Thesis (M.A.I.S.)--Oregon State University, 2010. / Printout. Includes bibliographical references (leaves 133-138). Also available on the World Wide Web.

Uppsatsen analyserar de adaptioner och/eller de transformationer som skett mellan H.C. Andersens saga Den lilla sjöjungfrun till Walt Disneys filmatisering av Andersens saga, med fokus på intrigerna och karaktärerna. Syftet med denna uppsats är att, genom en komparativ analys, få syn på hur intrigerna och karaktärerna framställs i de båda versionerna. Bland annat användes Claes-Göran Holmberg och Anders Ohlssons (1999) och Maria Nikolajevas (2004) för att får större förståelse till karaktärsanalyserna. Analysen visar att stora adaptioner och en del transformationer främst Disneys egen form av transformation, Disneyfication, har skett från sagan till filmen, både när det kommer till intrigen och karaktärerna.

Denna komparativa analys jämför J.M. Barries Peter Pan och Wendy (2013) med Disneys Peter Pan (2015) för att se hur karaktärerna förändrats genom adaptionen av berättelsen. En narrativ analys presenterar berättelsens intrig och följs av en komparativ analys av de två verken där fokus ligger på vad som tagits bort vid adaptionen och hur karaktärerna framställs. Analysen visar hur mycket som vid adaptionen tagits bort och att detta påverkar bilden läsaren får av karaktärerna.

Syftet med denna studie är att undersöka vilka adaptioner som gjorts från folksagan om Askungen skriven av bröderna Grimm (2016) till två bilderböcker under samma namn skrivna av Disney (2015) och Jansson & Jensfelt.(2018). Studien undersöks genom en komparativ analys där arbetet jämför skillnader mellan bröderna Grimms (2016) folksaga och de två bilderböckerna vid samma namn skrivna av Disney (2015) och Jansson & Jensfelt (2018). Studien undersöks även genom en strukturanalys där de olika texternas skeden och uppbyggnad granskas.

A relevância das animações infantis no processo de ensinar papéis específicos, valores e ideais é amplamente reconhecida pelos estudiosos da cultura. O presente trabalho tem como objetivo central desvelar e analisar criticamente a sutil estratégia discursiva presente em alguns destes artefatos midiáticos endereçados prioritariamente às crianças, que consiste em reiterar o status de normalidade das formas de identificação por gênero hegemônicas a partir da atribuição de teor de negatividade a identidades desviantes em relação às normativas sócio-historicamente constituídas de \"masculinidade\" e \"feminilidade\". Para tanto, lançamos mão da semiótica greimasiana, de modo a analisar a presença de elementos de transgressão dos papéis de gênero concebidos como \"naturais\" nas representações dos vilões Úrsula, Jafar e Scar, das animações Disney A Pequena Sereia (1989), Aladdin (1992) e O Rei Leão (1994), respectivamente. Enfatizamos a análise de elementos presentes no nível discursivo do texto, destacadamente os figurinos dos personagens, seus códigos de gestualidade e suas conformações físicas. Em combinação com a semiótica, empregamos alguns conceitos da linha de pesquisa genericamente conhecida como Análise de Discurso, visando discutir a relação dialógica que se estabelece entre os textos constituintes do corpus de análise e os discursos políticos e sociais conflitantes, próprios dos contextos sócio-históricos dos quais os filmes emergiram. Buscamos ainda propor discussões acerca do papel que essa associação entre desvio das normas de gênero e a figura dos antagonistas desempenha no reforço da heteronormatividade e de preconceitos em relação a determinados grupos sociais, problematizando as animações enquanto instrumentos de educação moral não-formal. Concluímos que o padrão de representação dos vilões analisados, no tocante às suas performances de gênero, cumpre com a função ideológica de implicitamente avaliar negativamente as formas de ser e agir que frustram as tradicionais expectativas de \"masculinidade\" e \"feminilidade\", inequivocamente associando-as com maldade, crueldade, egoísmo e ganância. Por fim, procuramos compreender as identidades de gênero desviantes dos vilões em questão sob a luz de alguns elementos da Teoria Queer / The relevance of childrens animated films in the process of teaching specific roles, values and ideals is widely recognized by culture scholars. The present work aims to unveil and critically analyze the subtle discursive strategy present in some of these media artifacts primarily addressed to children, which consists in reiterating the normality status of hegemonic forms of gender identification by attaching negativity content to devious identities in relation to socio-historic rules of \"masculinity\" and \"femininity\". Therefore, we make use of the Greimasian semiotics approach in order to analyze the presence of transgression elements of \"natural\" conceived gender roles in the representation of the villains Ursula, Jafar and Scar, from the Disney animation movies \"The Little Mermaid\" (1989), \"Alladin\" (1992) and \"The Lion King\" (1994), respectively. We emphasize the analysis of the elements present on the text discursive level, namely the characters costumes, their body language codes and physical conformations. Together with semiotics, we use some of the concepts from the research line generically known as \"Discursive Analysis\", aiming to discuss the dialogical relation established among the \"corpus\" of analysis and the political and social conflicting speeches, proper to the socio-historic contexts from which the movies emerged. Furthermore, we aim to propose discussions over the roles that this association between deviation of gender norms and the antagonists figure play on the support of heteronormativity and pre-concepts regarding certain social groups, problematizing the animation films as non-formal education teaching tools. We conclude that the representation patterns of the studied villains, on their gender performances, comply with the ideological function of implicitly and negatively evaluate ways of being and acting which frustrate traditional expectations of \"masculinity and femininity\", unequivocally associating them to evil, cruelty, selfishness and greed. Finally, we attempt to understand the devious gender identities from the studied villains under some Queer Theory elements.

