Dissertations / Theses on the topic 'Disney Princess'

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.

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.

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.

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.

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.

This study examines images based on a semiotic text analysis as a symbol of Disney Princess Elsa from Frozen 2 and Cinderella. The study examines how the representation of the Disney princess is made on the basis of gender, sexuality and race. The purpose of the study is to contribute knowledge about how the representation of the Disney princess in popular culture may have changed and, in any case, to investigate why. The study concludes that the representation of the Disney princess on one side has changed based on gender and sexuality, but the other has not changed as much when it comes to the representation of race and female whiteness.

In 2016, Disney animation studios released their newest princess film Moana. The film follows a seemingly feminist plot line of a young female heroine who saves the world from destruction. This study examines Moana (2016) in relation to the views on feminism in the U.S. Disney’s large social and economic influence provides rich grounds for this research. Using an ideological rhetorical criticism, I uncovered the presented and suggested elements of the film. These elements combined with research on U.S. feminist ideology allowed three ideological themes to emerge: ecofeminism, power feminism, and post-feminism. The three themes are threaded to create a seemingly feminist patchwork ideology. I argue that the patchwork ideology that is created is a result of the political and economic conditions present around the production of Moana. Furthermore, I argue that this patchwork ideology is ultimately harmful to current feminist ideology in the U.S. This study adds insight into how feminist ideology is used in popular media.

This study has analysed the dialogue in two of the oldest Disney animated movies with a princess in the lead role, Cinderella from 1950 and Sleeping beauty from 1959 and compared them with their new live action remakes, Cinderella from 2015 and Maleficent from 2014, from a gender perspective. The purpose was to find out if there has been a change in the way the princess was shaped based on their personality and their relation with the prince. Selected scenes have been transcribed from the four films and through a qualitative content analysis they have been coded based on a code scheme.   The analysis has been based primarily on Rönnberg's theory of feminine role types in film and Yvonne Hirdman's gender contract. Davies 'previous research on stereotypes in fairy tales and England, Descartes and Collier-Meek and Hine´s et al. study about gender in Disney movies through the ages also support the interpretations of the analysis'. The results show that both of the older animated films portray the princesses based on a more stereotypical image of women and from a perspective where men are superior and the heroes in the story.   In the live action movies, the stereotypical feminine image of the princesses has developed. In Cinderella, the main character develops during the film. At first the main character Ella shows similarities with the classic Cinderella which is very gender stereotypical. During the film, the character of Ella changes and in the end, she finally dares to stand up for herself which is a big change compared to the classic movie. In Maleficent, on the other hand, Princess Aurora is portrayed in a completely different way compared to classic Sleeping Beauty. This movie shows a side that is not as stereotypically feminine. Aurora is not saved by a prince, she is curious and dreaming of taking over the magical land that Maleficent comes from. The change you can see in the result indicates a social change in the way of how men and women are viewed. The live action movies show a world where women are allowed to take more space, be strong for themselves and have dreams that do not involve a prince.
Den här studien har analyserat dialogen i två av de äldsta animerade originalfilmerna från Disney med en prinsessa i huvudrollen, Askungen från 1950 och Törnrosa från 1959. Därefter har de jämförts med deras nyutgivna spelfilmer, Berättelsen om Askungen från 2015 och Maleficent från 2014, ur ett genusperspektiv. Syftet var att undersöka om det skett en förändring i hur prinsessans personlighet och hennes relation med prinsen gestaltas mellan filmerna. Utvalda scener har transkriberats från de fyra filmerna och genom en kvalitativ innehållsanalys har de kodats utifrån ett kodschema.     Analysen har därefter baserats framförallt på Rönnbergs teori om feminina rolltyper i film samt Yvonne Hirdmans genuskontrakt. Davies tidigare forskning om stereotyper i sagor samt England, Descartes och Collier-Meek och Hines et al. studie om genus i Disneyfilmer genom tiderna stöttar också analysens tolkningar. Resultatet visar att båda de äldre animerade filmerna gestaltar prinsessorna utifrån en mer stereotyp bild av kvinnor samt utifrån ett perspektiv där männen är överordnade och hjälten i historien.   I de nya spelfilmerna har den stereotypa feminina bilden av prinsessorna utvecklats. I Berättelsen om Askungen utvecklas huvudkaraktären under filmens gång. Huvudkaraktären Ella visar till en början stora likheter med den klassiska Askungen som är väldigt könsstereotypiska. Under filmens gång får man följa en förändring i Ella och i slutet vågar hon äntligen stå upp för sig själv vilket är en stor förändring i jämförelse med den klassiska filmen. I Maleficent däremot, gestaltats prinsessan Aurora på ett helt annat sätt i jämförelse med klassiska Törnrosa. Filmen visar en sida av Aurora som inte är lika stereotypiskt feminint. Aurora blir inte räddad av en prins, hon är nyfiken och drömmer om att själv ta över det magiska landet som Maleficent kommer ifrån. Den förändring man kan se i resultatet tyder på en samhällelig förändring i hur man ser på män och kvinnor där kvinnor tillåts ta mer plats, vara starka i sig själva och ha drömmar som inte involverar en prins.

