Relevant bibliographies by topics / "The Princess and the Frog", Disney

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

Academic literature on the topic '"The Princess and the Frog", Disney'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic ""The Princess and the Frog", Disney"

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Oktarina, Rizki Nurmaya. "Ambiguitas yang Mencerminkan Rasisme dalam Film The Princess and The Frog." Paradigma, Jurnal Kajian Budaya 4, no. 2 (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
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Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 1 (2020): 23–42. http://dx.doi.org/10.1386/ffc_00010_1.

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Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess
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Hine, Benjamin, Dawn England, Katie Lopreore, Elizabeth Skora Horgan, and Lisa Hartwell. "The Rise of the Androgynous Princess: Examining Representations of Gender in Prince and Princess Characters of Disney Movies Released 2009–2016." Social Sciences 7, no. 12 (2018): 245. http://dx.doi.org/10.3390/socsci7120245.

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Previous quantitative research examining Disney movies has highlighted that whilst prince characters display largely balanced gender profiles, princesses exhibit biased gender role portrayals—performing mostly feminine characteristics, rarely participating in rescue behavior, and concluding movies in romantic relationships with the prince. However, such research, as well as public commentary, has also suggested that princess characters in movies released across the 2000s and 2010s may have more positive gender role portrayals. This study aimed to test these assertions by utilizing content codi
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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 (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 ch
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Johnson, Michelle. "She's Beauty and She's Grace(less): The Mercurial Femininity of the Modern Disney Princess." Congress on Research in Dance Conference Proceedings 2016 (2016): 229–34. http://dx.doi.org/10.1017/cor.2016.31.

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Focusing on characters from Disney's three most recent “princess” films, Tangled (2010), Brave (2012), and Frozen (2013), I examine the development and divergence of these figures from “classic” Walt Disney models. Their mercurial character, as illustrated through gesture and movement, presents a firm contrast with and significant departure from their predecessors in films such as Cinderella (1950) and Sleeping Beauty (1959)—protagonists who exhibited a static character reflective of their social roles through the “embodiment” of balletic grace. Expanding on existing research comparing Walt Di
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Uppal, Charu. "Over Time and Beyond Disney—Visualizing Princesses through a Comparative Study in India, Fiji, and Sweden." Social Sciences 8, no. 4 (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 researc
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Leon-Boys, Diana. "Disney’s Specific and Ambiguous Princess." Girlhood Studies 14, no. 2 (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 appr
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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 (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
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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 (2019): 471–89. http://dx.doi.org/10.1080/07491409.2019.1669757.

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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 (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) re
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Dissertations / Theses on the topic ""The Princess and the Frog", Disney"

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

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<p> 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 <i>Snow White and the Seven Dwarfs, Cinderella, Beauty and the Beast,</i> and <i>Tangled.</i> The work of the Disney Studio animation will be closely examined and discussed while exploring the do
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Junges, Suélen Hernandes Moraes. "TIANA, UMA PRINCESA ÀS AVESSAS?: A REPRESENTAÇÃO DA PERSONAGEM FEMININA NO FILME DE ANIMAÇÃO A PRINCESA E O SAPO DA WALT DISNEY." Universidade Catolica de Pelotas, 2012. http://tede.ucpel.edu.br:8080/jspui/handle/tede/202.

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Made available in DSpace on 2016-03-22T17:26:42Z (GMT). No. of bitstreams: 1 ressuelen.doc: 22528 bytes, checksum: 1412fe27f33beced1816cea08634f2a5 (MD5) Previous issue date: 2012-03-31<br>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 focusi
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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.

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

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

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

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

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

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

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

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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
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Books on the topic ""The Princess and the Frog", Disney"

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D, Baker E., DK Publishing Inc, and Walt Disney Company, eds. The princess and the frog: Essential guide. DK, 2009.

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Uyeda, Laura. Learn to draw Disney's The princess and the frog. Edited by Tilley Scott, Mosqueda Olga T, Razo Rebecca J, and Disney Storybook Artists. Walter Foster Pub., 2011.

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Scott, Tilley, Mosqueda Olga T, Razo Rebecca J, and Disney Storybook Artists, eds. Learn to draw Disney's The princess and the frog. Walter Foster Pub., 2011.

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illustrator, Bernstein Galia, ed. Princess Frog. Crabtree Publishing Company, 2014.

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Emma, Chichester-Clark, ed. Frog princess. Cape, 1994.

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

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Mann, Pamela. The frog princess? ABC, 1995.

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Kisor, David. The frog princess. Playscripts, Inc., 2010.

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ill, Newton Jill 1964, ed. The frog princess? Gareth Stevens Pub., 1995.

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The frog princess. Bloomsbury, 2002.

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Book chapters on the topic ""The Princess and the Frog", Disney"

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

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

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

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Berger, Yvonne. "Zusammenfassung und Fazit: Kissing the frog – turning into a princess?" In Biographische Orientierungen im Bildungsverlauf. Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-30433-1_8.

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Meeusen, Meghann. "Theory and Pedagogy: A Disney Approach." In Children's Books on the Big Screen. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828644.003.0006.

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Chapter six is a pragmatic application of the theory of binary polarization in children’s’ adapted film, offering specifics about how the theory might be useful in a classroom setting and implemented as a foundation for teaching film in introductory literary analysis, adolescent literature, and specialized children’s literature classes. This chapter uses Disney films, which have been repeatedly criticized for their ideological underpinnings, to suggest how teachers can build from this criticism, pairing it with a consideration of the trend of binary polarization in order to help students delve more deeply into children’s film studies, adaptation studies, and analytical thinking and writing. The chapter offers varying approaches to teaching Disney’s The Princess and the Frog, Maleficent, and The Jungle Book, closing the study by not only recapping key tenants of the theory, but also examining how to apply them.
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Fleeger, Jennifer. "The Disney Princess." In Mismatched Women. Oxford University Press, 2014. http://dx.doi.org/10.1093/acprof:oso/9780199936892.003.0005.

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

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

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

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"The Postfeminist Princess: Public Discourse and Disney’s Curricular Guide to Feminism." In Disney, Culture, and Curriculum. Routledge, 2016. http://dx.doi.org/10.4324/9781315661599-16.

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Conference papers on the topic ""The Princess and the Frog", Disney"

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

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