, Geralda A. Lay X. F. "THE ANALYSIS OF LEADERSHIP CHARACTER OF SNOW QUEEN OF ARENDELLE IN DISNEY MOVIE “FROZEN”." Apollo Project: Jurnal Ilmiah Program Studi Sastra Inggris 8, no. 1 (2019): 23–26. http://dx.doi.org/10.34010/apollo.v8i1.2107.

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Animated movie "Frozen" tells the story of the adventures of a girl named Anna and her friends against Snow Queen. Snow Queen act coused, freezing in the whole empire and the people suffer from the cold. Snow Queen is actually anna’s sister named Elsa. However, in this story is not to discuss about the adventures of Anna against her sister Elsa, but will discuss the character of Elsa. Character is a person depicted in a narrative or drama. Elsa’s character as a princess of the kingdom in Arendelle is a authoritative, loving, coward and insecure. But on the other hand, as the Snow Queen charact

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (2018): 11. http://dx.doi.org/10.33884/basis.v5i2.776.

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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; h

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (2018): 11. http://dx.doi.org/10.33884/basisupb.v5i2.776.

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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; h

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Holdier, A. G. "Kierkegaard’s Three Spheres and Cinematic Fairy Tale Pedagogy in Frozen, Moana, and Tangled." Journal of Religion and Popular Culture 33, no. 2 (2021): 105–19. http://dx.doi.org/10.3138/jrpc.2018-0027.

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Although Disney films are sometimes denigrated as popular or “low” art forms, this article argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into non-partisan forms, often by substituting secular proxies for otherwise divine or spiritual components. By adapting Søren Kierkegaard’s tripartite existential anthropology of the self, I analyze the subjective experiences of the protagonists in three recent animated fairy tales—Disney’s Frozen, Moan

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Hine, Benjamin, Dawn England, Katie Lopreore, Elizabeth Skora Horgan, and Lisa Hartwell. "The Rise of the Androgynous Princess: Examining Representations of Gender in Prince and Princess Characters of Disney Movies Released 2009–2016." Social Sciences 7, no. 12 (2018): 245. http://dx.doi.org/10.3390/socsci7120245.

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Previous quantitative research examining Disney movies has highlighted that whilst prince characters display largely balanced gender profiles, princesses exhibit biased gender role portrayals—performing mostly feminine characteristics, rarely participating in rescue behavior, and concluding movies in romantic relationships with the prince. However, such research, as well as public commentary, has also suggested that princess characters in movies released across the 2000s and 2010s may have more positive gender role portrayals. This study aimed to test these assertions by utilizing content codi

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Sulaiman AlSuhaim, Dana. "A Descriptive Analysis of Non-obligatory Shifts in Three Disney Animated Films Dubbed into Modern Standard Arabic." Arab World English Journal, no. 281 (December 15, 2021): 1–265. http://dx.doi.org/10.24093/awej/th.281.

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This qualitative quantitative descriptive-analytical study aimed to describe the non-obligatory shifts employed in three English Disney animated films dubbed into MSA by applying Toury’s (1995/2012) normative model and shifts introduced in the course of his applied case studies. The researcher described and analyzed preliminary, initial and operational norms (non-obligatory shifts) employed on the level of three textual segments: the lexical-semantic, the stylistic, and the prosodic. The researcher compared those shifts with the original choices in the English versions of three selected Disney

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Oh, Dong-Il, and Hye-Rim Choi. "A Research on Gender Discourse of Animation Character: Focused on Female Characters of Disney Animation Frozen." Journal of Digital Contents Society 15, no. 5 (2014): 613–20. http://dx.doi.org/10.9728/dcs.2014.15.5.613.

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Widisanti S, Ni Made, and Shita Dewi Ratih. "Breaking The Spell: Hilangnya Superioritas Laki-laki dalam Dua Film Produksi Walt Disney Pictures Frozen (2013) dan Maleficent (2014)." Media Bahasa, Sastra, dan Budaya Wahana 24, no. 2 (2018): 14–21. http://dx.doi.org/10.33751/wahana.v24i2.944.