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This essay aims at investigating how is the construction and representation of the female protagonist in Disney s animated film "The Princess and the Frog" (2009). In order to accomplish the main objectives, I take as reference theoretical concepts from different areas of knowledge, emphasizing on the genres of speech, intertextuality and polyphony, in accordance with Bakhtin and his Circle, besides focusing on the notions of stereotype and gender as a cultural category linked to the feminist criticism critique. This work is divided into two chapters. In the first one I present the theoretical framework, a brief history of fairy tales and comments about their film adaptations, from the panorama of the movie production of the nine Disney Princesses. In the second chapter, I highlight the methodology employed in the linguistic analysis and imagery from the movie "The Princess and the Frog" on the basis of what I call contextual nucleus which include the following elements: 1) time / space / family constitution, 2) economy / true love / happy ending, 3) scenario / songs / colors and traces 4) fantastic / wonderful / mysticism. I also suggest at this stage a study of Tyana´s physical and behavioral characteristics in comparison with the tale "The Frog Prince by the Grimm Brothers and, three of the "Disney Princesses": Snow White, Cinderella and Aurora. I believe that animation films and adaptations of traditional fairy tales that are directed to children, broadcast standards, values and meanings bring a great influence on the formation and construction of gender identities. Throughout the approach to cinematic language (verbal and imagery), it is possible to unveil the ideology that pervades this midia due to social interchange whereas it is an intertextual discoursive space
Esta dissertação tem por objetivo investigar de que modo ocorre a construção e a representação da personagem feminina no filme de animação A princesa e o sapo (2009), dos Estúdios Disney. Para realizar esse estudo, tomo como referencial teórico conceitos de distintas áreas do conhecimento, salientando-se os de gêneros do discurso, intertextualidade e polifonia, conforme Bakhtin e seu Círculo, além de enfocar as noções de estereótipo e de gênero, como categoria cultural, vinculados à crítica feminista. Este trabalho encontra-se dividido em dois capítulos. No primeiro, apresento o referencial teórico, um breve histórico dos contos de fadas e um comentário acerca de suas adaptações para o cinema, a partir do panorama da produção fílmica das nove princesas dos Estúdios Disney. No segundo capítulo, destaco a metodologia empregada na análise linguística e imagística do filme A princesa e o sapo com base no que denomino de núcleos contextuais , os quais compreendem os elementos seguintes: 1) tempo/espaço/constituição familiar; 2) economia/amor verdadeiro/happy end, 3) cenário fílmico/canções/cores e traços e 4) fantástico/maravilhoso/misticismo. Proponho ainda nessa etapa, um estudo das características físicas e comportamentais de Tiana, em termos comparativos com o conto O rei sapo , dos Irmãos Grimm e três das princesas Disney : Branca de Neve, Cinderela e Aurora. Acredito que os filmes de animação, adaptações de contos de fadas tradicionais, voltados para as crianças, transmitem normas, valores e significados, que influem diretamente na formação e construção de identidades de gênero. Por meio da abordagem à linguagem cinematográfica (verbal e imagística), foi possível desvelar a ideologia presente nesta mídia de intercâmbio social, enquanto espaço intertextual discursivo

Den här studien syftar till att undersöka hur och vad Disney kommunicerar till sin publik genom deras film Frost (2013). Eftersom Disney idag står för en dominerande part av filmunderhållningen för barn bär de också ett ansvar för de budskapen de förmedlar genom sina filmer, då barn kan komma att påverkas av dem. I den här studien har Frost (2013) studerats genom en kvalitativ textanalys med hjälp av Peter Dahlgrens metod för att analysera medietext, med fokus på textens uppbyggnad och den narrativa dynamiken i medietexten (filmen). Analysen har gjorts utifrån ett normkritiskt perspektiv. Analysen visade att Frost bryter sig loss från flera av Disneys tidigare mönster och strukturer och lyckas skapa en mindre förutsägbar saga. Analysen visade också framträdandet av en ny roll; den falska skurken, som användes just i syftet att skapa en mindre förutsägbar saga. Till skillnader från flera tidigare porträtteringar av Disney-prinsessor visar Frost två feminint starka och självständiga kvinnliga karaktärer, som agerar på eget bevåg. Frost ifrågasätter också Disneys tidigare attityd kring att kärlek kan uppstå vid första ögonkastet, samt att romantisk kärlek är det starkaste och mest värdefulla typen av kärlek. För första gången någonsin porträtterar Frost familjekärlek som starkare än romantisk kärlek.
This study aims to examine how and what Disney is communicating to its audience through its movie Frozen (2013). Since Disney currently is a dominant party of the movie entertainment for children they bear a great responsibility for the messages they convey through their movies, as children may be influenced by them. In this study, Frozen (2013) has been studied by a qualitative text analysis using Peter Dahlgren's approach for analyzing media text, with focus on the textual construction and the narrative dynamics of the media text (the movie). The analysis was made based on a norm-critical perspective. The analysis showed that Frozen breaks free from many of Disney's past patterns and structures and manages to create a less predictable tale. The analysis also showed the emergence of a new role; the fake villain, used precisely in order to create a less predictable tale. In differences from several earlier portrayals of the Disney Princess Frozen shows two feminine strong and independent female characters, who act on their own authority. Frozen also questions Disney's previous attitude concerning that love can arise at first sight, and that romantic love is the strongest and most valuable type of love. For the first time in forever in a Princess movie Frozen manages to portray love between family members as stronger than romantic love.

Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.

