Studiens huvudsakliga syfte var att genom ett främst diskursanalytisk tillvägagångssätt ta sig an och jämföra Djungelbokens tre mest kända versioner och svara på frågan vad som skiljer verken åt. Utifrån den teoretiska bakgrunden bestående av en diskurs-, epik- och adaptionsanalys nyansera ämnet och ge ett perspektiv att analysera verken ur för att kunna besvara frågeställningarna. De tre olika versionerna resumerades eller refererades och analyserades utifrån den teoretiska bakgrunden och svar på frågeställningarna gavs. Svaren gav en bild att berättelserna har med tiden blivit mer komplexa och nyansrika, karaktärer har gått från platta till runda och tittarna/läsarna speglas som mer kompetenta. Kompetensen återspeglas även i människosynen och framför allt barnsynen i de olika versionerna. Mowgli, huduvdkaraktären, får representera barnet och går från ett barn med potentiella kunskaper till ett barn med specifika barnegenskaper för att till slut vara det kompetenta barnet med färdiga kunskaper. Konsekvenser för undervisningen kan vara att använda Djungelböckerna (1894, 1967, 2016) till att iscensätta ett möte mellan barn och vuxna och diskutera skillnader i olika berättelsers förhållningssätt i uttryckssätt, historia, tid och rum.

Magister Artium - MA (Linguistics, Language and Communication) / Fairy tales have been changing continuously. From the likes of the Greek and Chinese versions of the Cinderella tale, Cinderella has been transformed into other versions. Charles Perrault and The Brothers Grimm had their way with the story of Cinderella with both parties putting their own mark on the tale. Disney made the story notorious as the consumers mostly tend to remember Disney's version and not earlier writers of the story (Zipes, 1999). Since then, various other versions in the current sphere of story-telling, especially through movie-making, have had a series of re-telling of the story. James Finn Garner's "Politically Correct Bedtime Stories" has made its mark in the world of politically correct, versions of fairy tales. He has graced readers with his satire and thereby challenged the more traditional versions of the story of Cinderella (and others) by posing a dry, humorous twist and facing the 'issues' which underlie the social problems in Cinderella such as equality, sexism and patriarchal, inappropriate gender biased terminology. Garner takes it upon himself to remediate the story of Cinderella through transformations of events and socially structured power relations, reworking the plot and characters and reformulation of gender-biased terminology. This results in a witty politically correct remodelling of the story which upholds a general moral in line with the contemporary socio-political ethos, championing usage of politically correct language.

The significance of brands within our media-intensive culture can hardly be overstated. Having emerged in the mid-20th century as platforms for the distribution of commodities, brands have since become, as scholar Celia Lury argues, “the logos of the global economy.” Brand interfaces not only differentiate mass production, but produce cultural assemblages that rewrite social and political relations. This dissertation concerns itself with the meaning of theatrical production within brand performance, with a specific focus on the Walt Disney Company. Although there are many corporate producers in commercial theatre today — Warner Brothers, MGM, Universal, and Cirque du Soleil, to name a few — Disney has the distinction of being the first to make live theatre a cornerstone of its brand relationships. Disney has also had, in branding terms, the most depth, breadth and consistency of any global entertainment brand. Using the concept of assemblage as an applied framework, I consider how Disney’s brand theatre functions as a form of communicative/affective capitalism, as an interface for consumer interactivity and exchange. Following Deleuze and Guattari, DeLanda and Lury, I argue that Disney’s theatre assemblages are heterogeneous, contingent, emergent and most of all generative. At the heart of this project is the question of how Disney’s theatre assemblages cohere – the question of identifiable, intensive continuities. What kinds of historical contingencies are replicated in Disney’s texts and territories? How does the company code cultural flows? In what ways are Disney’s theatre assemblages networked to social formations like childhood, gender, race, sexuality, and nation? What kinds of consumer interactions and socio-technical conditions are most important to the ongoing process of developing brand relations? Although Disney’s multi-modal theatre assemblages are a function of neoliberal logic and labor norms, and sustain dominant modes of production, they are also highly mutable, often supporting contested claims of intelligibility and citizenship. The company produces a vast range of theatre experiences. This dissertation focuses on character encounters, children’s theatre, Broadway musicals, a re-creation of Buffalo Bill’s Wild West and animal/safari performance. The chapters are composed as a nested set of assemblages, starting with theatre for Disney’s most important demographic: children. I then move into larger social fields/assemblages, considering theatre that addresses the nation, theatre that reframes transnational/global space, and finally, animal/ecological theatre. Taken together, the chapters present an argument for the significance of brand theatre as a localized, expressive, collaborative and extremely flexible site of cultural affiliation, agency and assembly.

This paper unpacks the franchise system and the often-tumultuous relationship between Producers and Consumers, especially around the release of new films by the Producers. Star Wars represents far more than just a corporate product. There is a thriving ecosystem around pieces that have touched fans lives personally. The reaction of fans to new media texts in existing franchises is in constant flux. Tumultuous emotions of betrayal come in waves from fans immediately following the release of new content. Specifically focusing on reception to prequel films, Episode 1: The Phantom Menace (1999) and Solo: A Star Wars Story (2018), reveals how both generational differences and technology affect fan interaction and reaction across iterations of the franchise. Fans attempt to remediate the differences in cannon and their own interpretations of the franchise through fan creation. Fans have historically been early embracers of new technologies and have used increasingly available editing software and cameras to express their passion for the franchise. A digital world has created ever expanding platforms of interactivity in which Producers/Consumers can reach one another. The spaces in which these interactions occur have evolved from personal fan websites to social media sites. The amount of online information available to consumers, from reviews to fan content, has diminished the power of official franchise content. The release of Solo revealed a dangerous level of apathy from consumers. As opposed to the fervor surrounding powerful media texts at the time of The Phantom Menace, the diversified media landscape has undoubtedly affected Star Wars.

