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Journal articles on the topic 'Disney Princess'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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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.

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Previous quantitative research examining Disney movies has highlighted that whilst prince characters display largely balanced gender profiles, princesses exhibit biased gender role portrayals—performing mostly feminine characteristics, rarely participating in rescue behavior, and concluding movies in romantic relationships with the prince. However, such research, as well as public commentary, has also suggested that princess characters in movies released across the 2000s and 2010s may have more positive gender role portrayals. This study aimed to test these assertions by utilizing content coding analysis to examine the behavioral characteristics, rescue behavior, and romantic conclusions of prince and princess characters in five iconic Disney films released between 2009 and 2016 (The Princess and the Frog, Tangled, Brave (released under Pixar), Frozen, and Moana). Comparisons were also made with earlier titles to assess historical changes. Results showed that princesses in “2000s to 2010s” movies exhibited an almost equal number of masculine and feminine behaviors, thus demonstrating more egalitarian profiles over time. In contrast, princes appeared to adopt a more feminine behavioral profile in later movies. In addition, characters engaged in equal numbers of rescue behaviors, and princesses were more likely to remain single in “2000s to 2010s” movies. Results therefore suggest that Disney is indeed presenting more diverse, androgynous, balanced characters to viewers, and the theoretical and practical implications for the socialization of young child viewers are discussed.

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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.

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

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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.

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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.

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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.

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<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>

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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.

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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Disney–era princesses with those from the Disney Renaissance of the 1980s and 1990s, I explore the significance of this shift in representation. Viewed as a metaphor for contemporary femininity, how do these modern princesses resolve the incongruity between their official social stations, proscribed behavior, and “real” personalities through their bodies over the course of the films?I believe that the conflict staged on these animated bodies is representative of larger societal issues emerging from contested definitions of both feminism and femininity, and that the Disney princess offers a contemporary site for the expression and resolution of this dissonance. Viewing the body of the Disney princess as representative of a larger female “social body” and conflict that occurs within her as indicative of the larger forces that shape female identity, I integrate my study with historical dance scholarship which regarded movement as indicative of the presence of an Apollonian/Dionysian dialectic working within culture.

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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.

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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.

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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.

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This paper analyzes changes and continuities in the popular princess characters created by the Walt Disney Studios, specifically in the 2013 movie Frozen. The analysis focuses on five themes suggested by an intersectionality framework: the historical and geographical contexts of Disney characters; the controlling images that are revealed; the power relations among the characters; the macro and micro conditions of Disney movies; and the intersection of gender, sexuality, race, and class in the portrayed characters. The main finding is that the traditional Disney princess has made way for a new and more modern princess character that seems to transcend the conventional stereotype of former characterizations. Yet, closer inspection of the Frozen movie also shows that a new stereotype has developed that depicts a princess as someone who merely thinks she is independent, but who often still needs to rely on a man

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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.

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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.

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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.

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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.

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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.

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Disney is one of the biggest animation companies in the world. They have released many animations since then until now. One of the most popular animations is the princess series. Until 20202, Disney has released fourteen princesses from Snow White and the Seven Dwarfs to Frozen 2. Gender role depictions of the female character(s) were examined with a focus on their behavioral characteristics in the films. The English subtitle of Frozen 2 was used to find out the attitudinal expressions about the female characters. In order to make the research easier and more accurate, a concordance tool named Antconc was used to collect the data and create a corpus. Results found that the most recent princess series entitled Frozen 2 showed the female characters depicted as a precious person who was willing to sacrifice herself for others, kind, heroic, fearless, and full-of-spirit. However, Disney also depicted the female characters as liar and trouble maker. In this case, Disney keeps showing that females cannot be seen using the traditional gender’s perspective anymore. A Female is not only feminine, but she also can be masculine as a man.

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11

Valiaibob, Anastasia V. "NOTIONAL COMPONENT OF THE CONCEPT “DISNEY PRINCESS”." HUMANITARIAN RESEARCHES 67, no. 3 (2018): 020–24. http://dx.doi.org/10.21672/1818-4936-2018-67-3-020-024.

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12

Golden, Julia C., and Jennifer Wallace Jacoby. "Playing Princess: Preschool Girls’ Interpretations of Gender Stereotypes in Disney Princess Media." Sex Roles 79, no. 5-6 (April 22, 2017): 299–313. http://dx.doi.org/10.1007/s11199-017-0773-8.