Betyg VG (skala IG-VG)

ResumenEste estudio tiene como objetivo explorar el lenguaje de la princesa moderna de Disney y qué mensaje transmite su discurso a los niños con el fin de clarificar si Disney hace uso del “lenguaje femenino” cómo ha sido investigado por la investigadora Robin Lakoff. Es fundamental analizar la visión de la princesa Disneyana transmitida por la multinacional ya que por el lenguaje empleado se averiguan los valores que van dirigidos al público infantil en todo el mundo. Aunque se puede rechazar la afirmación de que las películas infantiles transmitan ideas y valores, la carga ideológica de los medios sigue siendo grande. La película analizada en el estudio es la más moderna de Disney; Moana: Un Mar de Aventuras. Se prestó atención a los atenuantes, adjetivos vacíos, intensificadores y preguntas eco. Los resultados no demuestran ninguna coherencia relativa a diferencias lingüísticas entre los sexos: un aspecto lingüístico fue utilizado por el personaje femenino sola, lo que, sin embargo, podría ser relacionada con las características del personaje. Un hallazgo adicional reveló que el protagonista masculino pronuncia más palabras que la protagonista femenina, a pesar de tener menos exposición en la película.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The present work aims at identifying the archetypes of the goddesses Athena, Artemis, Hestia, Hera, Demeter, Persephone and Aphrodite, in cartoons. Selecting Walt Disney Studios animated feature films "Snow White and the Seven Dwarfs" (1937), "Cinderella" (1950), "Mulan" (1998), "Valente" and "Moana" (2017) and respectively the female protagonists and antagonists. How culture and influence relations between the sexes and how the woman is interpreted in this media and what issues can be raised about it. Fairytales provide numerous symbolic interpretations and are used for cinematic adaptations in animation. From the archetypal concepts used by Jean Shinoda Bolen, The Goddesses and the Woman (1990). It becomes possible to identify the archetypes of goddesses and understand how they act. The concept of archetypes and the collective unconscious are also explained using the archetypes and the unconscious of Carl Jung. Joseph Campbell The hero of a thousand faces (1990) stands out as the basis for understanding the myths and interpreting the hero's journey. There is a need to understand the processes of creating a cartoon, its origin and development with the reference of Lucena Junior. The cartoon is part of the cultural industry, and a major promoter of mass culture. In it, movies gain planetary insight and sell products derived from characters and adventures to the public that consumes the media. In the Walt Disney films, the entertainment magician, there are female representations that show how culture, society sees women, in the collective, a genre put into a character. In some princesses, a princess's sister, a warrior, and the daughter of a village chief. Analyzing each film, the mythology itself, the hero's journey, in this case heroine, did not change. But one can see the dynamic change of the feminine archetypes, their mythological context and their representations.
O presente trabalho visa identificar os arquétipos das deusas Atena, Artêmis, Héstia, Hera, Deméter, Perséfone e Afrodite, nos desenhos animados. Selecionando os filmes de animação do Walt Disney Studios: "Branca de Neve e os sete anões" (1937), "Cinderela" (1950), "Mulan" (1998), "Valente" (2012), "Frozen" (2013) e "Moana" (2017) e, respectivamente, as protagonistas e antagonistas femininas. Como a cultura e influência nas relações entre os sexos e como a mulher é interpretada nesta mídia e quais questões podem ser levantadas a respeito. Os contos de fadas fornecem inúmeras interpretações simbólicas e são utilizados para adaptações cinematográficas em animação. A partir dos conceitos arquetípicos utilizados por Jean Shinoda Bolen, As deusas e a mulher (1990), torna-se possível identificar os arquétipos das deusas e compreender como agem. O conceito de arquétipos e do inconsciente coletivo também são explicados utilizando Os arquétipos e o inconsciente de Carl Jung. Joseph Campbell O herói de mil faces (1990) sobressai como base de entendimento dos mitos e da interpretação da jornada do herói. Existe a necessidade de entender os processos de criação de um desenho animado, sua origem e desenvolvimento com o referencial de Lucena Junior. O desenho animado é parte da indústria cultural e grande divulgador da Cultura de massa. Nela, os filmes ganham divulgação planetária e vendem produtos derivados dos personagens e das aventuras do público que consome essa mídia. Nos filmes de Walt Disney, o mago do entretenimento, existem representações femininas que mostram como a cultura, a sociedade vê as mulheres, no coletivo, um gênero colocado em uma personagem. Em algumas princesas, uma irmã de princesa, em uma guerreira, e na filha de um chefe de aldeia. Analisando cada filme, a mitologia em si, a jornada do herói, neste caso da heroína, não se alterou. Porém, percebe-se a dinâmica mudança dos arquétipos femininos, seu contexto mitológico e suas representações.

