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Detta självständiga arbete behandlar två olika versioner av berättelsen Snövit och syftet med arbetet är att se vilka skillnader som skett när man adapterar en kort äldre folksaga i bokformat till en familjefilm. Sagan som behandlas är bröderna Grimms klassiska folksaga om Snövit (1981, som är översatt från en utgåva år 1913-14. Första utgåvan publicerades år 1812 i Kinder- und Hausmärchen). Filmen som behandlas är Walt Disneys första välkända långfilm, som kom ut år 1937. Den går istället under namnet Snövit och de sju dvärgarna. Båda berättelserna kommer att beskrivas med en narrativ metod eftersom uppsatsen analyserar hur respektive medier behandlar karaktärer och miljöer samt använder en komparativ metod för att se hur dessa förhåller sig till varandra. Utifrån jämförelsen kommer vi också att diskutera begreppen adaption och transformation, för att sedan undersöka vilken term som är mest lämplig när det gäller relationen mellan verken. Utvalda delar från Lgr 11 kommer också att användas i detta arbete för att undersöka hur de två verken går att använda utifrån ett pedagogiskt syfte för årskurserna 1-3.

Preschool television is a growing segment of children's media, but there is limited research examining the structure of the top preschool content producers. The vast majority preschool programming is promoted as educational by the networks; however no show explicitly lists media literacy education as a primary learning goal even though children 2-6 spend, on average, more than two hours a day exposed to media. This thesis examines preschool programming through political economic theory to determine whether the business models of the top three preschool television networks influences their approaches to media literacy education in media themed episodes of their most popular series for preschoolers. The thesis first examines whether educational media works for preschoolers and how media literacy education can undermine attempts by media institutions to influence behavior. It also examines the history of the preschool series on PBS, Nickelodeon, and Disney Channel to determine how the development of preschool programming on each network has contributed to the content they produce for preschoolers. The thesis then moves onto a study comparing media themed episodes from the top series from each network and a media themed episode from a series that has presented media literacy episodes throughout its history to help compare and analyze the current state of media literacy in preschool television. This study helps build a foundation for future research so we can recognize the best strategies to introduce young children to media literacy education in this increasingly media saturated society. / Mass Media and Communication

Since the late 1960s and early 1970s, critical scholarship concerning the fairy tale genre has done much to address the social, historical, cultural, and national motivations behind transformations of the fairy tale from a European starting point. However, the fairy tale’s development in the United States, including both its media-based adaptations and literary extensions, has been given limited attention. While the significance of Walt Disney’s animated films to the American fairy tale tradition has been addressed (by literary and film scholars alike), an interdisciplinary study drawing together Disney’s European and early twentieth century precursors (from literature, stage, and film); his own influential, modern debut; respondent literary and animated work of his immediate successors; and postmodern and twenty-first century adaptations has not been done. By examining the trajectory of a single tale, Snow White (or for Disney, Snow White and the Seven Dwarfs), this dissertation aims to acknowledge the scholarly attention given to Disney’s animated films, while further examining attributes which I suggest have enabled Disney to have a “folkloric impact” on the fairy tale genre in the United States. Disney’s work stands upon the bedrock of not only European but American Snow White variations and makes these “new” through an innovative deployment and unification of word or language, sound, and image, unimagined prior to the debut of Snow White and the Seven Dwarfs (1937). The effects of Disney’s influence, as a master storyteller, on both the fairy tale genre and commercial market were so profound that this particular version of the tale refuses to be forgotten, its shadow haunting successors who aimed to counter or redefine its understanding of fairy tale in light of shifting American values and culture. Therefore, even as the fairy tale is frequently understood to have moved beyond its folkloric “origins” (I use this term loosely, as the origins of fairy tale are surrounded by controversy), using the critical framework of folklorists Steven Swann Jones and Linda Dégh, as well as filmic folklorists, Sharon R. Sherman and Juwen Zhang, I explore how Disney’s patchwork of tradition, new technology, and media generated an easily recognizable and communicable tale, one that would be recalled, repeated, and reformed through adaptation by generations of audiences. These subsequent storytellers, in turn, extend American fairy tale tradition and lore still further. / English

I vår uppsats jämför vi bröderna Grimms sagor Snövit, Askungen och Törnrosa med Walt Disneys adaptioner av dessa.I de flesta utgivna sagohistorier skildras den kvinnliga karaktären på två olika sätt där det goda möter det onda. Syftet med denna uppsats är att undersöka, reflektera och framhäva hur de angivna karaktärerna framhävs och hur detta bemöts av läsaren. Detta för att ta reda på hur de olika verken skiljer sig i framställning av dessa karaktärer samt hur detta mottages och påverkar läsaren/tittaren Vi diskuterar vidare den roll dessa framställningar har för barns identitetsskapande samt hur vi som lärare kan arbeta med dessa verk för att synliggöra stereotypa könsmönster.Vår komparativa studie kommer i huvudsak bestå av en djupgående analys av karaktärer baserad på litteratur, vetenskapliga artiklar, artiklar, examensarbeten och filmer.Resultatet visar en tydlig polarisering av karaktärerna i de angivna sagohistorier, där de ofta kategoriseras som antingen goda eller onda. Detta leder till att läsaren kan behöva välja sida vilket i de flesta fall medför att läsarens sympatiserar med det goda. Det finns dock risker som medföljer denna kategorisering, såsom de ouppnåeliga normerna som en flicka förväntas agera som i sin tur kan leda till blandade känslor av dålig självkänsla och otillräcklighet.

