Relevant bibliographies by topics / Disney Princess

Contents

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

Academic literature on the topic 'Disney Princess'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Disney Princess.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Disney Princess"

1

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

Hine, Benjamin, Katarina Ivanovic, and Dawn England. "From the Sleeping Princess to the World-Saving Daughter of the Chief: Examining Young Children’s Perceptions of ‘Old’ versus ‘New’ Disney Princess Characters." Social Sciences 7, no. 9 (September 14, 2018): 161. http://dx.doi.org/10.3390/socsci7090161.

Full text
Abstract:
Both popular and academic discourse has noted progressive change in the gender role portrayals of much-loved Disney princess characters. However, at present, little is known about children’s recognition of such changes, or of their interpretation of princesses’ gendered behavior. This study therefore asked 131 8–9-year-old UK children to attribute various feminine and masculine characteristics to ‘princesses’ both before and after watching an ‘old’ (Sleeping Beauty) versus ‘new’ (Moana) Disney princess movie. Post-movie they were also asked to attribute these characteristics to the princess characters (Aurora and Moana respectively) and were assessed on their labelling of thirteen popular female characters as ‘princesses’. Results showed that whilst children recognized the largely feminine versus androgynous gendered profiles of Aurora versus Moana respectively, viewing a ‘newer’ Disney movie did not change their perception of ‘princesses’ more broadly. Moreover, a large proportion of children did not identify Moana as a princess at all. Results therefore simultaneously complicate and enhance the current discussion regarding the influence of gender role models, particularly those within the Disney franchise, on the development of gender knowledge and identity in young children.
APA, Harvard, Vancouver, ISO, and other styles
4

Oktarina, Rizki Nurmaya. "Ambiguitas yang Mencerminkan Rasisme dalam Film The Princess and The Frog." Paradigma, Jurnal Kajian Budaya 4, no. 2 (March 11, 2016): 161. http://dx.doi.org/10.17510/paradigma.v4i2.50.

Full text
Abstract:
<p>Princess fairy tales have made the Disney Corporation so famous. At fi rst, Disney princesses were white skinned. As time goes by, Disney started fi lming animated movies with colored princesses. In 2009, Disney released a movie based on an African-American princess named Tiana in ‘The Princess and the Frog’ (2009). Ambiguities in terms of understanding black appear in the fi lm. To help analyzing this movie, Barthes’ semiotics theory will be used. By using that theory, the writer proposes that on one hand, Disney conveys that America has become “color blind,” but on the other, blacks are positioned as lower class. This movie refl ects Disney’s belief in what is true and ideal about the American society, but here we see that the notion “all men are created equal” writt en in the declaration of Independence is not fully implemented in the American society.</p>
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
6

Uppal, Charu. "Over Time and Beyond Disney—Visualizing Princesses through a Comparative Study in India, Fiji, and Sweden." Social Sciences 8, no. 4 (March 31, 2019): 105. http://dx.doi.org/10.3390/socsci8040105.

Full text
Abstract:
Disney animated princesses are broadcasted around the world through Disney Channel and its global affiliates as well as through numerous other networks that purchase distribution rights. In an attempt to provide diversity in the last 25 years, Disney has featured nonwestern princesses such as those in Aladdin (1992), Pocahontas (1995), Mulan (1998), and Moana (2016). This study examines how princesses in animated Disney movies are perceived and understood by girls (8–15 years) in three different countries, over two time-periods with a gap of nearly a decade (2009 and 2018). The primary research question, considering Disney’s global reach, is how race, culture, and presence of a royal family interact with transnational access to the same media content in the perception of the princess concept and about being a girl. The selected countries provide an opportunity to explore differences in perception of Disney princesses between girls raised in countries with and without a royal family, and between girls in nonwestern and western countries. Differences in the perception are attributed to local and national cultures that allow a different lens to view the same content. A mixed method combining interviews, focus groups, and participant-generated images was used to gather data in India, Fiji, and Sweden. Results indicate Disney princesses, with their ubiquitous presence in various formats, e.g., media content, costumes and school stationery, have created a uniform idea of beauty across countries. Princesses in Disney were perceived by participants as being Caucasian and American, regardless of the race or country they represented. Girls in India and Fiji did not identify with Jasmine or Mulan, whom they considered ‘American’, whereas girls in Sweden considered Jasmine and Mulan as princesses of nonwestern origin. Girls in India and Fiji did not think they could be princesses because of their skin color, and did not want to lead a life ‘restricted with responsibilities’, but girls in Sweden considered the same question from the place of a choice, i.e., they preferred not to lead a ‘boring’ and regulated life like that of a princess. Participants from Fiji, with the least access to domestic programming that showed girls of their same Fijian origin, were least likely to consider themselves capable of being a princess.
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
Abstract:
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
APA, Harvard, Vancouver, ISO, and other styles
8