The Disney Princess Brand includes 11 Disney Princess films from Snow White and the Seven Dwarfs (1937) to Brave (2012). The goal of this campaign is for audiences to be entertained by the narratives while encouraging identification with the princesses in the films (Do Rozario, 2004; Orenstein, 2006). Scholars have suggested possible media effects of representations and messages depicted related to gender roles (England, Descartes, and Collier-Meek, 2011) and romantic relationships (Segrin and Nabi, 2002). No studies to date have examined the potential correlation between media effects of all 11 Disney Princess films and viewers' expectations regarding romantic relationships with a theoretical background in cultivation theory, social cognitive theory, wishful identification, and uses and gratification theory. The purpose of this thesis was to explore the relationship between potential media effects due to watching Disney Princess films and expectations of romantic relationships. An online cross-sectional survey was administered to female undergraduate students enrolled at Virginia Tech (N = 110). Bivariate correlation analyses were computed to measure the data. Results did not support hypotheses related to motivations for watching Disney Princess films, cultivated ideologies due to exposure of all films, and perceived similarity to princesses in relation to idealistic beliefs of romantic relationships. Wishful identification with the princesses was significantly correlated with participants' idealistic beliefs of romantic relationships. Possible implications are that participants in late adolescence (18 - 23 years of age) wish to be like the Disney princesses and to have similar romantic relationships that are represented in the films.
Master of Arts

Objectifs : Ce travail explore la représentation des femmes véhiculée par les princesses Disney et son évolution depuis 1937. Il s’intéresse à la place des femmes et aux stéréotypes de genre.Méthode: Trois études ont été réalisées. La première (i) s’est intéressée aux caractéristiques des princes et princesses et aux étapes clés du récit dans un conte à partir d’un travail de recherche auprès d’un public tout venant. Il s’agissait pour les participants (a) à la fois de « construire » un récit en faisant des choix parmi différentes possibilités prédéfinies et (b) d’être en accord ou non avec les caractéristiques psychologiques et physiques des protagonistes principaux : la princesse et le prince (matériel inspiré partiellement de England et al. (2011)). La seconde (ii) qui est l’étude principale, s’est centrée sur l’analyse des représentations des femmes et leur évolution à travers le corpus de la franchise « Princesses Disney » qui compte 11 films d’animation : Blanche-Neige, Cendrillon, Aurore, Ariel, Belle, Jasmine, Mulan, Pocahontas, Tiana, Raiponce et Mérida. Il s’agissait de visionner et de coder les films d’animation pour analyser les discours, comportements, communications, émotions, aspects physiques et personnalités des princesses, ainsi que leur temps de présence et de parole. Des grilles ont été établies afin d’analyser les étapes du film, le statut d’héroïne et adulte ainsi que la relation aux personnages masculins. Trois catégories ont été établies : les princesses « traditionnelles », « modernes » et « post-modernes ». La troisième étude (iii) a analysé l’impact de ces princesses auprès d’un public féminin. Elle consistait en entretiens semi-directifs de petites filles, jeunes filles et femmes quant à leurs représentations liées aux princesses et le sens qu’elles y donnaient dans leur vie.Résultats : Étude 1. Il existe un effet de genre significatif dans les choix des étapes du conte et des caractéristiques des protagonistes : princesses et princes. Étude 2. Les résultats montrent qu’il existe une princesse-type (beauté caucasienne, réflexion, communication, peu d’action), que les films mettent en scène une initiation des adolescentes qui est orientée vers l’accès à la conjugalité. Les figures parentales, le prince et les alliés animaux masculins sont très présents. Il existe une différence significative entre les trois catégories de princesse pour les caractéristiques analysées et leur évolution : tendance à une disparition des comportements exclusivement passifs, affectifs, émotionnels et tournés vers le physique et inversement, apparition des comportements actifs et de revendication d’indépendance. Étude 3. L’enquête semi-directive met en avant une identification genrée prononcée. La réception des films d’animation des princesses Disney et le processus d’identification suivent une logique développementale (accès au sens et à l’analyse selon l’âge). Discussion : Ces trois études mettent en évidence des rôles de genre et des stéréotypes, même si la question de la féminité et de la masculinité sont évoquées parfois de manière plus nuancée. La représentation de la princesse-type reste stéréotypée et conforme au rôle traditionnel des femmes dans la société malgré une évolution évidente chez les princesses post-modernes. Elles suivent un schéma initiatique spécifique à leur statut de femmes en devenir essentiellement en lien avec des enjeux parentaux et conjugaux (quitter les parents, devenir des épouses). Les entretiens semi-directifs soulignent un double mouvement : les princesses comme idéal féminin et conjugal à atteindre, et l’indépendance féminine (où le prince et les hommes ne sont pas indispensables) qui est une revendication plus présente en fonction de l’âge des répondantes. En conclusion, les princesses Disney témoignent de l’évolution et des résistances de notre société en matière de représentation des femmes et de stéréotypes de genre
Aims: This work explores the representation of women conveyed by Disney Princesses and how it has changed since 1937. It addresses the issues of the role of women and gender stereotypes.Method: Three studies were carried out. The first (i) investigated the characteristics of princes and princesses and the key stages of the narrative, based on research with participants from the general public. All the participants were asked (a) to “construct” a narrative by choosing between different predefined options, and (b) to say whether or not they identified with the psychological and physical characteristics of the main protagonists - the princess and the prince (material partly inspired by England et al., 2011). The second and main study (ii)analyzes the representation of women and how it has evolved, through the 11 animated films of the “Disney Princess” franchise: Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Mulan, Pocahontas, Tiana, Rapunzel and Merida. It involved viewing and coding the films to analyze the speech, behavior, communication, emotions, physical aspects and personalities of the princesses, and also the proportion of time they appear on screen and speak. Grids were used to analyze the stages of the film, the female protagonist’s status as heroine and adult, and her relationship with the male characters. Three categories of princess were established: “traditional”, “modern” and “post-modern”. The third study (iii) analyzes the impact of these princesses on a female sample, through semi-structured interviews with children, adolescents and women about their views of the princesses and their relevance to their lives.Results: Study 1. There was a significant gender effect in the choice of the events of the story and the characteristics of the princesses and princes. Study 2. The results show that there is an archetypal princess (Caucasian beauty, thoughtful, communication, little action), and that the films portray an initiation of adolescent girls oriented towards marriage. There is a strong presence of parental figures, the prince and male animal allies. There is a significant difference between the three categories of princess in terms of their characteristics, with a tendency to the disappearance of exclusively passive, affective, emotional and physical-oriented behaviors, and the appearance of active behaviors and assertion of independence. Study 3.The semi-structured interviews highlighted a pronounced gender identification. The perception of the Disney princess films and the identification process show a developmental trend (interpretation and analysis developing with age).Discussion: These three studies highlight gender roles and stereotypes, even if the questions of femininity and masculinity are sometimes nuanced. The representation of the princess remains stereotypical and is consistent with the traditional role of women in society, although the post-modern princesses have clearly evolved. There is a pattern of a rite of passage towards their status as women, essentially linked to parental and marital relationships (leaving their parents, becoming wives). The semi-structured interviews underline a dual trend that varies with age: the princess as the feminine and marital ideal, and female independence (where the prince and men are not essential). To conclude, the Disney princesses show how the representation of women and gender stereotypes have evolved, as well as society’s resistance to change