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13

Hefner, Veronica, and Valerie Ellen Kretz. "Does the Glass Slipper Fit?" Journal of Media Psychology 33, no. 3 (July 2021): 125–33. http://dx.doi.org/10.1027/1864-1105/a000290.

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Abstract. This study is a cross-sectional survey investigating the links between viewing Disney princess films and reports of romantic beliefs, relationship-contingent self-esteem, and attitudes relating to masculine courtship strategies. Results from the survey of 438 undergraduate students indicate a positive association between viewing Disney princess films and reports of relationship-contingent self-esteem, particularly for men, and endorsement of masculine strategies about courtship. Findings are discussed in the context of cultivation and social cognitive theory.

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14

Jule, Allyson. "Princesses in the Classroom: Young Children Learning to be Human in a Gendered World." Journal of Childhood Studies 36, no. 2 (December 30, 2011): 33. http://dx.doi.org/10.18357/jcs.v36i2.15093.

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For well over fifty years, girls as princesses has been a staple of child-hood play. In 2000, The Disney Corporation released its "Princesses" line of merchandise - - eight princess-es marketed together as a group for the purpose of creating a single brand which can be more easily mass-pro-duced. As such, the princess industry has grown significantly in the last ten years. This paper explores the heavily marketed princess motif on the devel-opment of gender identity in young girls. The messages of simplistic and traditional, hyper-gendered perfor-mances are powerful and ubiquitous, and such fixations need not be encouraged in primary classrooms. Primary teachers in particular could use alternative and varied metaphors for gender roles when choosing books, stories, and learning activities for their classrooms, and they can cre-ate space for critical discussions regarding young children's percep-tions of gender roles. Because chil-dren appropriate cultural material to participate in and explore their world, mindful engagements with their teachers seem necessary.

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15

Biasini, Naurissa. "Pergeseran Representasi Feminitas dalam Film Animasi Disney Princess." WIDYAKALA JOURNAL 5, no. 2 (February 14, 2019): 111. http://dx.doi.org/10.36262/widyakala.v5i2.113.

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16

Newvine, Kristin C. "Princessing: The Magic of Impression Management." Contexts 20, no. 3 (August 2021): 52–53. http://dx.doi.org/10.1177/15365042211035340.

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17

Raisa Amanda Putri, Clara Kalyana Ayusya, and Irma Rasita Gloria Barus. "REPRESENTATION OF FEMALES IN “MULAN” BY DISNEY." Jurnal Pendidikan dan Kebudayaan 2, no. 1 (March 20, 2022): 36–39. http://dx.doi.org/10.55606/jurdikbud.v2i1.133.

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One of the most memorable films from our childhood would be "Mulan" by Disney. When most of the Disney princesses show us the glamour, the elegance of being a princess, “Mulan” shows us something else, like a battlefield, army, war, and lots of other things that may sound new and fresh from a child's perspective. People watch Mulan on her journey to become China's saviour. Ignoring the line that separates a man from a woman she kept her head up and worked hard to become the perfect soldier for her land. Despite showing her capability in fight and strategies to help her comrades survive the battlefield, she still faces rejection and anger when people around her find out that she is a woman. But she still tries her best to save the country by protecting China's emperor when he faces life and death situations caused by the enemies. Her success caused a lot of people to acknowledge her power as a woman and praise her. This paper will study the female representation of “Mulan”. A qualitative method will be used to conduct this study to show educational values in “Mulan” by Disney.

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18

Do Rozario, Rebecca-Anne C. "The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney Princess." Women's Studies in Communication 27, no. 1 (April 2004): 34–59. http://dx.doi.org/10.1080/07491409.2004.10162465.

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19

Azmi, Nor Jijidiana, Radzuwan Ab Rashid, and Zanirah Wahab. "Young Girls Perception of Beauty in Disney Princess Movies." International Journal of Asian Social Science 8, no. 9 (2018): 686–93. http://dx.doi.org/10.18488/journal.1.2018.89.686.693.

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20

Newman, Melissa J. "My little princess: Exploring mothers’ experiences of their daughter’s parasocial relationships with Disney princesses." Visual Inquiry 7, no. 2 (June 1, 2018): 141–51. http://dx.doi.org/10.1386/vi.7.2.141_1.

