Children's animated films have held a lasting influence on their audiences since the rise of their popularity in the 1980s. As adults co-view such films with their children Hollywood has had to rewrite the formula for a successful animated children's film. This thesis argues that a main factor in audience expansion is adult humor. The results show that children's animated films from 2002-2013 are riddled with many instances of adult humor while earlier films from 1982-1993 use adult humor sparingly. It is clear that over the years the number of adult humor occurrences has consistently increased. Furthermore, this research shows that adult male roles consistently deliver the adult humor.

This study investigated what factors come into play when looking at the user experience involved with the commercial video game Disney Infinity (2.0 Edition), and sought to determine if the unique combination between sandbox and smart toy based gameplay present in gameplay offers an additional level of immersion. This study analyzed the effect of Disney Infinity (2.0 Edition) on immersion utilizing a Game Immersion Questionnaire modified to analyze play preference as well as video game experience. The study methodology analyzed 48 users while playing in "Toy Box" mode both with and without the associated smart toys, or Disney characters. Results show that while there was no significant difference in immersion for either group, nor were there any significant correlations between variables, there was a preference for playing the game with the associated smart toys in both groups. Recommendations were made for continued research building on modifications to this study as well as future research exploring the potential for smart toys in other areas.

Den här studien syftar till att ge en inblick i hur representationen av kvinnor i Disneys prinsess-filmer bidrar till att både skapa och bibehålla normer och könsroller. Undersökningen har baserats på Beverley Skeggs respektabilitets-teori, Pierre Bourdieus arbete kring kapitalformer och det sociala rummet, samt Judith Butlers teori om performativitet och den heterosexuella matrisen. Genom användandet av dessa teorier har en kvalitativ innehållsanalys kunnat genomföras, med fokus på de kvinnliga huvudkaraktärernas framställning. Undersökningen har baserats på tre av Disneys filmer, The Princess and the Frog, Frozen och Brave. I analysen har fokus legat på att kartlägga karaktärernas egenskaper, kläder, kroppar och anskaffande av kapital för att kunna undersöka hur den ideala kvinnan gestaltas i filmerna. Att undersöka vilka egenskaper karaktärerna har och hur dessa egenskaper framställs har framför allt diskuterats i relation till performativitet, hur kön görs. Diskussionen om kläder, kroppar och kapital har i större utsträckning byggt på tanken om respektabilitet. Viss tidigare forskning hävdar att Disney har gjort framsteg vad gäller att inte ha så normativa framställningar av sina kvinnliga karaktärer. Resultaten i denna studie visar att även om framsteg har gjorts, är de kvinnliga rollfigurerna fortfarande begränsade av en rad olika samhällsnormer.

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Syftet med denna studie är att undersöka vilka förändringar som har skett mellan VirginiaWatsons bok, Indianprinsessan Pocahontas (1925) och Disneys utgåva av Pocahontas(1995). Det jag kommer att undersöka djupare är vad som tagits bort, respektive lagts till iromanen och bilderboken. Jag kommer även att jämföra böckernas karaktärer, miljöer ochgenrestruktur för att se vad som skiljer dessa åt. Studien kommer även att ta upp böckernasteman, där jag undersökt likheter och skillnader. Slutligen kommer studien även beröra endidaktisk del där jag diskuterar böckernas olika användningsområden i en undervisning. Idetta avsnitt berör jag de för- och nackdelar som skulle kunna förekomma vid användadet avdessa böcker inom utbildningssyfte.Jag har valt att göra en komparativ studie där resultatet har visat att Disneys utgåva(Pocahontas, 1995) valt att inte ta med delar av händelserna som är inkluderade i WatsonsIndianprinsessan Pocahontas (1925). En av de primära skillnaderna mellan böckerna ligger iatt den nyare utgåvan av Disney förvandlats till en kärlekshistoria där huvudkaraktärernadelar en mera intim relation. Medan det finns en stark relation mellan karaktärerna i Watsonsbok är den kärleksfulla sidan mellan parterna tämligen vag i jämförelse och en bidragandefaktor till detta ligger troligtvis i det faktum att det finns en stor ålderskillnad mellan dem.Eftersom böckerna är olika, kan de ha olika användningsområden i skolan. Disneys bilderbokkan ha betydelse då elever behöver utveckla sin analys och fantasiförmåga.Studien visar att Watsons bok stämmer in på vad forskare antyder om Pocahontas vid mångatillfällen, detta gör att boken skulle kunna användas i utbildningssyfte, för att få lär- ochkännedom om vem Pocahontas var.