Disney’s princesses and heroines have long captured the minds and hearts of young girls with their magical dress. This thesis researches the fashion symbols in a chosen set of animated movies and relate this to children’s reception, sexuality and gender issues and narrative identities. A semiotic analysis of the movies and relating them to read literature will shine a new light on this subject.

Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children's television programs. Animated films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals, such as such as Animation Journal and Wide Angle, to one of the most mainstream English-language publications, the Modern Language Association's Profession, which included Judith Halberstam's article "Animation" in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated feature film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated feature film, The Adventures of Prince Achmed (1926). Because of the international and interdisciplinary qualities of animation, my project draws upon a wide array of disciplines including film theory, historiography, and criticism; European modernisms; animation studies; early German culture; folklore; and literary adaptation. In order to explore such diverse subject matter I utilize feminist, discourse, Marxist/cultural, and film theories. My first chapter demonstrates inconsistencies concerning the development of the animated film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated feature film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization. In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German film industry. I argue that (German) national identity negatively impacted her and the film's discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balazs, and Arnheim. An analysis of the film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed's Berlin and Parisian releases, was a particularly difficult time for the German film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German film. Anti-German sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy. In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview of contemporaneous female artists and filmmakers elucidates the complicated relationships between women and film and women and modernity. Invoking Guyatri Chakravorty Spivak's interrelated concepts of the "politics of interpretation," "cultural marginalia," and "masculist centrality/feminist marginality," I posit Prince Achmed as a feminist celebration of handicraft and a critique of modern culture. Reiniger embraces her relegation to the private/domestic/feminine realm by revolutionizing silhouette cutting in the form of animated (feature) film. In Prince Achmed she critiques the contradiction between imagery of the New Woman and the actual plight of women in modernity. After situating animated film within the larger genre of film, in chapter four I reflect upon the scholarly tendency to relegate film to a status subordinate to traditional visual media, thereby further marginalizing animation. In this chapter I also define and debunk the Disney myth, which includes widespread misconceptions that Disney invented the multiplane camera and pioneered the animated feature film. I highlight contributing factors such as a noticeable lack of animation scholarship (Edera; Pilling) and a gap in interwar German history during which Prince Achmed was produced (Kracauer; Arnheim; Edera). The concept of "historical imaginary" developed by Elsaesser and Foucauldian "mechanisms of power" assist an understanding of the creation and nearly century-long perpetuation of the Disney myth, which has lost relevance to contemporary critical discourse. Having established primary and tertiary causes of the marginalization of Reiniger and Prince Achmed, I determine that this is a timely project since, according to Walter Benjamin, all images become intelligible only in later corresponding epochs. This "synchronicity" renders Prince Achmed comprehensible to critics in contemporary American animation-saturated culture. Because each chapter focuses on an element of otherness, my project illuminates the individual and culminating effects of national identity, gender, and genre on film history and discourse. By restoring Lotte Reiniger and Prince Achmed to their rightful discourse positions, my dissertation challenges existing understandings of the origins of animated film and development of the medium of film. Furthermore, my project encourages interdisciplinary scholarship, ongoing recovery of women and other historically overlooked groups, and interrogations of literary and other canonization.