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21

Richi, Juliano. "REPRESENTASI CITRA PRINCESS DALAM IKLAN “DREAM BIG, PRINCESS” (Analisis Semiotika Charles Sanders Peirce )." Jurnal Visi Komunikasi 19, no. 1 (October 8, 2020): 62. http://dx.doi.org/10.22441/visikom.v19i1.9843.

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A Princess is a title possessed by a female figure in a leadership court of a nation with a Monarch system in its government, however these days, the figure of a Princess tend to be portrayed incorrectly in various media resulting a construction of fallacy in the society’s point of view towards it. As an effort to deconstructs the fallacy built in the society referring to the Princess figure by employing its successful franchise of the Disney Princess, Disney attempts to instill an early educational message regarding the value of feminism and gender equality towards children globally by utilizing a campaign known as ‘Dream Big, Princess’ referring to the cause and delivering the message through commercials which one of them was specifically published as the ‘Where Will Your Imagination Take You?’ version. Done by applicating the constructivism paradigm, this research was intented to find the commercial way of utilizing various sign to representate an ideal image of the Princess’ figure as a role model. By adopting the qualitative methods and the viewpoint of Charles Sanders Peirce’s Semiotic theory, this research was done to the main analysis unit consisting of 11 different sequences from the commercial itself. By the end of the research, signs implying inclusivity, exploration, determination, creation, potential, braveness and feminism shows and as a whole, resulting how a Princess tend to be constructed more of an inspirative figure in the eyes of children which their presence as a role model is able to motivate children with various backgrounds to realize their full potential in their way of reaching their own hopes and dreams.

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22

Moffitt, Kimberly R. "Scripting the Way for the 21st-Century Disney Princess in The Princess and the Frog." Women's Studies in Communication 42, no. 4 (October 2, 2019): 471–89. http://dx.doi.org/10.1080/07491409.2019.1669757.

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23

Bennett, Susan, and Marlis Schweitzer. "In the Window at Disney: A Lifetime of Brand Desire." TDR/The Drama Review 58, no. 4 (December 2014): 23–31. http://dx.doi.org/10.1162/dram_a_00395.

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The princess makeover is a signature Disney performance that articulates the interplay between the production of a desiring subject and the commodification of experience. It is a transformation that demands affective labor from consumers on behalf of one of the world’s preeminent brands.

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24

Wohlwend, Karen E. "‘Are You GuysGirls?’: Boys, Identity Texts, and Disney Princess Play." Journal of Early Childhood Literacy 12, no. 1 (February 28, 2012): 3–23. http://dx.doi.org/10.1177/1468798411416787.

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25

Leon-Boys, Diana. "No Spanish in Cinderella’s Kingdom." Departures in Critical Qualitative Research 10, no. 2 (2021): 50–58. http://dx.doi.org/10.1525/dcqr.2021.10.2.50.

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Research indicates that Disney theme parks function as sites of ideological negotiation. This study builds on the research by examining Disney World’s incorporation of its first avowed Latina princess, Elena of Avalor. Bringing together discourses of Latinidad, theme parks, and media, this essay focuses on how the park incorporates Elena into its landscape at the level of production, representation, and audiences. I argue that Disney’s inclusion of Elena, and by extension Latinidad, is malleable, situated within the geographic setting, and dependent on various factors seldom disclosed by the conglomerate. Ultimately, Elena exists as an outsider within the Disney park universe.

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Wohlwend, Karen E. "The boys who would be princesses: playing with gender identity intertexts in Disney Princess transmedia." Gender and Education 24, no. 6 (October 2012): 593–610. http://dx.doi.org/10.1080/09540253.2012.674495.

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27

Daulay, Resneri. "HEROINE AND PRINCESS: WOMEN IMAGE PORTRAYED IN SELECTED DISNEY’S STORIES." JURNAL BASIS 8, no. 1 (April 21, 2021): 109. http://dx.doi.org/10.33884/basisupb.v8i1.3553.

