Journal articles: 'Disney Frozen'

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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 and more modern princess character that seems to transcend the conventional stereotype of former characterizations. Yet, closer inspection of the Frozen movie also shows that a new stereotype has developed that depicts a princess as someone who merely thinks she is independent, but who often still needs to rely on a man

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Gehry, Frank. "From Shiva to Disney: Frozen Motion." New Perspectives Quarterly 21, no. 1 (January 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 (October 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 (April 26, 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 Antconc was used to collect the data and create a corpus. Results found that the most recent princess series entitled Frozen 2 showed the female characters depicted as a precious person who was willing to sacrifice herself for others, kind, heroic, fearless, and full-of-spirit. However, Disney also depicted the female characters as liar and trouble maker. In this case, Disney keeps showing that females cannot be seen using the traditional gender’s perspective anymore. A Female is not only feminine, but she also can be masculine as a man.

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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 (May 20, 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 horse and pony genre that explores girls’ desire for intimacy within a fictional world. In Frozen 2, however, substituting a male horse for a relationship with a human allows Disney to sidestep two potential controversies: (1) a queer love interest for Elsa, and (2) the portrayal of Elsa as wielding more power than a non-magically endowed male partner. In addition, Elsa’s taming of the horse in Frozen 2 places her in the realm of equestrianism, a woman-dominated sport where femininity is nevertheless devalued. As a result, her skills as a horse whisperer do not threaten men’s ascendancy, reflecting real-life gender dynamics in equestrian sport. These themes show how Disney balked at modernizing Elsa, retreating to outdated conceptions of gender roles rather than depicting progressive gender dynamics and sexuality in Disney royalty.

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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 (October 14, 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 (July 29, 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 interrelationships have been reworked in Walt Disney’s Frozen (Chris Buck and Jennifer Lee, 2013), and we will analyse how the film’s representations of love, desire, and femininity simultaneously resemble and differ from its literary source. Firstly, we will explore how Andersen’s alluringly dangerous Snow Queen has been turned into a sympathetic character, Queen Elsa. Secondly, we argue that Gerda and Kay’s friendship has been transformed into sisterly love between the two female protagonists in the film, Elsa and Anna, whereas romantic heterosexual love, on the other hand, seems to have been relegated to a secondary narrative arc or done away with altogether, as the absence of a romantic partner for Elsa shows. Interestingly, having a Disney queen whose quest does not involve finding a husband has led some Frozen fans to speculate that Elsa could be the first lesbian Disney princess. Thus, we will also analyse Elsa’s character in connection with the different definitions of ‘queerness’. In light of all this, we discuss that Frozen is an example of the recent Disney trend to redefine true love and prioritize female bonding and empowerment. However, if we compare it to its literary precedent, the Disney adaptation seems to be less daring when it comes to portraying non-normative manifestations of love and femininity than Andersen’s original.

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Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 23–42. http://dx.doi.org/10.1386/ffc_00010_1.

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Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess and the Frog (Clements and Musker, 2009), Tangled (Greno and Howard, 2010), Brave (Andrews and Chapman, 2012), Frozen (Buck and Lee, 2013) and Moana (Clements and Musker, 2016). This article first explores the films' use of costume simultaneously to establish the childness of the characters and visually foreshadow the 'princesses' they will become. It then turns to the implied child audience of these films, considering the Disney Princess line of merchandise and the role of clothing and costume within it.

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Nurcitrawati, Vera, Evie Kareviati, and Nai Atmawidjaja. "FIGURATIVE LANGUAGE ANALYSIS IN DISNEY SONGS." PROJECT (Professional Journal of English Education) 2, no. 4 (July 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 results of this study indicate that there are 5 types of figurative languages used in the lyrics of the two songs including idioms, hyperbole, personification, simile and alliteration.