碩士
國立臺北教育大學
藝術與造形設計學系碩士班
98
Born in the fairy tale, the "Princess Classic", adapted by Disney's film industry, has become a strong culture of the animated fairy tale movie. In particular, Disney launched the “Princess” series in 2001 which were formed by the six animated princesses; and rolled out a great deal of related merchandise, and even set up a "Disney Princess" on the official websites in different countries, making the "Princess force" even stronger. Further explore the "Princess" series, the six princesses could be classified into two parts: the female leads in the early period’s Snow White, Cinderella, and Sleeping Beauty; and the late period’s Little Mermaid, Beauty and the Beast, and Aladdin. This classification approach was because of that, the Disney animations were full of Paternalistic, which was criticized by feminists. Therefore, in 1989, the newly introduced Little Mermaid refurbished the princess image, creating a new princess who was able to think, have dreams, wise and brave. In addition to please the female audience, the movie also kept up with the trend of time, which made the companies earn more profits and those “Princesses” more popular. This paper uses the theory of narrative to integrate the six movies of the “Princess” series, arguing that, after 1989, though Disney corrected the early-period princess image of submissive and waiting for rescue passively and created the lively and active princess in Little mermaid, the reading-lover princess in Beauty and the Beast, the strong-minded princess in Aladdin, and even arranged the scene for the princess to save the prince, which seemly started to admit that females also possessed the characters of smart and independent, actually hegemony still existed. The stories, producing, and roles, were all beautified with sugar-coat. Based on this, this paper also uses the method og social science to inspect and explore the impacts created by the interactions between females and the princess symbol when they watched the Disney animation movies.

碩士
國立臺灣藝術大學
視覺傳達設計學系
98
A fairy tale is composed of a fictional plot, some unique characters, and a sequence of events. When converting a story into an image, designers give life to the image, which can draw consumer attention and induce development of related issues and products after publicized. For each reader, fairy tales always tell a different story that he or she deeply identifies with. Among the numerous factors of identity, gender preference is a factor that automatically separates readers and their identities. The market also tends to put a strong emphasis on gender differences to create business opportunities and topics. Through a survey on respondents’ psychological perceptions (images) of characters, events, and objects (symbols) in fairy tales and evaluation of posters of classical Disney “princess” series animated films, this study attempts to explore the differences in their perceptions of fairly tales and factors that cause the differences. Findings from the questionnaire survey conducted in the first research stage indicated that “Cinderella” is the most popular fairy tale among female readers, while “Aladdin” is most popular among male ones. This study then analyzed readers’ preferences for stories and perceptions of symbolic vocabularies by various background variables to obtain the representative symbols of characters, events, and objects (such as glass slipper and animals) and examined their meanings from the perspective of semiology. Results showed that symbols used in fairy tales are affected by communication of the time, and familiar symbols also tend to be simpler. In the second stage, semantic differential (SD) was applied to investigate respondents’ perceptions of images in gender-oriented posters of “Cinderella” and “Aladdin”. 6 posters and 12 adjectives were selected using purposive sampling. Two questionnaires were designed on the basis of a 7-point scale. Each questionnaire was administered to 160 respondents (males and females in equal proportions), so a total of 320 responses were obtained. These responses were analyzed on SPSS (including factor analysis) to compare differences between posters as well as examine the differences between respondents with different background variables. Through factor analysis, four factors were obtained from their responses to Aladdin posters, including “evaluation preference, artistic presentation, visual presentation, and imagination”, and three factors were obtained from their responses to Cinderella posters, including “evaluation preference, artistic presentation, and visual presentation”. The Disney princess series firms were commercialized using gender-oriented business models. Through gender analysis, we found that in the choice of a favorite story, male respondents tended to choose “Aladdin” to meet social expectation of their gender and considered the sample posters of Aladdin as easy to understand. It could be inferred that respondents’ preferences for stories are affected by their gender. However, when asked to evaluate stories visualized in posters, respondents then paid more attention to graphical presentation, interpretation of the storyline, and dramatic tension. Analysis of their responses by background showed that respondents with a design background were more focused on the design of the posters and tended to take an objective attitude toward graphical presentation of the stories. They would exclude emotional responses to the stories and objectively viewed poster presentations as virtual, beautified, and easy-to-understand graphics. Analysis of their responses by education degree suggested that significant differences in comprehension of a portion of posters and perceptions of humorousness, maturity, and style in them existed among respondents with different education degrees. Besides, when asked to evaluate sample posters of Cinderella, the respondents showed partially significant differences in their comprehension of posters and perceptions of artistic and commercial presentations in them. For them, this story is full of unique imaginations and magical elements. It is centered on the theme that dream comes true at the magical moment. All its elements, including pumpkin coach, fabulous gowns, and shiny glass shoe, are presented with delicate graphics on the posters. Analysis of their responses by age showed that the entertaining effect expressed by poster images is important for all age groups. Thus, it can be inferred that most of the audience, regardless of their age, held a positive view toward animated films produced on the bases of classical fairy tales and considered these films as a feast of sensory and sensual experiences that could bring them joy and laughter. The above results are expected to be a reference for readers, graphic designers, and related industries.

This paper explores how ethnic character representations in Disney films have changed in response to changing cultural attitudes and historical context over time in response to variations in the broader American sensitivity to race and ethnicity. When we today look at instances of African American representation from the 1940s, such as in the Film Dumbo (1941), we are shocked at how overtly stereotypical these representation are. According to today’s standards, it would be unacceptable to show such caricatured racial representations. But at the time in America such standards, and the attitudes that inform them, did not exist. In view of the progress made in the intervening 70 years in thinking about race and the extent to which attitudes to racial representations have changed, we should now see the representation of African Americans being dealt with very differently in recent films such as The Princess and The Frog (2009), which featured Disney’s first African- American princess (Breaux 413). In order to answer this question I in this paper critically assess African-American representation in Disney films from the 1940s to today. In order to see how race has been dealt with in one of the studio’s first feature-length films and in one of its most recent releases I analyzed specific instances of racial representation in two case studies: Dumbo (1941) and The Princess and the Frog (2009). This analysis is informed by an awareness that the offensiveness of such representations is culturally determined and has changed over time. By textually reconstructing the contexts in which the films were produced and then analyzing instances of racial representation according to how they have been constructed, making reference to concepts of Stereotyping, Othering and Hierarchy.