In this thesis, I analyze the Minions from Universal Pictures' Despicable Me franchise (2010-2020), Olaf from Disney's Frozen franchise (2013-2019), and Ducky and Bunny from Pixar's Toy Story 4 (2019). Although these characters are not intended to represent human beings but are fictional nonhuman species, examining them through the lens of racialization defamiliarizes them and reveals how children's media not only perpetuates specific caricatures of people of color but subtly naturalizes what race is as an assemblage of visual, verbal, performative, and affective components. While scholars studying racial representations in children's animated films often focus on how animated characters speak in non-white dialects, engage in stereotypes, and reproduce visual aspects of race, this interpretive framework does not address the ways in which race goes beyond the surface, nor does it address complex interactions between race, gender, and sexuality. Rather than asserting that nonhuman animated characters are certain races, my term "submerged racialization" suggests that animated characters are not direct representations of "real" non-white bodies but are aggregates of what it is to be racialized in historically specific ways that are co-constitutive with gender and sexuality. These features dwell beneath the surface like a skeleton, overdetermining how the characters perform without necessarily influencing their outward appearance in easily recognizable ways. In the first chapter, I analyze how the Minions enact a multi-layered submerged racialization as Black, Asian American, and indigenous beings. The second chapter discusses how Olaf's racialization shifts across different objects in the Frozen franchise, addressing his relationship to Blackness and Hawaiianness in the first film, the featurette, "pull apart" plush toys, and Hula Olaf figures. Finally, in my third chapter, I show how Ducky and Bunny fulfil roles as Black comedic sidekicks and demonstrate how Black men have been constructed as aggressive, hypersexual threats. By uncovering the submerged racialization underlying today's most popular children's franchises, I stress that race is reproduced and reinvented in the seemingly innocent intimate spaces around us. / Master of Arts / What race are the Minions? While this may seem a strange question, scholars of children's animated films have often described the race of nonhuman animated characters based on whether they speak in non-white dialects, engage in stereotypes, and reproduce certain visual characteristics, such as black skin. However, I argue that the Minions from Universal Pictures' Despicable Me franchise (2010-2020), Olaf from Disney's Frozen franchise (2013-2019), and Ducky and Bunny from Pixar's Toy Story 4 (2019) are "submerged racialized figures" and not direct representations of "real" non-white bodies. These characters demonstrate what it means to be racialized in historically specific ways that intersect with their gender and sexuality. Their racial features dwell beneath the surface like a skeleton, affecting their representation without necessarily influencing their outward appearance in easily recognizable ways. In the first chapter, I analyze how the Minions demonstrate a multi-layered submerged racialization throughout the franchise as Black, Asian American, and indigenous beings. The second chapter discusses how Olaf's racialization shifts across different objects in the Frozen franchise, changing his relationship to Blackness and Hawaiianness in the first film, the featurette, "pull apart" plush toys, and Hula Olaf figures. Finally, in my third chapter, I show how Ducky and Bunny fulfil roles as Black comedic sidekicks and demonstrate how Black men have been constructed as aggressive, hypersexual threats. By uncovering the submerged racialization within today's most popular children's franchises, I demonstrate how race is reproduced and reinvented in the seemingly innocent intimate spaces around us.