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The purpose of this study is to revealed the women image portrayed in selected Disney’s stories. There are several stories of Disney’s movie adaptation that are used as object in this research. There are Sleeping Beauty (Disney, 2014), Snow White (Brothers Grimm, 1812), Beauty and The Beast (Gabrielle-Suzanne Barbot, 1740), Cinderella (Giambattista Basile, 1634), Mulan (Guo Maoqian, 1992), and Brave (Disney, 2012). In addition, the aim of this research is also to identify the characteristics of female characters in selected Disney’s stories related to the Heroine and Princess attitude. This study used qualitative research; descriptive qualitative methods are used to analyze data. This study used three main concepts of semiotics theory by Roland Barthes, there are meaning of denotation, connotation, and myth. This study also applied feminism approach accordance to women attitude as heroine and princess. In this study, the researcher found some results. First, this study indicated the women image portrayed in Disney’s stories contains two images, they are women as heroine and princess. Women image as heroine is revealed in Beauty and the Beast, Mulan and Brave. Meanwhile, women as princess is portrayed in Sleeping Beauty, Snow White and Cinderella. Then, there are several characteristics found in Disney’s stories that represent the woman’s character as heroine and princess. They are from the feminism such as submissive, kind and gentle, domestic role, damsel in distress, emotional balance, craving for freedom (independent and brave), willing to sacrifice and has ability to stand up to the antagonist.

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Chowdhury, Radhiah. "“Dreams do come true in New Orleans”: American fairy tales, Post-Katrina New Orleans, and Disney’s The Princess and the Frog (2009)." Papers: Explorations into Children's Literature 20, no. 2 (July 1, 2010): 25–40. http://dx.doi.org/10.21153/pecl2010vol20no2art1144.

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The review and analysis of the film 'The Princess and the Frog' by Walt Disney is discussed. Then film shows the sentimentalized and romanticized depiction of New Orleans and its surroundings, and seems to suggest that dreams come true in New Orleans.

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Stover, Cassandra. "Damsels and Heroines: The Conundrum of the Post-Feminist Disney Princess." LUX 2, no. 1 (2013): 1–10. http://dx.doi.org/10.5642/lux.201301.29.

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30

Streiff, Madeline, and Lauren Dundes. "Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess." Social Sciences 6, no. 2 (March 26, 2017): 38. http://dx.doi.org/10.3390/socsci6020038.

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31

Gillam, Ken, and Shannon R. Wooden. "Post-Princess Models of Gender: The New Man in Disney/Pixar." Journal of Popular Film and Television 36, no. 1 (April 2008): 2–8. http://dx.doi.org/10.3200/jpft.36.1.2-8.

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32

ISLAM, MD MOHIUL, and Nilufa Akter. "Disney’s Aladdin (2019), the Old Rum in the New Bottle." Ultimacomm: Jurnal Ilmu Komunikasi 12, no. 1 (June 17, 2020): 72–87. http://dx.doi.org/10.31937/ultimacomm.v12i1.1466.

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Disney Corporation has recently released Aladdin (2019) as their official remake of their own animated Film Aladdin (1992). By making some significant changes in the storyline, Guy Ritchie, the director of the film, tried to create some newness through the actions of the film. But the gender role of the princess Jasmine and the casting of Genie have brought back the same old tendency of the corporation that is the stereotypical representation of the females and racial ethnicity. The princess becomes the victim, and the male rescues the female, and the black becomes the slave. This very study shows how Disney has been doing the stereotyped portrayal of the women and showing the racist attitude towards the dark-skinned people. Since this study is conducted through a textual analysis approach, initially, the dialogues and actions related to the objective of the study have been coded. Then by analyzing the two characters and their dialogues, contexts and related actions, this study explains how Guy Ritchie’s Aladdin (2019) contains the old philosophy of Disney, that is keeping the women inside the house and neglecting the dark-skinned people, which at the end made the film nothing but the old rum in the new bottle. Keywords: Females, Genie, patriarchy, portrayal, slavery.

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33

Benhamou, Eve, and Eve Benhamou. "From the Advent of Multiculturalism to the Elision of Race: The Representation of Race Relations in Disney Animated Features (1995-2009)." Exchanges: The Interdisciplinary Research Journal 2, no. 1 (August 27, 2014): 153–67. http://dx.doi.org/10.31273/eirj.v2i1.106.