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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 Disney–era princesses with those from the Disney Renaissance of the 1980s and 1990s, I explore the significance of this shift in representation. Viewed as a metaphor for contemporary femininity, how do these modern princesses resolve the incongruity between their official social stations, proscribed behavior, and “real” personalities through their bodies over the course of the films?I believe that the conflict staged on these animated bodies is representative of larger societal issues emerging from contested definitions of both feminism and femininity, and that the Disney princess offers a contemporary site for the expression and resolution of this dissonance. Viewing the body of the Disney princess as representative of a larger female “social body” and conflict that occurs within her as indicative of the larger forces that shape female identity, I integrate my study with historical dance scholarship which regarded movement as indicative of the presence of an Apollonian/Dionysian dialectic working within culture.

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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 (July 6, 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 films which are Snow White and the Seven Dwarfs (1937), Beauty and the Beast (1991), and Frozen (2013), this paper will discuss the change of view from damsels in distress to heroines. This analysis aims to identify the gender roles displayed in the Disney’s characters and how within the films, Disney has changed in few decades.

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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 (July 3, 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 contexts. The study shows that there are environmental issues in the movie as a result of the dominant patriarchal system in which the king is considered as a leader of everything and everyone must obey the King's orders. Furthermore, the study shows that Elsa and Anna have the feminine values to overcoming the existing natural destruction. The results of this study reveal that women can be a leader and also the female character in this movie have feminine values to repair the existing natural destruction and maintaining the nature by reconciling with the 4 supernatural spirits. Hence, the study highlights the domination of women, the role of gender, and the ecological aspects in Frozen II movies that have not been fully explored previously.

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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 (March 26, 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 (December 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 (September 1, 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 offers its audiences a mindful and refreshing experience.

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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 (November 30, 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 (July 1, 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 heroic journey. A discussion about Elsa’s deification in popular culture and body image conclude the article.

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Teodoro da Silva Junior, Mário Sérgio. "ESTILO E ETHOS NA DISNEY: TRANSFORMAÇÕES DA IDENTIDADE." Revista do GEL 14, no. 1 (April 27, 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 de tempo. Além dos desenvolvimentos das questões de ethos e estilo em Discini, recorreremos à conceitualização de ethos proposta por Maingueneau (Novas tendências em análise do discurso, 1997; A propósito do ethos, 2008). Selecionados três trailers de filmes da Disney, recobrindo o período de 1942, com o trailer de Bambi, a 1992, com o trailer do musical Aladim, e a 2013, com Frozen: uma aventura congelante. Assim, podemos observar o modo como o enunciador Disney se coloca no mundo, o modo como define seu enunciatário, como define o estilo outro ao qual não identifica, definindo uma imagem do próprio mundo em que se coloca.

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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 (December 31, 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 (August 21, 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-form and shaped as a popular cultural formation. Further discussions about cultural appropriation are highlighted, focusing on how Disney’s reach out for cooperation with the Sámi community can generate new cultural policies and practices.

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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 (August 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 sobre o modo como o gênero feminino é representado, visto que sugerem fissuras tanto nas matrizes hegemônicas do feminino como na naturalização da heteronormatividade enquanto forma única de configuração das relações entre e intra os gêneros. Nominalmente, consideramos que essas produções cinematográficas são espaços discursivos de conflitos e tensões entre aspectos tradicionais e questionadores do gênero feminino na contemporaneidade.

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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 (February 14, 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 character she was variably, she is assertive and daring. we know that the attitude and character are very important to describe a certain person, if someone does not have the character that he just became him, nobody. A leader should have the attitude and character of it own self to lead the group, nation or kingdom so that the people in the country or the kingdom prosper.

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 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; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.

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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 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; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.

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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 (July 1, 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, Moana, and Tangled—to demonstrate how these princess movies bridge the imaginative gap between the mundane and the divine.