碩士
國立臺南大學
戲劇創作與應用學系碩士班
105
Disney princesses, since the first princess, “Snow White,” came into being in 1937, has gone through various transformations in the past three-quarters century, which may reflect a certain female’s images from different generations. This study focuses on three works with princesses as leading characters, which were released by Walt Disney Animation Studio from 2010 to 2015, including “Tangled” in 2010, “Brave” in 2012 and also ”Frozen” in 2013. I examine the following three questions that are concerned with the four “new” princesses: First, how are the images of these new princesses different from those princesses of the earlier stages? How are these images shaped through narratives and character relationships? Secondly, how do the new princesses display woman power and to what degree could they break through the patriarchal system? Finally, how are the witches and the mothers of the princesses dramatized? What lies behind their conflicting relations with the princesses? To answer those questions, I will first use theory of feminism to analyze woman power and femininity as demonstrated by the princesses, and to further disclose the patriarchy embedded in their seemingly new independent image. Then, I will adopt film critic Laura Mulvey’s concepts of “visual pleasure” and “narcissistic pleasure” to probe the relationship between the body representation of those new princesses and the psychological mechanism of the viewers. Second, I will investigate the gender division in space, and what it means for the princesses to leave the castle or home. Finally, I explore the history of witches in the west and their transformation from fairy-tales to these three animated films. I apply psychological study of fairy-tales to discuss the features and symbolic meanings of witches and mother characters, whose interaction with princesses play an important part. Keyword: Disney princess, female image, gender and space, Tangled, Brave, Frozen

碩士
輔仁大學
英國語文學系
95
The Disney Company’s fairy tale films have stereotyped good and bad female characters identical to those found in Brothers Grimm’s fairy tales. They share identical psychological and social-historical traits that shape up female stereotypes. Those stereotypes are similarly presented in both mediums, and inevitably presented as stereotypes for the genre. This thesis begins with an introduction for a discussion of female representation as a gender stereotype in Brothers Grimm’s Children and Household Tales, and The Introduction gives an account of the current critical trend on this genre. Chapter One examines the good and bad female stereotypes represented by princess and witch characters. This chapter focuses on famous tales, such as “Snow White,” “Cinderella” and “Sleeping Beauty” in the context of Household Tales, and illuminates the constituents of female stereotypes. Thus, Chapter One manifests why and how the female stereotypes exist in Household Tales. Chapter Two dwells on Walt Disney’s fairy tale princess films including Snow White, Sleeping Beauty, Cinderella, Little Mermaid, Aladdin, Pocahontas, Beauty and the Beast, and Mulan. The analyses start with perceptions of characters’ visual identification with the character and storyline design. Through psychological self-identification with characters’ visual performance, Disney’s princess characters become objects of desire to boys and girls alike. Comparing constituents that shape up both Brothers Grimm’s and Disney’s female characters will reveal the fact that, when rendering literary fairy tales into animations, Disney employs identical methods Grimms used to make up their characters. The Disney Company continues the tradition of female stereotyping, and its films reflect the same underlying values found in age-old tales—with more concrete images.

碩士
逢甲大學
外國語文學系英語文研究碩士班
107
This study aims to explore how social influences have stereotyped and shifted hair colors and lengths of women. The Disney Princess franchise’s hair images will be used as an example in viewing hair as a powerful object presenting female autonomy. To link female’s hair and personalities together into literary form, I address the importance of viewing female's hair imagery as a motif and how hair is related to people’s first inter-pretations of a woman’s personality. In Chapter one, I focus on analyzing the connec-tions between color stereotypes and the princesses’ respective personalities. Color stereo-types play a big role in the personalities of Disney’s blonde, redheaded, and black-haired princesses from its earlier films, while princesses from movies released in the twenty-first century are not subject to such stereotypes. In ancient mythology, blondes are char-acterized as noble, kind,and pure. Disney uses this characterization in their blonde prin-cesses, such as Cinderella, Aurora, and Rapunzel. With redheaded princesses like Ariel and Merida, Disney alludes to images of a redheaded Satan and the hair color’s per-ceived notions of rebellion and adventure. Black-haired princesses maintain mysterious and sophisticated personalities, stemming from the West’s exoticism of dark hair and the unfamiliar. Chapter two uses social and anthropological theories to analyze interpreta-tions of Mulan’s and Rapunzel’s hair lengths and the meaning behind their haircuts. The princesses’ long hair represents their unrestricted female attraction from appearance. That said, the princesses only gain autonomy and confidence after they cut their long hair. By highlighting the parallels between women’s personalities and the Disney prin-cesses' hair colors and lengths, this study sheds awareness to the fact that other people may use stereotypes to judge women’s personalities through their hair in certain ways but women should always be proud of their respective hairstyles and personalities out of the hair stereotypes, as the process of deciding a hairstyle is a form of female autonomy.