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AbstractFemale figures in the WDP films are mostly portrayed visually as women who live and are in the order of patriarchal society. The image of women and their relationship with social interaction in the WDP films are reviewed using visual methodology related to visual culture as a form of concern for how images, in this case, scene images, in the WDP films in the past and present context, can visualize social differences. The findings obtained through this study are the link between the periodization of Walt Disney Studios development with the production and the context of the films. The fi

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Dos Santos, Maria Eduarda Motta. "ERA UMA VEZ A ANÁLISE DO DISCURSO SOBRE AS PRINCESAS DOS CONTOS DE FADA EM ANIMAÇÕES DA WALT DISNEY." Cadernos do IL, no. 52 (January 1, 2017): 361. http://dx.doi.org/10.22456/2236-6385.67170.

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As princesas dos contos de fada sempre circularam na sociedade, principalmente pelos filmes da Disney. Elas inspiram crianças e mulheres por trazerem belas histórias de amor. Porém, observamos que elas reforçam a imagem da mulher na Formação Discursiva tradicional: ser esposa, boa dona de casa e bonita. Atualmente, as mulheres estão conseguindo conquistar outros espaços na sociedade, resistindo ao discurso tradicional. Com base na Análise de Discurso de linha francesa, analisamos o discurso das princesas através de Cinderela (1950) e Frozen: uma aventura congelante (2013). A partir das análise

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Edney, Kathryn. "The Disney Musical on Stage and Screen: Critical Approaches from "Snow White" to "Frozen." ed. by George Rodosthenous." Theatre History Studies 38, no. 1 (2019): 215–18. http://dx.doi.org/10.1353/ths.2019.0014.

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Kunze, Peter C. "The Disney Musical on Stage and Screen: Critical Approaches from "Snow White" to "Frozen" ed. by George Rodosthenous." Children's Literature Association Quarterly 44, no. 2 (2019): 239–41. http://dx.doi.org/10.1353/chq.2019.0018.

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Viero Kolinski Machado, Felipe, Christian Gonzatti, and Francielle Esmitiz. "E elxs viverão felizes para sempre? (in)visibilidades de personagens LGBTs em produções da Disney como força propulsora de ciberacontecimentos." Comunicação Mídia e Consumo 15, no. 43 (2018): 178. http://dx.doi.org/10.18568/cmc.v15i43.1535.

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A partir dos sentidos que emergiram no Twitter em torno da possibilidade da rainha Elsa, da animação Frozen (2013), ser lésbica, dos beijos entre personagens do mesmo gênero no desenho Star contra as Forças do Mal (2015) e da inserção de uma personagem gay no filme A Bela e a Fera (2017), tensiona-se o que a visibilidade dessas questões em produções da Disney aponta em relação às articulações entre cultura pop, ciberacontecimentos e questões de gênero e de sexualidade. A metodologia empreendida é a de análise de construção de sentidos em redes digitais (HENN, 2014) e, ao final dela, foi possív

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한지운 and Boyeun Kim. "Studies on Color Images and Symbolism of an animation character related on audiences - Focus on Frozen, Walt Disney animation -." Journal of Digital Design 14, no. 3 (2014): 195–206. http://dx.doi.org/10.17280/jdd.2014.14.3.020.

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Hendra, Hendra. "TRANSLATION STRATEGY ON "LET IT GO" SONGS THAT WAS SUNG BY IDINA MENZEL WITH INDONESIAN VERSION." Journal of English Language Teaching and Literature (JELTL) 2, no. 2 (2019): 101–9. http://dx.doi.org/10.47080/jeltl.v2i2.622.

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The purpose of this research is to analyze the translation strategy at the word level used in the translation of the song in the animated movie "Let it go" from English into Bahasa Indonesia. The frequency with which each translation strategy is measured. The translation strategy for addressing disparate words at Word level proposed by Baker (1992) is applied as a framework for data analysis. The data for this study is the lyrics of the original song "Let it go" sung by Idina Menzel in the original movie produced by Walt Disney "Frozen" with a translation version of Indonesian. The result show

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Menna, Ligia Regina Maximo Cavalari. "Uma beleza congelante: a morte e sexualidade em A Rainha da Neve, de Hans Christian Andersen e suas refigurações." Literartes 1, no. 11 (2019): 132–54. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2019.163374.