Den här uppsatsen undersöker vikten av fyra av Disneys 12 animationsprinciper i ansiktsanimation för 3D. De principer som undersöks är Anticipation, Followthrough and Overlapping action, Appeal och Secondary action. Detta prövas genom att först skapa en originalanimation, där alla Disneys animationsprinciper används, och därefter skapa fyra ytterligare, separata, animationer där en av detidigare nämnda principerna tas bort. Dessa animationer visades sedan för sex testpersoner som därefter fick svara frågor i en intervju. Det märktes tydligt att alla av de fyra testade principerna är viktiga för en animation, dock var avsaknaden av Appeal eller Secondary action tydligast. / This bachelor-thesis discusses the importance of four of Disney’s 12 animation principles in 3D facial animation. The principles discussed are Anticipation, Followthrough and Overlapping action, Appeal and Secondary Action. This is done by first constructing a standard animation, using all of Disney’s animation principles, and then creating four additional, separate, animations by removing the usage of one of the afore mentioned principles at the time. Six test subjects then view the animations and answer a series of questions in an interview format. We found that all four of the tested principles are important to an animation, but that out of the four it was the most obvious when either Appeal or Secondary Action was omitted.

Throughout much of the twentieth century Walt Disney wielded considerable influence in American culture. By identifying and commercially exploiting a strain of environmental thought that sentimentalized and romanticized nature, Walt Disney influenced the attitudes of millions of Americans concerning how they conceptualized environmental issues. The Walt Disney Company’s nature documentaries and their popularity as both entertainment as well as educational material helped disseminate the virtues of conservation within the American mindset. The Disney interpretation of conservation clashed with other post-war environmental understandings of the ethic, as did the company’s consistently inaccurate representations of nature on film. Disney’s particular strain of environmentalism, based on an Edenic appreciation for nature, the belief that to conserve land it must be developed, and practice of moralizing to humans through anthropomorphized depictions of animal behavior, stood out in contrast to other existing post-war environmental mindsets during the controversy surrounded the proposed construction of a vacation resort in Mineral King, California, following Disney’s death. / History

Uppsatsen analyserar karaktärer och utvalda delar i Maj Bylocks återberättade version Ringaren i Notre-Dame (2000) och Walt Disneys filmatisering Ringaren i Notre-Dame (The Hunchback of Notre-Dame, 1996), som båda baseras på Victor Hugos roman Notre-Dame de Paris (1831). Syftet med denna uppsats är att genom en komparativ analys av verken få syn på skillnader och likheter som har gjorts gällande karaktärerna och utvalda scener. Analysen visar att det finns stora skillnader men också likheter både vad gäller karaktärerna och scenerna, men som ändå resulterar i att vi menar att man kan tala om adaption i filmens fall och en bearbetning i bokens fall, trots stora skillnader, då verken fortfarande går att känna igen.

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published_or_final_version / abstract / Comparative Literature / Master / Master of Philosophy