In 2016, Disney animation studios released their newest princess film Moana. The film follows a seemingly feminist plot line of a young female heroine who saves the world from destruction. This study examines Moana (2016) in relation to the views on feminism in the U.S. Disney’s large social and economic influence provides rich grounds for this research. Using an ideological rhetorical criticism, I uncovered the presented and suggested elements of the film. These elements combined with research on U.S. feminist ideology allowed three ideological themes to emerge: ecofeminism, power feminism, and post-feminism. The three themes are threaded to create a seemingly feminist patchwork ideology. I argue that the patchwork ideology that is created is a result of the political and economic conditions present around the production of Moana. Furthermore, I argue that this patchwork ideology is ultimately harmful to current feminist ideology in the U.S. This study adds insight into how feminist ideology is used in popular media.

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<p>Title: Product Placement - A study of how Swedish children are exposed to product placement in Walt Disney Movies.</p><p>Authors: Erik Fritzell, Tobias Harhoff and Stefan Olstorpe</p><p>Advisor: Venilton Reinert</p><p>Type of work: Bachelor dissertation in Marketing</p><p>Date: Spring term 2010</p><p>Purpose: We will investigate whether or not there are product placements in the movies selected for our research. The selected movies must have children under the age of twelve as one of its target audi-ences. We will do a content analysis of the selected movies to see what kind of product placements there is in those movies.</p><p>We feel that this research can help to bring the concept of product placement towards children more into the light and hopefully we can make people more aware of the fact that companies use mov-ies to reach out and affect children with their products and messages.</p><p>Research question: In what way are Swedish children exposed to product placements in movies produced by Walt Disney Pictures?</p><p>Method & material: Literature about Product Placement and observing movies if they contain placements.</p><p>Main result: Children will be exposed by product placement in Walt Disney movies, this can happen through visual, verbal or plot placements, but the age and development is a crucial factor when it comes to receptiveness.</p><p>Key words: Product placement, visual placement, verbal placement, plot placement, marketing.</p>

Title: Product Placement - A study of how Swedish children are exposed to product placement in Walt Disney Movies. Authors: Erik Fritzell, Tobias Harhoff and Stefan Olstorpe Advisor: Venilton Reinert Type of work: Bachelor dissertation in Marketing Date: Spring term 2010 Purpose: We will investigate whether or not there are product placements in the movies selected for our research. The selected movies must have children under the age of twelve as one of its target audi-ences. We will do a content analysis of the selected movies to see what kind of product placements there is in those movies. We feel that this research can help to bring the concept of product placement towards children more into the light and hopefully we can make people more aware of the fact that companies use mov-ies to reach out and affect children with their products and messages. Research question: In what way are Swedish children exposed to product placements in movies produced by Walt Disney Pictures? Method &amp; material: Literature about Product Placement and observing movies if they contain placements. Main result: Children will be exposed by product placement in Walt Disney movies, this can happen through visual, verbal or plot placements, but the age and development is a crucial factor when it comes to receptiveness. Key words: Product placement, visual placement, verbal placement, plot placement, marketing.

This paper used the constant comparative method to examine the 12 animated features released by Disney between 2000 and 2010 for: (1) their representation of nonhuman animals (NHAs) and the portrayal of race, class, gender, and speciesism within this representation, (2) the ways they describe the relationship between humans and NHAs, and (3) whether they promote an animal rights perspective. Three major themes were identified: NHAs as stereotypes, family, and human/NHA dichotomy. Analysis of these themes revealed that Disney’s animated features promote speciesism and celebrate humanity’s superiority by justifying the subordination of NHAs to human agency. Furthermore, while Disney’s representation of NHAs remains largely anthropocentric, most of its animated features do not reflect the tenets of animal rights.

Since 1994, and for the first time in Spain, the Disney dealer Buenavista Pictures has been providing the videotapes Welcome to Disney Classics. They contain the original versions with subtitles in English. This paper focuses on forty-seven songs from sixteen Disney animated films and analyses them from the perspective of English discourse. The choice of songs under analysis was unsystematic. When the project of this study was begun, there were sixteen issues available. This researcher considers that the material - both in quantity and quality - is highly significant and represents the development of Disney lyrics from their beginnings to this day. The words of these songs are, according to this researcher, a unique source of magic inspiration. They bring hope, fantasy and patterns of behaviour to children and teenagers, as well as humour and entertainment to adults. This collection of the most famous songs conveys an image of the man - Walt Disney, whom many consider as el "Mago de las cintas de los dibujos animados" (Universitas 1949: 395-405) or el "Mago de Burbank" (Fonte & Mataix, 2000) - and whose films have had an incalculable influence on our generations (1937-1996), merchandising and culture. Disney Lyrics are "magic words" that continue to attract, astonish or enchant the audience.