Leon-Boys, Diana. "Disney’s Specific and Ambiguous Princess." Girlhood Studies 14, no. 2 (June 1, 2021): 29–45. http://dx.doi.org/10.3167/ghs.2021.140204.

Full text
Abstract:
Bringing together discourses of Latina girlhood and ambiguity, in this article I interrogate Disney Junior’s specific and ambiguous Latinidad in three key episodes from the first season of Elena of Avalor. This type of intersectional analysis is seldom found in Disney scholarship, despite the relative abundance of existing work on Disney-generated cultural production. By analyzing the ambiguity (Joseph 2018) and unambivalent structure of ambivalence (Valdivia 2020) present in Disney’s deployment of animated Latina can-do girlhood (Harris 2004), in this article, I provide an intersectional approach to the study of Disney Junior animated content and Latina girlhood in contemporary popular culture. I argue that Elena of Avalor is the result of Disney’s avowed and disavowed dedication to the construction of Latinidad and can-do girlhood. The result of this is a fluctuation and flexible navigation between specificity and ambiguity within one narrative franchise.
APA, Harvard, Vancouver, ISO, and other styles
9

Iswalono, Astrinda N., and Listiyanti Jaya Arum. "DISNEY PRINCESS SEQUELS IN THE PERSPECTIVE OF SECOND WAVE FEMINISM IN AMERICA." Rubikon : Journal of Transnational American Studies 8, no. 1 (April 26, 2021): 62. http://dx.doi.org/10.22146/rubikon.v8i1.65485.

Full text
Abstract:
Disney Animation Production, one of the media manifesting American sociology phenomena, discovered a breakthrough by depicting Princess movies. Starting with the appearance of Snow White (1937), followed by Cinderella (1950) and other sequels of Princess movies, Disney reflected one important progress of American history. The development of the sequels was estimated to be under the appeal of the Second Wave Feminism movement. Hypothesizing the change was within American society, a gender study by Nancy Hewitt would direct the observation of the study. The First Period Princesses (1937-1959) reflected the idea of the American Golden Age, also where the recognition of the role of women in wider society began. Meanwhile, the Second Period (1989-2009) claimed the social acceptance of public access by glorifying unique characters from women. The Princesses in the Third Period (2009-2014) were able to attest their own power in order to broaden the horizon of gender equality and equity.
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Disney Princess"

1

Richardson, Ashley Sarah. "Producing The Latina Disney Princess." W&M ScholarWorks, 2018. https://scholarworks.wm.edu/etd/1530192827.

Full text
Abstract:
In our contemporary moment, which some are suggesting is a “Golden Age” of American television, programs featuring Latinx characters, especially Latinas, remain scarce. The history of Latinx representation in American television is filled with stereotypical portrayals of violent drug dealers and forlorn domestic workers. This thesis examines how the animated fantasy television program Elena of Avalor (2016-) offers alternative, and potentially empowering, narratives for Latinas. Elena challenges gender norms, explores the ramifications of colonialism, and imagines a world in which whiteness is not the default. However, the show often fails to acknowledge the colorist and anti-Black discourses prevalent within the US and Latin America. as a product of the Disney empire – a corporation that for years has faced criticism for its portrayals of Latinxs in their live action and animated films and shows – Elena embodies the struggle for representation and the fight against commodification. Though a “Latina Disney Princess” can be a source of inspiration to Latinas around the world, there remains the question of how the Latina body is commodified by and for white, non-Latinx consumers. By analyzing the episodes and tie-in merchandise of Elena alongside other Latina-centric programs like Once Upon a Time (2011-2018) and Disney films like Saludos Amigos (1942), I argue that Hollywood’s fixation with cultural and ethnic authenticity is reifying hegemonic notions of Latinidad. While shows like Elena have the potential to dispel stereotypical understandings of Latin America, the US film and television industry continues to disregard the cultural complexity of its Latinx viewers, normalizing whiteness and exoticizing Latinidad.
APA, Harvard, Vancouver, ISO, and other styles
2

Cheang, I. Ian. "Deconstruction of the Disney Princess Empire." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1874212.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Garcia, James Randall. "The princess evolution from Snow White to Rapunzel in Disney animation." Thesis, University of Colorado at Denver, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1556853.