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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 (November 22, 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 coding analysis to examine the behavioral characteristics, rescue behavior, and romantic conclusions of prince and princess characters in five iconic Disney films released between 2009 and 2016 (The Princess and the Frog, Tangled, Brave (released under Pixar), Frozen, and Moana). Comparisons were also made with earlier titles to assess historical changes. Results showed that princesses in “2000s to 2010s” movies exhibited an almost equal number of masculine and feminine behaviors, thus demonstrating more egalitarian profiles over time. In contrast, princes appeared to adopt a more feminine behavioral profile in later movies. In addition, characters engaged in equal numbers of rescue behaviors, and princesses were more likely to remain single in “2000s to 2010s” movies. Results therefore suggest that Disney is indeed presenting more diverse, androgynous, balanced characters to viewers, and the theoretical and practical implications for the socialization of young child viewers are discussed.

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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 animated films. In the light of Toury’s theory (1995/2012), the current study investigated the hypothesis that the accepted socio-cultural, ideological, and linguistic norms of the Arabic culture directed the choices of the non-obligatory shifts chosen by the Arabic dubbers of English Disney animations dubbed into MSA. This investigation was conducted in application to three case studies, namely, Tangled (2010), Frozen (2013) and Big Hero 6 (2014). In order to decide the most frequently used shifts in the process of dubbing, the frequency rate of each non-obligatory shift was calculated to determine the highest frequently used shift. The study came to the conclusion that there is a direct relationship between the non-obligatory shifts (operational norms) applied during dubbing on the one hand and the socio-cultural, ideological, and linguistic norms imposed by the target culture on the other hand. Those target culture norms governed not only the operational choices but also the preliminary choices of the three selected Disney animated films dubbed into MSA. Affected by the preliminary and operational norms, Arab dubbers’ tendency towards producing acceptable rather than adequate translations decided the initial norms.

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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 (October 31, 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 (June 1, 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 films, Frozen and Maleficent, as primary objects of this research are studied in order to answer the problem of social interaction between men and women and what discourse is built through the realtionship of social interaction. It was concluded that the relationship of social interaction displayed in the films Frozen and Maleficent was the interaction between women and women as a form of social relations that can be constructed. This also shows that social construction is dynamic because it can experience change over time, which in this research, is shown by the periodization of Walt Disney Studios development and its relationship with the context in the films. The character of the socially constructed superordinate and subordinate nature is proven to be interchangeable through visual culture. Therefore, based on these findings, it can be said that the discourse of these two films is the effort of women to free themselves from the oprression of male power despite the life of the patriarchal society. Key Words: Film, image, women, superordinate-subordinate, social interactions

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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 análises, observamos que houve mudanças significativas na identificação com a formação discursiva tradicional, que não representam um rompimento com tal formação, mas indica contra-identificações.

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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 (August 27, 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 possível constatar, em linhas gerais, que a inserção dessas personagens produziu intensa reverberação, entre usuários e portais noticiosos e, ainda, movimentos de apoio e de ojeriza à iniciativa.

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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 (July 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 (August 29, 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 shows that the seven strategies proposed by Baker (1992), identified as used in this study. Translation strategiesare translated by disappearances, translated by paraphrasing using unrelated words, and translations by cultural substitution.

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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 (December 20, 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-se a analisar as simbologias depreendidas dessa misteriosa personagem refletidas, ou não, em suas refigurações Jadis, a feiticeira branca de As Crônicas de Nárnia, de C. S. Lewis e Elsa, da animação Frozen: uma aventura congelante (Disney, 2013) com destaque para o protagonismo feminino.

