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Thesis (M.M.)--Boston University / This thesis examines the depictions of non-Western musical cultures in the following Disney films: Aladdin (1992), The Lion King (1994), and Mulan (1998). Since these films are targeted at children, they need to be investigated in terms of what messages they communicate and how these messages are perceived by young audiences. This research includes close examination of the films in question, as well as literature on Orientalism, Exoticism, Disney history, and child aesthetics and cognition. Additionally, interviews were conducted with children aged four through eleven. This research highlights the importance of cross-cultural collaborations and further investigation into children's music.

Th.--Sci. de l'éduc. et de la communication--Paris 13, 1986.

Denna studie behandlar genus i Disneyfilmer. Syftet med studien var  att undersöka hur pojkar och flickor i åldern 10-12 år talar om manligt och kvinnligt med utgångspunkt i Disneyfilmerna Herkules (1997) och Modig (2012), två populära filmer bland barnen på fritidshemmet. Utifrån en hermeneutisk forskningsansats har två gruppintervjuer utförts med sammanlagt åtta elever, fyra pojkar och fyra flickor. Under studien utgår jag ifrån Yvonne Hirdmans (1988) genusteori om ett genuskontakt och ett genussystem. Hirdman menar att det i samhället finns ett oskrivet kontrakt över bland annat vilka yrken, aktiviteter och intressen som förknippas män respektive kvinnor samt att det i samhället existerar ett system som kan liknas vid en könshierarki. Jag utgår även från Pygmalioneffekten, en teori utformad av Robert Rosenthal, och tillämpar denna teori på genuskonstruktionen. Pygmalioneffekten innebär således i detta fall att förväntingar på pojkar respektive flickor påverkar deras beteende. Resultatet visar att flera av eleverna talar om manligt och kvinnligt utifrån att könen vore dikotomier; två separata motsatser. Resultatet visar även att eleverna kopplar specifika drag till respektive kön. I studien framkommer det även att eleverna uppfattar mannen i Herkules som överordnad kvinnan; mannen äger kvinnan och använder henne som redskap. Eleverna uppfattar alltså en könshierarki. Utifrån resultatet kan jag dra slutsatsen att elevernas uppfattningar kan kopplas till Hirdmans (1988) genuskontrakt och genussystem.

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I uppsatsen undersöker jag hur skurkarna i Disneys tecknade långfilmer framställs visuellt, vilka attribut som Dinsey använder sig av för att visa att någon är ond. Observationerna utförs på 39 stycken Disneyskurkar och det insamlade materialet blir belyst ur Patti Bellantonis färgteori och Karin Johannissons texter om fysionomi. I uppsatsen kommer jag fram till att det finns återkommande visuella utmärkande egenskaper som till exempel vissa ansiktsdrag, klädval och färger som skaparna av Disney använder sig av för att porträttera en ond karaktär och bl.a. ett oattraktivt utseende verkar vara sammankopplat med ondska. En potentiell följd av att lyfta fram särskilda fysiska attribut som onda är att människor som i realitet ser ut så kan särbehandlas negativt.

The thesis primarily concentrates on studying the development of transnational corporations in Mainland China¡¦s entertainment market. The Research tries to figure out what kind of environment and problems transnational corporations will face while they invest in Mainland China¡¦s entertainment market which involve in media and culture. Can transnational media corporations integrate their abundant resources around the globe in Mainland China ? The research is based on the perspective of stakeholders and proposed a framework to explain transnational corporation¡¦s administration in Mainland China¡¦s entertainment market. Take Disney for an example, the research discovers that the Chinese government is still playing the most important role in business development. The Chinese government creates attractive environment, however, it also poses threats to those enterprises. This research tried to provide readers a sketch about the investment environment in Mainland China¡¦s entertainment market.

The Walt Disney Company's acquisition of the Muppets in 2004 caused a significant rupture in the authorial history of a beloved franchise. Created in the 1970s the late media icon Jim Henson and his creative team, the classic Muppets enjoyed many years in the spotlight during the 1970s and 1980s -- on The Muppet Show (1976-1981), and in The Muppet Movie (1979), The Great Muppet Caper (1981), and The Muppets Take Manhattan (1984). The physically wacky and colorful puppets are known for their irreverent and chaotic antics, and they still have a sizeable cult following devoted to them. Fans attribute the character's "Muppetness" to Jim Henson's creativity as an author. However, Henson worked with a team of creative artists who all contributed to the Muppet franchise. As a result, is both impossible and inadvisable to try and breakdown Muppet authorship by contributor. Instead, I label Henson's authorship a brand in order to analysis the value of his perceived authorial power. These perceptions are what put the Muppets in such opposition with the corporate image of Disney. Disney, by contrast, has a reputation for commercial, family-oriented entertainment. The production studio has grown into a media conglomerate that saturates the market with merchandise, cross-promotions, and advertisement campaigns. Its dominant position in the media industry affects fan reception of any Disney-led project, so the re-launch of a long-dormant, independent brand like the Muppets creates an understandable tension among critics, popular press writers, and fans. By tracing media industry shifts the 1990s and 2000s and Disney's changing image and corporate structure, I analyze how it has "authored" the Muppets in the past few years. Both in its Muppet advertising campaign and in particular its treatment of the infamous character Miss Piggy, Disney has re-branded the Muppets for a new time and new generations, while attempting to hold onto the historical traits that make the Muppet brand appealing and profitable. / text

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.