Trabajo Final para optar al grado académico de Licenciatura en Comunicación Social, Universidad Nacional de Córdoba (inédita).
El “mágico mundo” creado por Walt Disney en 1923 fue y es, probablemente, la primera experiencia cinematográfica para millones de niños en todo el mundo. Desde 1937, con el estreno de “Blancanieves y los siete enanitos”, y hasta el actual siglo XXI, la maquinaria Disney produce magia e ilusión de manera continuada y sin interrupciones. En este trabajo de investigación, seleccionaremos parte de la producción cinematográfica de la compañía, representada por dos films clásicos: "Blancanieves y los siete enanitos" (1937)1 y "La bella y la bestia" (1991)2. A medida que despleguemos el análisis problematizaremos la idea de magia y diversión, considerando estereotipos y construcciones de sentido inscriptos en los films mencionados. El “maravilloso mundo de Walt Disney” ha sido estudiado, analizado y cuestionado por distintos campos disciplinares como: sociología, economía, semiótica y psicología, entre otros. En esta investigación abordaremos la perspectiva de género en la construcción de los personajes principales de las películas seleccionadas. Así, los sexismos representados, la masculinidad y la femineidad, serán problematizados a partir del supuesto de que están basados en un modelo de género fundado en una matriz binaria (femenino/masculino), jerárquica y rígidamente estereotipada. Para esta labor, nos serviremos de las herramientas de la sociosemiótica junto a las técnicas de análisis fílmico; estos instrumentos nos permitirán trabajar sobre el corpus establecido. De este modo, podremos comparar y contrastar ambos films para indagar los sentidos construidos, como así también las relaciones y construcciones sociales de dos momentos sociohistóricos específicos. El trabajo estará dividido en cuatro partes: en primer lugar, el marco teórico- conceptual, donde desarrollaremos las corrientes teóricas que guiarán la investigación. Luego, el marco referencial o contextual, que permitirá ubicar al lector en el contexto sociohistórico en el que se producen los films. En la tercera parte, desarrollaremos el marco metodológico, en el cual se expondrán y explicarán las técnicas y estrategias que se utilizarán en el análisis. Finalmente, nos focalizaremos en el análisis de las películas seleccionadas, el cual nos permitirá arribar a las conclusiones.

A Família, o tema “Família” é por si só um tema difícil de se tratar nos dias que correm, não apenas para os adultos, mas sobretudo para as crianças e jovens. É extremamente complicado trabalhar este assunto quando temos tantas realidades familiares diferentes à nossa volta. Precisamos constantemente de ponderar muito bem as palavras que utilizamos, pois podemos fazer os discentes recordarem experiências menos positivas no que toca ao ambiente familiar ou à falta do mesmo. A escolha do tema “Família Comunidade de Amor” na Prática de Ensino Supervisionada, surgiu, para mim, como um desafio. Desafio porquê? Porque ao longo deste percurso, enquanto filho, pai, neto e professor de EMRC, tenho constatado uma mudança na realidade das vivências familiares, na forma como estas são vistas, sentidas e tratadas na sociedade. Deste modo pensamos em analisar o tema da “Família Comunidade de Amor”, partindo dos filmes/contos das histórias das Princesas da Disney que todos conhecemos e que ainda hoje fazem sonhar pequenos e graúdos. Perceber se podemos aprender com a realidade familiar das Princesas da Disney, bem como estas são apresentadas, se são diferentes da realidade atual ou se, de alguma forma, seguem o mesmo pensamento da Família cristã veiculado nos documentos do Magistério da Igreja, as Exortações Apostólicas “Familiaris Consortio” e “Amoris Laetitia” Seguiremos neste trabalho a ordem cronológica da realização dos filmes das Princesas da Disney. Como poderá um livro/filme ajudar alguém? A realidade familiar destas Princesas é muito diferente das famílias cristãs? Para que servem estas histórias clássicas? Na verdade, a realidade mistura-se com a ficção e há uma razão para todos conhecermos estas histórias baseadas em contos, adaptadas posteriormente em desenhos animados. Estes contos são uma forma de, por vezes, lidarmos com o nosso mundo, ainda que nem sempre este faça sentido!
The Family, the theme "Family" is in itself a difficult topic to deal with these days, not only for adults, but especially for children and young people. It is extremely complicated to work on this issue when we have so many different family realities around us. We constantly need to think very carefully about the words we use, because we can make the students remember less positive experiences with regard to the family environment or the lack of family members. The choice of the theme "Family Community of Love" in the practice of supervised teaching, emerged for me as a challenge. Why a challenge? Because throughout this journey, as a son, father, grandson and EMRC teacher, I have seen a change in the reality of family experiences, in the way they are seen, felt and treated in society. In this way, we thought of analysing the theme of the "Family Community of Love", starting from the films/fairy tales of the Disney Princesses that we all know and that still today make us dream small and big. To understand if we can learn from the family reality of the Disney Princesses, as well as how they are presented, if they are different from the current reality or if, in some way, they follow the same thought of the Christian Family conveyed in the documents of the Magisterium of the Church, the Apostolic Exhortations "Familiaris Consortio" and "Amoris Laetitia". In this work we will follow the chronological order of the making of the films of the Princesses of Disney. How can a book/film help someone? Is the family reality of these Princesses very different from the Christian families? What are these classic stories for? In fact, reality mixes with fiction and there is a reason for all of us to know these fairy tales based on tales, adapted later into cartoons. These tales are a way to sometimes deal with our world, a world that doesn't always make sense!