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As one of the most powerful purveyors of entertainment in the world, the Disney company has produced blockbuster films, including animated features that have enjoyed enduring popularity. Reflecting and shaping to some extent American popular culture and ideology, they have left vivid images in our memory. Arguably, one of Disney’s most ubiquitous symbol is the beautiful white princess. The representation of race relations in Disney films has always been problematic, sometimes sparking heated debates: non-white characters were either absent or stereotypically portrayed. Nonetheless, in parallel with the advent of multiculturalism in the 1990s, a series of films have foregrounded a new approach on these portrayals, the most notable being Pocahontas (1995), Atlantis (2001), and The Princess and the Frog (2009). In this article, I will examine the evolution of the representation of race, focusing on the film texts and their historical and cultural context, production history, and critical reception. I will argue that the apparent messages of tolerance and promotion of multiculturalism were accompanied and slowly replaced by a colour-blind erasure of race.

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Baliscei, João Paulo, Geiva Carolina Calsa, and Vinícius Stein. "Tiana, a primeira princesa negra da Disney: olhares analíticos construídos juntos à cultura visual." Visualidades 15, no. 2 (December 19, 2017): 137. http://dx.doi.org/10.5216/vis.v15i2.44123.

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Este trabalho discute os estereótipos raciais reproduzidos pela Disney, que tem como público-alvo o infantil e grande repercussão entre as crianças brasileiras. Para isso, realizamos uma pesquisa bibliográfica a partir dos Estudos Culturais e da Cultura Visual. Discutimos sobre cenas selecionadas do desenho animado A Princesa e o Sapo (2009). Concluímos que, embora haja um avanço na abordagem das relações inter-raciais com a criação de protagonistas negros/as, o filme analisado ainda valoriza estereótipos, uma vez que alguns aspectos contribuem para a marginalização e abjeção de personagens negros/as. AbstractThis paper discusses the racial stereotypes reproduced by Disney productions, whose target audience is the children and has great repercussion among Brazilian children. For this, we carried out a bibliographical research based on Cultural Studies and Visual Culture. We discussed selected scenes from the cartoon The Princess and the Frog (2009). We conclude that, although there is a progress in the approach of interracial relations with the creation of black protagonists, the analyzed film still values stereotypes, since in some aspects they contribute to the marginalization and abjection of black characters. ResumenEste trabajo discute los estereotipos raciales reproducidos por las producciones de Disney, direccionadas a una audiencia de niños y, que tiene una gran repercusión entre los niños brasileños. Para esto, desarrollamos una investigación bibliográfica basada en Estudios Culturales y Cultura Visual. Discutimos algunas escenas seleccionadas del dibujo La princesa y el sapo (2009). Concluimos que, a pesar de los avances en el tratamiento de las relaciones interraciales con la creación de protagonistas negros/as, la película analizada todavía valora los estereotipos, ya que en algunos aspectos contribuyen para la marginación y el rechazo de los/as personajes negros/as.

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Dundes, Lauren. "The Upshot on Princess Merida in Disney/Pixar’s Brave: Why the Tomboy Trajectory Is Off Target." Humanities 9, no. 3 (August 16, 2020): 83. http://dx.doi.org/10.3390/h9030083.

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Princess Merida, the “tomboy” princess in Disney/Pixar’s Brave, won praise for escaping the strictures of femininity and maternal demands for feminine propriety. In addition to her overt defiance of gender roles and demand for agency, Merida also enacts hegemonic masculinity by mocking her suitors during an archery contest in which she is the prize. The ridicule is the prelude to her dramatic, winning bullseye that feminizes the men, in a scene rich in symbolism about gender and power. In enacting the final phase of the tomboy paradigm, however, Merida reverses her trajectory as her rebellion against femininity ebbs. She then resolves conflict by displaying vulnerability rather than performing brave deeds. This marked shift to a more traditional gender role raises questions about her stature as a model of autonomy able to withstand the pressure to conform.

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Maity, Nandini. "Damsels in Distress: A Textual Analysis of Gender roles in Disney Princess Films." IOSR Journal of Humanities and Social Science 19, no. 10 (2014): 28–31. http://dx.doi.org/10.9790/0837-191032831.

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Wohlwend, Karen E. "Damsels in Discourse: Girls Consuming and Producing Identity Texts Through Disney Princess Play." Reading Research Quarterly 44, no. 1 (January 2009): 57–83. http://dx.doi.org/10.1598/rrq.44.1.3.

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Key, Adam. "A Girl Worth Fighting For: A Rhetorical Critique of Disney Princess Mulan's Bisexuality." Journal of Bisexuality 15, no. 2 (April 3, 2015): 268–86. http://dx.doi.org/10.1080/15299716.2015.1018658.