The Disney Princess Brand includes 11 Disney Princess films from Snow White and the Seven Dwarfs (1937) to Brave (2012). The goal of this campaign is for audiences to be entertained by the narratives while encouraging identification with the princesses in the films (Do Rozario, 2004; Orenstein, 2006). Scholars have suggested possible media effects of representations and messages depicted related to gender roles (England, Descartes, and Collier-Meek, 2011) and romantic relationships (Segrin and Nabi, 2002). No studies to date have examined the potential correlation between media effects of all 11 Disney Princess films and viewers' expectations regarding romantic relationships with a theoretical background in cultivation theory, social cognitive theory, wishful identification, and uses and gratification theory. The purpose of this thesis was to explore the relationship between potential media effects due to watching Disney Princess films and expectations of romantic relationships. An online cross-sectional survey was administered to female undergraduate students enrolled at Virginia Tech (N = 110). Bivariate correlation analyses were computed to measure the data. Results did not support hypotheses related to motivations for watching Disney Princess films, cultivated ideologies due to exposure of all films, and perceived similarity to princesses in relation to idealistic beliefs of romantic relationships. Wishful identification with the princesses was significantly correlated with participants' idealistic beliefs of romantic relationships. Possible implications are that participants in late adolescence (18 - 23 years of age) wish to be like the Disney princesses and to have similar romantic relationships that are represented in the films. / Master of Arts

Yes / This paper introduces the concept of ‘organizational readiness’: socio-cultural expectations about working selves that prepare young people (albeit indirectly and in complex and multi-faceted ways) for their future life in organizations. This concept emerges from an analysis of Disney animations and how they constitute expectations about working life that may influence children through their representations of work and gendered workplace roles. The paper’s exploration of Disney’s earlier animations suggests they circulated norms of gender that girls should be weak and avoid work. In contrast, its contemporary productions circulate gender norms that suggest girls should be strong and engage in paid work. In this reading, the continued circulation of earlier alongside contemporary animations may convey to young viewers a paradox: girls must and must not work; they must be both weak and strong. We thus offer new insights into the puzzle of the continued relegation of women to the side-lines in organizations; although, more optimistically, we also point to ways in which future generations of employees may forge ways of constituting forms of gendered selves as yet hardly imaginable.

Ce travail aborde les relations existant entre l’amour platonicien et l’amour présent dans les films d’animation de Walt Disney. Disney étant l’un des plus grands médias culturels occidentaux, si ce n’est mondiaux, retrouver Platon chez Disney, c’est voir l’influence de la philosophie grecque sur l’Occident actuel et son héritage. La comparaison sera déployée selon quatre grands thèmes : le rôle du beau dans l’amour, ἔρως comme intermédiaire, l’amour comme folie divine, l’amour comme méthode éducative. Nous commencerons par exposer les mœurs en Grèce antique, pour présenter adéquatement la position de Platon. Nous nous demanderons ensuite les causes pouvant expliquer l’apparition de la théorie platonicienne de l’amour chez Disney. Nous présenterons par la même occasion les contes qui ont inspiré Disney et qui peuvent parfois avoir des racines platoniciennes. Finalement, nous comparerons les films de Disney avec la pensée de Platon au sujet de l’amour. / This paper presents the existing correlations between the concept of platonic love and the love displayed in Walt Disney's animated movies. Disney being one of the biggest media in Occident, if not in the world, finding Plato's theory in Disney movies means seeing the traces of Greek philosophy in today’s occidental world, and its heritage. We will ask ourselves why there is an existing relationship between Plato’s theory and Disney. The comparison will be made around four themes: the role of beauty in love, ἔρως as intermediary, love as divine foolishness, love as educational method. We will first expose the customs of ancient Greece in order to present adequately Plato’s position. We will present the fairy tales that inspired Disney, which sometimes find their origin in Platonism. Finally, we will compare Disney movies with Plato’s reflections about love.