[ES] La utilización de los medios audiovisuales en la educación musical está ampliamente documentada y especialmente desde la implementación de las nuevas tecnologías de la información y la comunicación. Desde su incorporación se han desarrollado multitud de metodologías y recursos tanto para el estudio como para el desarrollo de destrezas y habilidades. La música de bandas sonoras es un recurso que tiene una amplia aceptación entre los docentes por su carga simbólica que, en muchos casos, pertenecen al imaginario popular. Si hay un sello que se ha convertido en un referente universal ha sido Disney que desde el inicio de la década de los veinte ha venido creando largometrajes y cortometrajes de animación, así como películas de imagen real. Probablemente, como material educativo estos productos ofrecen grandes posibilidades de trabajo en el aula. Un ejemplo es el caso de Cinderella, objeto de esta tesis doctoral. Así pues, el objetivo principal de la tesis es descifrar la doble mirada adulto-niño y, al igual que ocurre en el tratamiento del guion y de la imagen, descubrir las características musicales que definen esa doble audiencia. Así mismo conocer su paisaje sonoro y los recursos netamente musicales utilizados en las secciones claramente dedicadas a los niños y niñas. Este análisis se hará atendiendo a dos criterios diferentes. En primer lugar, comprobando el metraje de música utilizado en las tramas principales, del utilizado en las sub-tramas y como éstas pueden ir dirigidas a diferentes públicos. En segundo lugar, comprobando los elementos técnicos que corresponde a cada uno de los lenguajes y por extensión a cada uno de los públicos objetivo. Por otra parte, se analizará la función gramatical y expresiva de los elementos musicales y su utilización. Referente a la pregunta de investigación se parte de la siguiente hipótesis: existen elementos musicales dirigidos a una doble audiencia al igual que existen desde el punto de vista visual y literario. Para los objetivos planteados, se han tenido en cuenta paradigmas de investigación basada en artes en la educación, además de procedimientos metodológicos tanto cualitativos y cuantitativos. Los resultados apuntan que la banda sonora actúa en gran medida como lienzo sobre el que pintar la acción o la trama. Es decir, como paisaje sonoro. Por otra parte, el uso que hacen los compositores de música para cine de las dinámicas y las velocidades durante la denominada "primera época dorada" de Disney muestra que poseían una comprensión intuitiva de cómo las variaciones en velocidad, modo y orquestación podían influir en el estado de ánimo y la percepción de la audiencia. La música de Cenicienta evoca una amplia gama de emociones en los espectadores, desde la felicidad y la esperanza hasta la tristeza y la angustia. La partitura y las canciones capturan y transmiten las emociones de los personajes y las situaciones de manera magistral, creando una experiencia emocionalmente rica y significativa. / [CA] La utilització dels mitjans audiovisuals en l'educació musical està àmpliament documentada i especialment des de la implementació de les noves tecnologies de la informació i la comunicació. Des de la seua incorporació s'han desenvolupat multitud de metodologies i recursos tant per a l'estudi com per al desenvolupament de destreses i habilitats. La música de bandes sonores és un recurs que té una àmplia acceptació entre els docents per la seua càrrega simbòlica que, en molts casos, pertanyen a l'imaginari popular. Si hi ha un segell que s'ha convertit en un referent universal ha sigut Disney que des de l'inici de la dècada dels vint ha vingut creant llargmetratges i curtmetratges d'animació, així com pel·lícules d'imatge real. Probablement, com a material educatiu aquests productes ofereixen grans possibilitats de treball a l'aula. Un exemple és el cas de Cinderella, objecte d'aquesta tesi doctoral. Així doncs, l'objectiu principal de la tesi és desxifrar la doble mirada adult-xiquet i, igual que ocorre en el tractament del guió i de la imatge, descobrir les característiques musicals que defineixen eixa doble audiència. Així mateix conéixer el seu paisatge sonor i els recursos netament musicals utilitzats en les seccions clarament dedicades als xiquets i xiquetes. Aquesta anàlisi es farà atenent dos criteris diferents. En primer lloc, comprovant el metratge de música utilitzat en les trames principals i l'utilitzat en les sub-trames i com aquestes poden anar dirigides a diferents públics. En segon lloc, comprovant els elements tècnics que correspon a cadascun dels llenguatges i per extensió a cadascun dels públics objectiu. D'altra banda, s'analitzarà la funció gramatical i expressiva dels elements musicals i la seua utilització. Referent a la pregunta d'investigació es parteix de la següent hipòtesi: existeixen elements musicals dirigits a una doble audiència igual que existeixen des del punt de vista visual i literari. Per als objectius plantejats, s'han tingut en compte paradigmes d'investigació basada en arts en l'educació, a més de procediments metodològics punt qualitatius i quantitatius. Els resultats apunten que la banda sonora actua en gran manera com a llenç sobre el qual pintar l'acció o la trama. És a dir, com a paisatge sonor. D'altra banda, l'ús que fan els compositors de música per a cinema de les dinàmiques i les velocitats durant la denominada "primera època daurada" de Disney mostra que posseïen una comprensió intuïtiva de com les variacions en velocitat, mode i orquestració podien influir en l'estat d'ànim i la percepció de l'audiència. La música de Cinderella evoca una àmplia gamma d'emocions en els espectadors, des de la felicitat i l'esperança fins a la tristesa i l'angoixa. La partitura i les cançons capturen i transmeten les emocions dels personatges i les situacions de manera magistral, creant una experiència emocionalment rica i significativa. / [EN] The use of audio-visual media in musical education is widely documented, especially since the implementation of new information and communication technologies. Since their incorporation, numerous methodologies and resources have been developed for both study and the development of skills and abilities. Film music is a resource widely accepted by educators due to its symbolic content, which often belongs to the popular imagination. If there is a brand that has become a universal reference, it is Disney, which has been creating animated feature films and shorts, as well as live-action films, since the beginning of the twenties. Probably, as educational material, these products offer great possibilities for classroom work. An example is the case of Cinderella, the subject of this doctoral thesis. Therefore, the main objective of the thesis is to decipher the dual adult-child perspective and, as in the treatment of the script and image, discover the musical characteristics that define this dual audience. Also, to understand its soundscape and the purely musical resources used in sections clearly dedicated to children. This analysis will be carried out considering two different criteria. First, by checking the length of music used in the main plots, that used in subplots, and how these can be directed to different audiences. Second, by checking the technical elements corresponding to each of the languages and, by extension, to each of the target audiences. On the other hand, the grammatical and expressive function of musical elements and their use will be analysed. Regarding the research question, the following hypothesis is assumed: there are musical elements aimed at a dual audience, just as there are from a visual and literary point of view. For the stated objectives, research paradigms based on arts in education have been considered, as well as both qualitative and quantitative methodological procedures. The results indicate that the soundtrack largely acts as a canvas on which to paint the action or plot, that is, as a soundscape. On the other hand, the use by film music composers of dynamics and tempos during the so-called "first golden age" of Disney shows that they had an intuitive understanding of how variations in speed, mode, and orchestration could influence the mood and perception of the audience. Cinderella's music evokes a wide range of emotions in viewers, from happiness and hope to sadness and distress. The score and songs masterfully capture and convey the emotions of the characters and situations, creating an emotionally rich and meaningful experience. / Fernández Maximiano, R. (2023). La doble audiencia en las películas de Disney. Análisis de la música y del paisaje sonoro de la Cinderella [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/202191