Full text
Abstract:

The major objective of this study is to critically engage with the representation of princesses in Walt Disney Studio animated films. Although popular feminist criticism of the last four decades claims that the Disney Studio creates negative portrayals of women in their fairy tales films, a deeper understanding of women's roles can by found through the use of critical analysis and close reading of Snow White and the Seven Dwarfs, Cinderella, Beauty and the Beast, and Tangled. The work of the Disney Studio animation will be closely examined and discussed while exploring the domestic and feminist issues present within these four specific films. Through analyzing these films, I will demonstrate that these characters have a depth and complexity to them that showcase an evolution that mirrors the changes within American society.

APA, Harvard, Vancouver, ISO, and other styles
4

Lio, Man Cheng. "'Apple, rose, ice" :An analysis of the changes to Disney princess." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3952598.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Sharp, Molly Louise. "Merchandise and Media Effects: Young Girls' Play with Disney Princess Dolls." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437498539.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ross, Angela. "The Princess Production: Locating Pocahontas in Time and Place." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/194511.

Full text
Abstract:
My dissertation, "The Princess Production: Locating Pocahontas in Time and Place," critically evaluates the succession of representations of Pocahontas since her death in 1617. Pocahontas has become the prototypical "Indian Princess," through which the indigenous "other" is mapped onto Eurocentric constructions of gender and race, and subsequently transformed into the object of desire to be colonized. Chapter One begins with an introduction to the Pocahontas myth, and continues with an overview of the representation of Native Americans in cinema. Given that Native Americans have been the subject of the romanticization of the passing frontier, then the image of Pocahontas, standing in for the gendered "virgin" frontier, has been problematically used to represent American nationhood. In the second chapter, I investigate the commodification of the image of Pocahontas, by way of a critical assessment of Disney's Pocahontas (1995). Due to its extreme popularity and plethora of commercial tie-ins, this animated film was able to cement mainstream attitudes of Native Americans and especially of indigenous women. Critical discussion, however, was ameliorated through "politically correct" associations of Indians with ecological balance and moral purity versus European decadence. I analyze the symbolic association of Pocahontas with nature in Chapter Three, particularly in Terence Malick's recent film The New World (2005), where this association is most blatant. Malick has been heavily influenced by such philosophers as Martin Heidegger, and his resulting romantic and pantheistic vision clouds gender difference and racial antagonism. The image of Pocahontas in The New World, therefore, simply becomes a signifier for the grand impersonal workings of Nature. Finally, in Chapter Four, I discuss attempts by indigenous writers and groups to reappropriate Pocahontas for Native Americans, and I conclude that this is of strategic importance for transforming Indian identity. Since the image of Pocahontas has played such a large role in the shaping of mainstream attitudes and government policy toward Native Americans, then retrieving it from its colonial legacy will go a long way toward preserving Indian culture and identity in the future.
APA, Harvard, Vancouver, ISO, and other styles
7

Wu, Jie. "Sleeping Beauty and Maleficent :the influences of feminism on Disney princess movies." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953518.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Potgieter, Liske. "Deconstructing Disney's diva: a feminist psychoanalytic critique of the singing princess." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/3379.

Full text
Abstract:
This study contributes to the discourse of the body and the voice in feminist psychoanalysis and psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney's Singing Princess. Analyses of musical coding and other filmic tropes follow the trajectory of the Singing Princess across thirteen Disney Princess films - from her first appearance in Snow White and the Seven Dwarfs (1937) through to her most recent manifestation as Elsa in Frozen (2013) - to reveal deeper insight into what she sings, how she sings and why she sings.
APA, Harvard, Vancouver, ISO, and other styles
9

Garza, Valerie F. "The Witch, the Blonde, and the Cultural "Other"| Applying Cluster Criticism to Grimm and Disney Princess Stories." Thesis, The University of Texas Rio Grande Valley, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827734.