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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 (April 16, 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. Dua studi kasus yang diambil yaitu animasi musikal “Meraih Mimpi” yang mengangkat latar belakang kehidupan budaya Jawa sebagai salah satu budaya khas Indonesia, dan animasi musikal “Frozen” oleh Disney Animation Studio. Dalam hal ini diperlukan ilmu dan kajian terkait dengan sosiolinguistik dalam proses pembedahan analisis yang melibatkan dua film animasi tersebut yang kemudian dibedah menggunakan pendekatan semiotika visual oleh Ferdinand de Saussure yang melibatkan adanya penanda dan petanda dari masing-masing gesture yang melekat pada archetype karakter untuk menghasilkan sebuah kerangka pembanding antara budaya barat dan timur. Hasilnya beberapa gestur yang memiliki tanda yang sama pada archetype yang berbeda menghasilkan baik penanda atau petanda yang berbeda tergantung dari bagaimana perancangan dan role archetype dengan latar belakang budaya yang disusun pada cerita tersebut. Kata Kunci : archetype, desain karakter, semiotika, sosiolinguistik AbstractAnimation media in this case acts as a medium of intercultural communication with a diverse target audience. With the right knowledge and reference studies, delivery through gestures will be successful both for local cultural audiences, mainstream culture or more generally, as well as for the global community. Therefore, it is necessary to have a study that can be used as a reference to help determine, not only physical characteristics but also the character’s gesture according to the archetype of the Hero's Journey Mononomyth story structure through comparison of local cultural references and western culture. Two case studies were taken, namely the musical animation “Meraih Mimpi” which raised the background of Javanese cultural life as one of Indonesia's unique cultures, and the musical animation “Frozen” by Disney Animation Studio. In this case, knowledge and studies related to sociolinguistics are needed in the analysis process which involves the two animated films. Then, it dissected using a visual semiotic approach by Ferdinand de Saussure which involves signifier and signified of each movement attached to the character archetypes to produce a framework of comparison between western and eastern cultures. The result is that several gestures that have the same sign on different archetypes produce different signifiers or signifieds depending on how the design and role of archetypes with cultural backgrounds are arranged in the story. Keywords : archetype, character design, semiotics, sosiolinguistic

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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 (June 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 verbal code, which covers issues such as semantic sense and register, and least in the musical code, which concerns matters of rhyme scheme, rhythm, and singability. The effects of the changes are a slight backgrounding of the theme of love versus fear: whereas the source version presents and explores a clear dichotomy between love and fear, the dubbed version concentrates more on love as the ultimate goal of life, eliminating much of the importance of fear. These results show that quantitative data can be useful in qualitative analyses, presenting an important step in the development of the field of animated musical film dubbing within translation studies.

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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 (July 13, 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 (June 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 educators co-authored a fantastical tale, inspired by the Disney animation film Frozen, and included course topics, classroom observations, and their own childhood memories of “dark play.” Vivian Paley’s ideas about the connections between storytelling and play provided a creative impetus to the fictional narrative-imagining exercise, as did Hans-Georg Gadamer’s notion of Spiel. Eliciting the literature of children’s play experiences through fictional story-writing, and “play” as a contemporary aspect of creative thinking, the educators entered imaginary worlds of their own making. Unlike a traditional online graduate course format that often incorporates textual readings, posts, and responses, the authors strived to foster a virtual space in which the educators buttressed theories about play and imagination in a deeply felt, experiential, and playful manner. In creating an imaginary story based on the film, the participants gained a different understanding of the nature of play, and came to recognize how popular-culture play themes can provoke and strengthen children’s imaginative and abstract thinking, problem-solving skills, and emotional development. Likewise, this narrative experience showed the potential and role of “dark play” in initiating new ways of thinking and talking with children about the complex issues of the modern world.

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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 (June 25, 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 (April 1, 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 for the presence of L. monocytogenes. A total of 1,379 samples consisting of 187 RTE fish products and 569 RTE meat products, 484 RTE dairy products, and 139 RTE dishes and desserts were collected and analyzed for the presence of Salmonella. L. monocytogenes was isolated from 20% of frozen Atlantic bonito small pies, 7.9% of smoked salmon samples, 11.1% of the pork luncheon meat samples, 6.2% of frozen chicken croquettes, 16.9% of cured dried sausage samples, 12.5% of cooked ham samples, and 20% of cooked turkey breast samples. L. monocytogenes was also found to be present in 1.3% of fresh salty cheese samples and 15.1% of frozen cannelloni samples. Salmonella was isolated from 1.2% of smoked salmon samples, 1.5% of frozen chicken croquettes, 2% of cooked ham samples, and 11.1% of cured dried sausage samples. Overall, occurrence of these pathogens in RTE foods was similar to that previously reported in the literature.