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Hefner, Veronica, Rachel-Jean Firchau, Katie Norton, and Gabriella Shevel. "Happily Ever After? A Content Analysis of Romantic Ideals in Disney Princess Films." Communication Studies 68, no. 5 (September 22, 2017): 511–32. http://dx.doi.org/10.1080/10510974.2017.1365092.

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Ayuningtiyas, Firda, and Ali Mustofa. "The Middle Eastern Culture and it's Representation in Walt Disney Pictures Movie "Aladdin" (2019)." Humanitatis : Journal of Language and Literature 8, no. 1 (December 22, 2021): 61–74. http://dx.doi.org/10.30812/humanitatis.v8i1.1423.

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This article examined how Disney presents Middle Eastern culture in the film Aladdin (2019). To analyze the first research question in this article, the author used Cultural studies theory by Stuart Hall, which further examines the Middle Eastern cultural representations that may be related to the power shown in this film. In the first research question, there are 2 sub-chapters, namely the location setting used for the making of this film. It is known that the filming location of this film is built to resemble the Middle East region, and the costumes worn by the main characters in the film look like traditional Middle Eastern costumes. The second research question is about the influence of Western ideology on films. This question will address how Disney influences viewers' perspectives in the Middle East. The author has a statement that the character Princess Jasmine was created by Disney (west), which is a character that represents modern women. To examine the second question the author uses the theory of Orientalism by Edward said.

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Viswanath, Tharini. "‘Sorry, I Don’t Speak Bear’ Voice, Agency, and the Mother-Daughter Relationship in Disney-Pixar’s Brave." Papers: Explorations into Children's Literature 25, no. 1 (January 1, 2017): 1–22. http://dx.doi.org/10.21153/pecl2017vol25no1art1092.

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This paper draws on Kristeva’s theories on abjection, studies on motherhood, and children’s literature scholarship to better understand the relationship between Merida, the adolescent protagonist, and her mother, Elinor, in the Disney-Pixar film Brave. At first glance, it seems as though Merida has a strong voice, and by standing up to her parents and refusing to go through with the betrothal they have arranged, it does seem as if she has agency and an established subject position as a headstrong tomboy. During the course of the film, however, Merida feels the need to silence her mother (by turning the latter into a bear) in order to be heard. Although Elinor is a bear for almost half the film, I argue that the maturity and subjectivity of the adolescent protagonist as daughter and princess come not just from a sense of agency, but also as a result of the bond she shares with her mother, a feature often missing from Disney princess films. I begin by examining the queen’s transformation into a bear (which is at once masculine, sexual, monstrous, and abject), and what that entails for both Merida and Elinor. Given that teen transformations traditionally reflect anxieties about becoming “the wrong kind of adult,” I am interested in examining the underlying reasons behind the adult mother’s transformation (Waller 2009, p. 44). Finally, I analyze the process of female community building, both with regard to speech (and consequently, silencing), and the rituals of feeding and eating.

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Beail, Linda. "‘Dream Big, Princess’: Identity, gender, power and nostalgia in twenty-first century Disney culture." Visual Inquiry 7, no. 2 (June 1, 2018): 87–91. http://dx.doi.org/10.1386/vi.7.2.87_2.

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Hoffmann, Emilie Snedevig. "Diversity Dissected." Leviathan: Interdisciplinary Journal in English, no. 5 (August 19, 2019): 60–126. http://dx.doi.org/10.7146/lev.v0i5.115493.

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Based on comparative, intercategorical intersectional analyses of Aladdin (1992), Mulan (1998), and The Princess and the Frog (2009), I find that Disney’s intersectional representations and socialization messages tied to gender and race/ethnicity have not changed noticeably from the release of Aladdin to that of Princess. Rather, they continue to be problematically postfeminist because they hide heteronormative and patriarchal sentiments behind images of girl power. They are also sinisterly stereotypical because they negatively portray the Other and valorize Western values. Although Disney socializes different intersectional groups of children in a racialized way that distinguishes between people of color living within or outside of the United States by only encouraging the latter group to attempt to achieve relative whiteness, all three films socialize their target child audience according to heteronormative, patriarchal, and white privilege affirming values. As such, I argue that the films may be harmful to the socialization of all children.