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A bela e congelante Rainha da Neve, do conto homônimo de Hans Christian Andersen (Snedronningen, The Snow Queen, 1844), adquire sobrevidas em outras narrativas, tanto literárias como audiovisuais, permanecendo ainda viva no imaginário contemporâneo. Esse conto andersiano, de tessitura complexa, construído no contexto do romantismo, entre o espiritualismo cristão e o maravilhoso pagão, constitui-se em uma narrativa de formação, um rito de passagem da infância para a vida adulta, do qual depreendemos tanto o prenúncio para a morte, como os primeiros contatos com sexualidade. Este artigo propõe-s

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Nathiania, Nita Virena, and Ristia Kadiasti. "ANALISIS KOMPARASI GESTURE KARAKTER BARAT DAN TIMUR BERDASARKAN ARCHETYPE DARI FILM ANIMASI MUSIKAL “FROZEN” DAN “MERAIH MIMPI”." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 8, no. 01 (2022): 67–79. http://dx.doi.org/10.33633/andharupa.v8i01.5993.

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AbstrakMedia animasi dalam hal ini berperan sebagai media komunikasi inter-cultural dengan beragam target audiens. Adanya pengetahuan dan studi referensi yang tepat, penyampaian melalui gesture akan berhasil baik bagi audience budaya lokal, budaya mainstream atau yang lebih umum, maupun bagi komunitas global. Oleh karena itu perlu adanya studi yang dapat digunakan sebagai acuan untuk membantu menentukan, bukan hanya ciri fisik tetapi juga gesture sebuah karakter sesuai dengan archetype menurut struktur cerita Hero’s Journey Monomyth melalui perbandingan referensi budaya lokal dan budaya barat.

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Park, Chae Won, and Sung Pil Kim. "A Study on the Characters as an Element of Mise-en-Scene in Animation – Focus on [Frozen] : the Walt Disney Feature Animation -." Journal of The Korean Society of Illustration Research 66 (March 31, 2021): 15–25. http://dx.doi.org/10.37379/jksir.2021.66.2.

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REUS, TIM. "AN ICY FORCE BOTH FOUL AND FAIR: THE THEME OF LOVE VERSUS FEAR IN THE DUTCH DUBBED VERSION OF DISNEY’S FROZEN." Across Languages and Cultures 21, no. 1 (2020): 89–106. http://dx.doi.org/10.1556/084.2020.00005.

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Abstract:This study compares the songs from the original, English-language version of the 2013 Disney film Frozen to those of the Dutch dubbed version, investigating how the thematic representation of love and fear differ between these versions. To support this inherently qualitative analysis, this study employs the triangle of aspects, an analytical model that identifies certain aspects and variables central to animated musical film dubbing, allowing a quantification of differences between dubbed versions. It is found that the dubbed songs differ most strongly from the original songs in the v

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Lowe, Vicky. "George Rodosthenous, ed. The Disney Musical on Stage and Screen: Critical Approaches from Snow White to Frozen London: Bloomsbury Methuen, 2017. 257 p. £21.99. ISBN: 978-1474-23416-0." New Theatre Quarterly 34, no. 3 (2018): 303. http://dx.doi.org/10.1017/s0266464x18000350.

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Bjartveit, Carolyn, and E. Lisa Panayotidis. "Transforming early childhood educators’ conceptions of “dark play” and popular culture." Contemporary Issues in Early Childhood 18, no. 2 (2017): 114–26. http://dx.doi.org/10.1177/1463949117714075.

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In an online graduate-level early childhood education course, the authors sought to playfully disrupt and transform educators’ conceptions of children’s “dark play,” as provoked by contemporary popular culture. Embracing the imaginative potential of darkness and liminality, the course participants problematized and expanded their thinking concerning what constitutes children’s play scripts focused on themes of fear, power, and violence. Cognizant that some educators are reluctant and even refuse to allow children opportunities to engage in play centered on troubling social issues, the educator

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Joo, Hyoungil. "Problems of Gender Representation in Disney’s Frozen II : Differences in Narrative Structure between Frozen and Frozen II." Korean Journal of Communication & Information 101 (June 30, 2020): 440–64. http://dx.doi.org/10.46407/kjci.2020.06.101.440.