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Berketova, L., and D. Korotkovа. "Northern Ethnic Groups Unusual Dishes." Bulletin of Science and Practice 7, no. 2 (February 15, 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 middle latitudes, their need for protein increased by 16%, in fat by 42%, in carbohydrates decreased by 40%. Food rich in fat and high in calories allows you to saturate the body and give it the necessary amount of energy without increasing the volume of food consumption. Meat products: deer meat, game, meat of large marine animals: walruses, seals, whales. Pinniped meat per 100 g contains 24.5 g of protein and 113 kcal. It is also rich in potassium, sodium and phosphorus, vitamins A, B2 and other compounds. An important role in the life of Northern peoples is played by berries: cranberries and cloudberries, which contain dietary fiber (2.5 g and 6.3 g), vitamins B2 (0.02 mg and 0.07 mg), C (15 mg and 29 mg), E (1 mg and 1.5 mg), magnesium (7 mg and 29 mg), calcium (25 mg and 15 mg), phosphorus (16 mg and 29 mg), potassium (90 mg and 180 mg). Wild sorrel, wild cherry, lichen and other herbs are widely used in food and medicine and contain a complex of enzymes, vitamins, fat, and organic acids. The main product is sea and river fish: whitefish, white salmon, tugun, arctic cisco and others. Fish is served in dried, boiled, smoked, salted, frozen or baked types, usually without a side dish, which is not so common in the North, most often it is replaced by berries or roots. In winter, stroganina is a delicacy. Dried fish also goes into flour, which is used to make soup, bake bread, or mix with berries. The article presents information on such dishes as ngaibat, kanyga, “blood soup”, kopal’khen or kymgyt, kiviak, akutaq and others.

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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 (May 31, 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 (May 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 cultured on collagen vitrigel membranes for 1 day. The membranes with cells attached were then plucked up from the dish, soaked in cryopreservation medium containing 10% dimethyl sulfoxide, frozen using a controlled-rate freezer, and transferred to liquid nitrogen. The cells cultured on plastic cell culture dishes were also frozen as controls. After storage in liquid nitrogen for periods from 1 week to 3 months, the cryopreserved membranes with the cells still attached were thawed by adding warmed culture medium. Cell viability estimated by morphology and functional staining with calcein showed significant improvement in comparison to cells cryopreserved without the collagen vitrigel membrane. The recoveries of living cells after cryopreservation were 26.7%, 76.2%, and 58.6% for rat hepatocytes, mitomycin C-treated mouse fibroblasts, and mouse ES cells on collagen vitrigel membranes, respectively. In contrast, essentially no cells at all remained on the plastic cell culture dishes after thawing. Because adherent cell storage under these conditions is very convenient, the use of this technique employing collagen vitrigel membranes should be generally applicable to the cryopreservation of adherent cells that are otherwise problematic to store as frozen stocks.

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Gričar, Sergej, and Violeta Šugar. "Sustainable Consumption Using the Example of Food Processing in a Restaurant." Sustainability 13, no. 24 (December 15, 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 restaurant business because recipes are often skipped, and the process depends solely on the chefs. The primary value added for management is that strict recipes could improve the cost and shelf life of meals prepared and then frozen in the restaurant by lowering the storage temperature or shortening the freezing time. Incidentally, such analysis should be a continuous development to reduce energy consumption and increase food quality. The consistent results first demonstrated a decreased mouthfeel of the sauce after the first month and, second, a higher stickiness after two months of freezing. In addition, the nutritional values of the dish were calculated using trademarked software.

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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 (October 2019): 1058–80. http://dx.doi.org/10.1111/jpcu.12850.

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Journal articles on the topic 'Disney Frozen'

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