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Coyne, Sarah M., Jennifer Ruh Linder, Eric E. Rasmussen, David A. Nelson, and Victoria Birkbeck. "Pretty as a Princess: Longitudinal Effects of Engagement With Disney Princesses on Gender Stereotypes, Body Esteem, and Prosocial Behavior in Children." Child Development 87, no. 6 (June 18, 2016): 1909–25. http://dx.doi.org/10.1111/cdev.12569.

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Holdier, A. G. "Kierkegaard’s Three Spheres and Cinematic Fairy Tale Pedagogy in Frozen, Moana, and Tangled." Journal of Religion and Popular Culture 33, no. 2 (July 1, 2021): 105–19. http://dx.doi.org/10.3138/jrpc.2018-0027.

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

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Leader, Caroline Ferris. "Magical manes and untamable tresses: (en)coding computer-animated hair for the post-feminist Disney Princess." Feminist Media Studies 18, no. 6 (November 15, 2017): 1086–101. http://dx.doi.org/10.1080/14680777.2017.1390688.

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Wang, Xue, and Dong Min Cho. "The Influence of Complex Evolution of Disney Princess Characters on Body Form Preference of Girl Teenager." Korean Society of Science & Art 39, no. 1 (January 31, 2021): 289–300. http://dx.doi.org/10.17548/ksaf.2021.01.30.289.

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Purnomo, Kirana Aprilia. "Conversation Implications In The Disney Princess Book (al-ba??u 'an al-kanzi): A Pragmatic Overview." Journal of Language Intelligence and Culture 2, no. 2 (December 30, 2021): 155–68. http://dx.doi.org/10.35719/jlic.v2i2.62.

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This study aims to analyze the form of speech acts and the meaning of conversational implicatures in the book Disney Princess (al-ba??u 'an al-kanzi) by Jacqueline A. Ball as a corpus of data. The data of this study used a qualitative approach with a descriptive method. The results of the research in the book show that there are three forms of speech and conversational implicatures, namely, locutionary forms, illocutions, and perlocutions. The classification of conversational implicatures with twelve locutionary speech forms, namely: seven declarative sentences, one imperative sentence, and four interrogative sentences. The 35 illocutionary forms found were a) assertive with the function of stating four utterances, proposing one utterance, complaining in one utterance, and expressing an opinion in one utterance; b) the directive with the function of commanding is two utterances, asking for four utterances, and giving advice in two utterances; c) commissive with the function of promising two utterances, and offering one utterance; d) expressive with the function of thanking ten utterances, criticizing five utterances, and praising two utterances. Meanwhile, the perlocutionary forms found were five utterances with two persuading effects, one effect of making the hearer to do something, one effect of making the hearer to think, and one effect of attracting attention.

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Purnomo, Kirana Aprilia. "Conversation Implications In The Disney Princess Book (al-ba??u 'an al-kanzi): A Pragmatic Overview." Journal of Language Intelligence and Culture 3, no. 2 (December 30, 2021): 155–68. http://dx.doi.org/10.35719/jlic.v3i2.62.

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This study aims to analyze the form of speech acts and the meaning of conversational implicatures in the book Disney Princess (al-ba??u 'an al-kanzi) by Jacqueline A. Ball as a corpus of data. The data of this study used a qualitative approach with a descriptive method. The results of the research in the book show that there are three forms of speech and conversational implicatures, namely, locutionary forms, illocutions, and perlocutions. The classification of conversational implicatures with twelve locutionary speech forms, namely: seven declarative sentences, one imperative sentence, and four interrogative sentences. The 35 illocutionary forms found were a) assertive with the function of stating four utterances, proposing one utterance, complaining in one utterance, and expressing an opinion in one utterance; b) the directive with the function of commanding is two utterances, asking for four utterances, and giving advice in two utterances; c) commissive with the function of promising two utterances, and offering one utterance; d) expressive with the function of thanking ten utterances, criticizing five utterances, and praising two utterances. Meanwhile, the perlocutionary forms found were five utterances with two persuading effects, one effect of making the hearer to do something, one effect of making the hearer to think, and one effect of attracting attention.

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Fawzy Mohammed Abd El-Alim, Eman. ""The Stereotype of the Indian Princess in J. N. Barker's The Indian Princess; or, La Belle Sauvage (1808), and The Walt Disney Film Pocahontas (1995)"." مجلة الآداب والعلوم الإنسانیة 86, no. 4 (January 1, 2018): 969–83. http://dx.doi.org/10.21608/fjhj.2018.174635.

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