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Kalugina, Iryna, Liubov Telezhenko, and Nadya Dzyuba. "The structure investigation of the frozen sweet dishes from feijoa." Bulletin of the National Technical University «KhPI» Series: New solutions in modern technologies, no. 16(1292) (June 10, 2018): 151–57. http://dx.doi.org/10.20998/2413-4295.2018.16.23.

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Däwes, Birgit. "Unusual Alliances of Knowledge Production: A Reading of Disney’s Frozen 2." Zeitschrift für Anglistik und Amerikanistik 68, no. 2 (2020): 209–15. http://dx.doi.org/10.1515/zaa-2020-0020.

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CABEDO, L., L. PICART i BARROT, and A. TEIXIDÓ i CANELLES. "Prevalence of Listeria monocytogenes and Salmonella in Ready-to-Eat Food in Catalonia, Spain." Journal of Food Protection 71, no. 4 (2008): 855–59. http://dx.doi.org/10.4315/0362-028x-71.4.855.

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Listeria monocytogenes and Salmonella are pathogenic bacteria that can contaminate food products during or after processing. Ready-to-eat (RTE) food does not undergo any treatment to ensure its safety before consumption, and therefore risk of foodborne disease must be considered if these pathogens are present in the food. To evaluate the prevalence of these pathogens in RTE food, 140 RTE fish product samples, 501 RTE meat product samples, 462 RTE dairy samples, and 123 RTE dishes and desserts, providing a total of 1,226 samples, were collected from retail stores and food industry and analyzed

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Berketova, L., and D. Korotkovа. "Northern Ethnic Groups Unusual Dishes." Bulletin of Science and Practice 7, no. 2 (2021): 227–36. http://dx.doi.org/10.33619/2414-2948/63/22.

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As you know, the formation of the diet of various peoples of the world is influenced by many factors: first of all, geographical location and climate, which determines the consumption of certain types of fruits, plants, and animals. This formed the people’s features in the development and structure of the body and led to differences in health. The article provides information about the food traditions of the northern ethnic groups. The “northern” type of metabolism requires the predominance of protein and fat components in the diet. Studies show that people who came to the Far North from the m

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Dundes, Lauren, Madeline Streiff, and Zachary Streiff. "Storm Power, an Icy Tower and Elsa’s Bower: The Winds of Change in Disney’s Frozen." Social Sciences 7, no. 6 (2018): 86. http://dx.doi.org/10.3390/socsci7060086.

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Miyamoto, Yoshitaka, Shin Enosawa, Tomoyo Takeuchi, and Toshiaki Takezawa. "Cryopreservation in Situ of Cell Monolayers on Collagen Vitrigel Membrane Culture Substrata: Ready-to-Use Preparation of Primary Hepatocytes and ES Cells." Cell Transplantation 18, no. 5-6 (2009): 619–26. http://dx.doi.org/10.1177/096368970901805-618.

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Cryopreservation is generally performed on cells in suspension. In the case of adherent cells such as hepatocytes, a loss of their ability to attach is a more serious problem than a decreased viability after cryopreservation. We herein report a novel technology of direct in situ cryopreservation of cells cultured on collagen vitrigel membranes, which have excellent mechanical strength and can be easily handled by tweezers even when coated with cultured cells. Rat primary hepatocytes, mitomycin C-treated mouse fibroblasts (feeder cells for ES cells), and mouse ES cells on the feeder cells were

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Gričar, Sergej, and Violeta Šugar. "Sustainable Consumption Using the Example of Food Processing in a Restaurant." Sustainability 13, no. 24 (2021): 13868. http://dx.doi.org/10.3390/su132413868.

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While strategy is of great importance in the hospitality industry, this article is in regard to the process. Therefore, for the first time, this article examines how stuffed yellow peppers are frozen (congelé) and later served as a portion of hot food in restaurants. A sensory analysis was performed, and tasters were invited. Data were collected over three different periods that represented the duration of freezing. The results of the descriptive statistical analysis indicated that the evaluated frozen dishes exhibited degrees of sensory deterioration. The findings are critical to the restaura

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Abate, Michelle Ann. "“Do You Want to Build on a Racist Tradition?”: Olaf from Disney's Frozen and Blackface Minstrelsy." Journal of Popular Culture 52, no. 5 (2019): 1058–80. http://dx.doi.org/10.1111/jpcu.12850.

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