Full text
Abstract:

The Brothers Grimm and the Walt Disney Company have produced popular fairy tales for large audiences. In this work, cluster criticism—a rhetorical criticism that involves identifying key terms and charting word clusters around those terms—is applied to four Grimm fairy tales and four Disney princess films. This study aims to reveal the worldview of the rhetors and explore how values present in Grimm tales manifest in contemporary Disney films. Disney princess films in this study have been categorized as “White/European” and “Non-White/Cultural ‘Other.’” Because film is a form of non-discursive rhetoric, an adaptation of cluster criticism designed for film was been applied to the selected animated features. This study reveals that many patriarchal values present in Grimm fairy tales appear in contemporary Disney films, and while Moana (2016) features far fewer displays of these values, intersectional feminism should be kept in mind, with more diversity in princesses needed.

APA, Harvard, Vancouver, ISO, and other styles
10

Ray, Emily Grider. "Part of Their World: Gender Identity Found in Disney Princesses, Consumerism, and Performative Play." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3320.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Disney Princess"

1

), Disney Enterprises (1996, ed. Disney princess. Lincolnwood, Ill: Publications International, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

ill, Kodaka Nao, and Dashiell Christine 1984 translator, eds. Disney Kilala princess. Los Angeles, CA: TOKYOPOP, Incorporated, 2017.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Disney Princess stories. Emeryville, Calif: LeapFrog, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Disney Enterprises. Pixar Animation Studios. Disney princess storybook collection. Bath: Parragon, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Disney Princess Collection (Disney Princess). Puffin Books, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Monica, Carol. Disney Princess: Princess Mix & Match (Disney Princess). Disney Press, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Disney Princess: Crafts (Disney's Princess Backlist). Disney Press, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Records, Walt Disney. Disney Princess (Disney's Karaoke). Walt Disney Records & Audio, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Association, Reader's Digest. Disney Princess Movie Camera (Disney Princess). Reader's Digest, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Driscoll, Laura. Disney Princess: Where's Flounder? (Disney Princess). Disney Press, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Disney Princess"

1

Cecire, Maria Sachiko. "Reality Remixed: Neomedieval Princess Culture in Disney’s Enchanted." In The Disney Middle Ages, 243–59. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137066923_14.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Giannelli, Federica. "The Princess Strikes Back: Forces of Destiny and the Capitalization of the Disney Princess." In The Transmedia Franchise of Star Wars TV, 97–117. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-52958-1_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Bradford, Clare. "“Where Happily Ever After Happens Every Day”: The Medievalisms of Disney’s Princesses." In The Disney Middle Ages, 171–88. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137066923_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Mitchell-Smith, Ilan. "The United Princesses of America: Ethnic Diversity and Cultural Purity in Disney’s Medieval Past." In The Disney Middle Ages, 209–24. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137066923_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Iraola-Arroyo, Nicole, Alonso Iraola-Arroyo, Ivan Iraola-Real, Dayana Francia Vilchez, and Saúl Sanchez Urbano. "Gender Stereotypes Marked by Disney Princesses: Influence on Collective Thinking." In Artificial Intelligence, Computer and Software Engineering Advances, 446–60. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68083-1_33.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Fleeger, Jennifer. "The Disney Princess." In Mismatched Women, 106–36. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199936892.003.0005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Maier, Kodi. "Princess Brides and Dream Weddings:." In Discussing Disney, 173–92. John Libbey Publishing, 2019. http://dx.doi.org/10.2307/j.ctvqc6k2q.13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"SELF-PORTRAIT AS DISNEY PRINCESS." In Horsepower, 29. University of Pittsburgh Press, 2020. http://dx.doi.org/10.2307/j.ctv176kvpr.15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Cultural Production of Disney Princess Play Worlds." In Literacy, Play and Globalization, 87–106. Routledge, 2014. http://dx.doi.org/10.4324/9780203084762-15.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Disney Princess"

1

Zhang, Yu. "A Brief Analysis on the Changes of Princess Image in Disney Movies." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.79.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Martins Gerotto, Lorraine, and Alcimar Silva de Queiroz. "Princesas Disney e a representação do ideal feminino presente em seus filmes de 1937 a 1959." In III Congresso de Diversidade Sexual e de Gênero. Initia Via, 2019. http://dx.doi.org/10.17931/95470699/v4a03.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Wu, Tianxuan. "Superhero Meets Princess: New Commercial Opportunities Obtained by Walt Disney’s Acquisition of Marvel." In 2021 International Conference on Public Relations and Social Sciences (ICPRSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211020.229.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Disney Princess' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography