Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Frederick Davis, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Jan. 12, 2005). Includes bibliographical references.

Media is now a part of the early childhood world. In many countries, including industrialized and developing countries, children spend more time consuming various kinds of media. The impact of media on children's perception of their body images has been and continues to be a concern of parents and early childhood professionals. This research examined the influence of Disney movies on Thai kindergarten girls' body images and self-esteem. Thai kindergarten girls completed three measures of body self-image: the Body Figure Preference Scale, the Body Esteem Scale, and the Self-Esteem Scale. The girl participants were randomly assigned to two groups: focused on a female theme (FFT) and focused on a non-human theme (FNT). The experimental group viewed "female" Disney movie themes, while the control group viewed "animal" Disney movie themes. Girls in the experimental group expressed greater body image dissatisfaction scores after watching Disney movies, which was an expected finding. Results from the present study suggest that girls in both groups become concerned about their body esteem after video exposure. However, there was no significant difference in self-esteem between girls in FFT and FNT. In summary, the findings of this study support the belief that Disney movies influence young girls' perceptions of their body image, and they have an awareness of their body size. It can be concluded that Disney movies have an influence on Thai girls' body image dissatisfaction and body esteem. The results also indicated that Thai girls are not totally aware of the influence of Disney media on their self-esteem. Understanding how Disney movies, in particular, and other media, in general, influence young children, especially girls, can encourage parents and educators to identify risk factors associated with children's body image dissatisfaction and low self-esteem.

University of Macau / Faculty of Social Sciences. / Department of Communication

Due to criticism towards Disney concerning reproducing gender in a stereotypical way in their animated movies, we decided to investigate this since Disney has affected both our own generation and many to come. The investigation focused on gender, particularly on the depiction of women. It also investigated gender roles from a perspective of time by choosing 14 movies; at least one from each decade, starting from the first movie, Snow white and the seven dwarfs from 1937, to the last one, Tangled from 2010. The investigation discovered that women were underrepresented and often depicted in a stereotypical way, meaning that they were always beautiful and almost always rescued by brave princes. Female power was always depicted as negative. However, changes in how the movies depict gender over time have been found, for example, women have become more active and have started to participate in fight- and career related issues, even rescuing the men at times. When it comes to the princes, they turned out have more personality in the later movies and they did not always have to be handsome to gain true love. However, these changes are mostly beneficial for men since the women still have to fulfill the ideal beauty and can still not fulfill their dreams on their own.

The purpose of this paper is to examine how the portrayal of the Disney princesses have changed over time, we looked at eleven movies with a total of twelve different princesses. We wanted to see if there were any stereotypical roles of women in Disney movies and we wanted to see when the most obvious change occured in the portrayal of the princesses. This paper has used the method of qualitative content analysis using a semiotic and narrative analysis with the help of the actant model. We have selected different characteristics and categories that we looked for in the movies. These features and categories include various stereotypical roles of characters and what chores the princesses perform in their homes. This paper has applied the theories in the subjects of gender, stereotypes and feminist analyzes of Disney movies. From our analysis we concluded that there were clear differences between the older and newer movies. The women in the first movies only dreamed about finding a man but in the later movies she had other goals and dreams beside finding a man. The princesses in the newer films are more independent than the older princesses when they constantly needed help from a man. We could then draw the conclusion that the prinsesses in the first movies were very stereotypical feminine and the prinsesses in the newer movies are more independent and brave.

Thesis PlanB (M.S.)--University of Wisconsin--Stout, 2008. / Includes bibliographical references.

Sammanfattning The Walt Disney Company (1923) släppte år 2013 filmen Frost (Frozen) som blev den mest inkomstbringande animerade långfilmen Disney någonsin producerat (Time, 2014). Den animerade långfilmen har en stor ung publik i en påverkningsbar ålder och av den anledningen är det väsentligt att studera Frost (2013).  Syftet med studien är att undersöka och tolka berättarstrukturen, karaktärerna med fokus på Disneyprinsessorna, och budskapet i Frost (2013) med målet att få en djupare förståelse för hur filmen gestaltar genus. Med hjälp av Vladimir Propps (1968) syntagmatiska analys av narrativ och teorier inom genus och identifikation ställer jag frågeställningarna; Hur ser berättarstrukturen ut i Frost (2013) och hur kan de två Disneyprinsessornas gestaltning i Frost problematiseras utifrån identifikation och genusteorier? Tidigare studier visar att genus, ras och kulturella stereotyper framkommit i Disneyfilmer (Adessa Browning m.fl, 2003: 19-20) och att media bidrar till kultiveringen av barns värderingar, övertygelser, drömmar och förväntningar som stödjer identitetsskapandet (Swindler, 1986: 311). Tidigare studier har dessutom visat att förskolebarn ser på mer TV än vuxna (Bryant 2001, Mares 1998) och att spädbarn på 10- och 12 månader kan efterlikna beteende som observerats på film (Mumme, 2003). I uppsatsens teoretiska ram behandlas teorier inom narratologi, genus, stereotyper, identifikation och representationer då dessa teorier är relevanta i analysen och diskussionen av mitt empiriska material, Frost (2013). Berättarstrukturen i filmen visade sig stödja precis vad Dion m.fl (1972) diskuterar i sin artikel ”What-is-beautiful-is-good”, att fördomar kring en vacker respektive ful människa och förväntningarna av dem baseras på deras utseende. Skurken var den vackra, charmerande prinsen, Hjälten var prinsessan Anna och den luriga, envisa och fula ”the Duke of Weselton” var harmlös och handlingens triumfkort ”an act of true love” var sann syskonkärlek och inte romantisk kärlek som traditionen konstaterar. Uppsatsens studie påvisade dessutom att Disney bryter en del mot de äldre konventionerna med deras gestaltning av Disneyprinsessorna i Frost (2013). I filmen är prinsessorna banbrytande med deras vilja, mod och intellekt och den passiva prinsessan som setts i ”Snövit”, ”Askungen” och ”Törnrosa” som enbart erhåller ett vackert utseende i längtan efter sin prins syns inte till. Studien konstaterade också att förnuft triumferar över naivitet och präglan av rädslan av att vara sig själv kan räddas av sann syskonkärlek.

The objective of this study is to examine the emotional regulation strategies used by Walt Disney World on-stage employees as a way to fulfill requirements set forth by the company. Ten Disney on-stage employees were interviewed off-property in Orlando. The emotional regulation framework was divided into several categories: (1) a distinction between deep acting and surface acting, (2) emotional deviance, and (3) emotional exhaustion. “Surface acting” is a strategy by which employees display company-imposed emotions not genuinely felt, whereas “deep acting” occurs when employees do feel the emotions that they are required to express (Hochschild, 1983). Throughout the data reduction process, five key themes surfaced as the most relevant to the initial research questions: (1) Self-Motivated Deep Acting, (2) Organizational Expectations for Surface Acting, (3) “Back-Stage” vs. “Front-Stage” Dichotomy, (4) Benefits of Emotional Training, and (5) Negative Effects of Emotional Regulation. Overall, the researcher found that a key strategy of emotional regulation that Disney employees use frequently is surface acting, although deep acting was found to be more successful. In addition, while emotional exhaustion was a common problem among employees, very few of them will actually engage in emotional deviance in order to avoid the negative consequences of surface acting. Lastly, it was found that highly skilled Walt Disney World employees will have already internalized emotional regulation training and display rules that manage emotional behavior. Therefore, it becomes less essential for the Disney Company to formally monitor its employees’ facial expressions and emotional behavior in the future

Disney har tidigare kritiserats för att de använder typiska könsroller, som exempelvis passiva kvinnor och modiga män. Därför har vi valt att studera hur sex Disney prinsessor gestaltats från 1930-talet till 2010-talet. Vårt syfte var att undersöka om kvinnan hade stereotypa roller och hur gestaltningen sett ut genom åren. För att fullborda vårt arbete har vi gjort en kvalitativ innehållsanalys med hjälp av en semiotisk analys. För att fastställa prinsessans utseende och personlighet har vi utgått från Margareta Rönnbergs kategoriseringar på feminina rolltyper i sagor. Med hjälp av genusteori och feministisk forskning har vi analyserat könsrollerna i filmerna och kommit fram till att de tidigaste prinsessorna är opersonliga och i ständigt behov av en man. De senare prinsessorna har utvecklats till mer självständiga kvinnor som får både karriär och kärlek.

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