人類日常活動造就了今日各種環境議題已經是無可否認的事實，然而生活在繁華都市裡的人因為接觸不到一望無際的垃圾山／海、感受不到斷糧的危機、體會不到缺水的絕望等環境議題，所以對環境議題沒有太大的危機感，即使聽過環境議題，也仍舊抱持著充耳不聞的鴕鳥心態。但環境議題不像單純的政治、宗教或社會議題能讓人自由選擇立場或是沒有立場，而是一個嚴肅的道德議題，只要有份消耗自然資源就必須負上保護環境的責任。 法國社會及哲學家布希亞曾說了一句很準確的話：“在當今社會裡，我們都是被別人給提醒的（we were made aware of）”。因此對理解環境議題的人來說，除了身體力行從生活中做環保之外，讓更多人了解這些岌岌可危的環境議題變成了最重要的事。在今天，許多意識到環境保護重要性的名人不遺餘力地為環境發聲，甚至身體力行投入環保產業，成為了極具影響力的環境代言人。 在環境代言人出現的同時，卻鮮少看過由虛擬人物為環境代言的案例，因此本創作決定以虛擬代言人的方式來創作環境議題平面廣告，透過迪士尼的明星光環發揮類似名人代言的廣告效果。在創作發表結果中不難看出，以迪士尼為環境代言人的創作方式確實吸引了受眾的目光，進而影響受眾對環境議題的態度及行為，皆達到了廣告代言人效果及創作目的。 / There is no denying that human activities have caused environmental issues. However, living an urban life have made people unware of such environmental issues as the garbage mountains/oceans, the hunger from food shortage, and the despair of dry seasons, etc. Therefore they have no sense of crisis about these issues. People heard of those terms but they still bury their heads in the sand. Different from political, religious or social issues, environmental issues are more like serious ethical issues, which allow none to either choose a stance or stay neutral. Those who have depleted the natural resources are responsible to protect the environment. Baudrillard, a French sociologist and a philosopher, said: “we were made aware of”. To the people who care about environment, helping more people understand the severity of environmental issues becomes the most important thing. Therefore, a lot of celebrities who are aware of the importance of environmental protection spare no effort to promote environmental issues, even engaging themselves in the environmental protection industry. They have become influential spokespersons of the environment. However, we’ve rarely seen the cases of fictional characters being used in the environment endorsement. So the idea of combining environmental issues with spokes-characters is born. These Print Ads creations will use Disney’s characters to achieve the effect of spokespersons. The exhibition have shown the creation successfully attracted audience attention, affecting both their attitudes and behaviors to environmental issues. The results have reached the effect of spokespersons and purpose of the creation.

New media technologies are changing the ways that we not only go about our day-to-day lives, but also the ways that we sell and exchange our labor within the capitalist economy. These technologies are shaping how we represent and perceive ourselves and others, as well as the ways in which, as we move about the world, our images are taken and circulated with neither our explicit permission, nor sometimes our knowledge (Dovey, 2000; Toffoletti, 2007). Despite the fact that we can no longer viably opt out of visual or technological culture, there remains a strong rhetoric of personal responsibility when such images are used in ways that are unexpected and sometimes extremely damaging (C. Hall, 2015). The growth in incidences of what Clare McGlynn (2017) calls “image-based sexual violence” cannot be divorced from the economic and cultural shifts that are both challenging and reifying dominant power relations in the early 21st century. This doctoral thesis examines the economic and social discourses underpinning news reporting on sexual privacy violations in relation to new media technologies and shifting forms of female celebrity. Using empirical methods to collect and sort U.S. and Canadian news articles at a macro level as well as discourse analysis of news reporting at the micro level, I focus on two particular sites wherein new media celebrity, sexual violence/violation, and political economies converge: the celebrity sex tape scandal and the stolen celebrity nude photo. I examine sexuality and privacy violation in an exemplary economic context, looking at how the “leaked” sex tape or image functions in the gendered sexual economy to undermine claims to meritocratic capitalist success. I focus on two moments of crisis: firstly, the pop culture crisis of 2007-2008, coinciding with the global economic recession as well as the growth in new media technology and social media usage, wherein several high-profile female celebrities undergo dramatic and very public “breakdowns” in proper femininity, ranging from the fairly banal “scandal” surrounding a then-15-year-old Miley Cyrus posing semi-nude for Vanity Fair to the more severe and illegal acts of Lindsay Lohan and Paris Hilton (both of whom were arrested for driving under the influence across this time period). Secondly, I examine the moment of crisis signaled by the 2014 iCloud hacking incident wherein hundreds of female celebrities’ personal private nude photos were stolen and circulated online. I analyze the sex “scandals” that are both discursively constructed by, and circulating through, the news at these moments. The findings point to several notable trends in the contemporary political climate. Firstly, they illuminate the tensions and contradictions in the media’s attempt to reconcile post-feminist sexual “empowerment” narratives with the broader imperatives of neoliberalism, surveillance, and self-commodification. Secondly, this thesis provides a timely analysis of the gendered pathways to success and the gatekeeping that is conducted both within and by the (news) media, which are themselves invested in narratives of meritocracy. Finally, the cynical, meta-commentary circulating in the news reporting on celebrity content – reporting that is increasingly beholden to corporate interests – contributes to the broader erosion of trust in mainstream media. In today’s media environment in particular, studies of heirs-turned-reality stars such as Paris Hilton (whose trajectory is eerily similar to that of U.S. President Donald Trump), are particularly urgent, as are studies that connect the seemingly disparate yet increasingly converging fields of celebrity, journalism, feminism (and sexual violence), and neoliberalism.