<p>  </p> <p>Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film <em>Moana</em> (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term <em>imagineered imperial tourism</em>. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term <em>Imagineering</em>, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies.</p> <p>Through a sustained study of Disney’s relevant productions—from the feature films <em>Lilo & Stitch</em> (2002) and <em>Moana</em> to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. </p>

Although Walt Disney's early animated feature films were successful, a variety of economic, operational, and external forces required him to continually be on the cutting edge of new ideas and technologies in order for his studio to continue operations. Latin America became the studio's source of inspiration in the early 1940s, sprouting from Walt Disney's involvement with the Office of the Coordinator of Inter-American Affairs. Saludos Amigos and The Three Caballeros were the result. While many critics have decried Disney's involvement in Latin America as being an apparatus of cultural imperialism and economic exploitation, they almost universally give him credit for his pursuit of cultural authenticity within the films. They are, however, sparing in what ways such was done and are reticent in declaring that he fulfilled that quest. As one who was involved politically and economically in the shaping of a nation, with his enterprise benefiting as a result, Walt Disney can in fact be seen as a colonial, imperial power. Within Brazil, José Carioca was the "monument" he erected to that end. Unlike full-fledged colonial figures in earlier centuries, however, his "monument" was overall friendly and was not based on the image of a sovereign leader, but a character that was intended to be seen as native. Where Disney was bound by the interests of the government he represented, and consequentially the Brazilian government, his "monument" was imbued with hues that were inherently skewed toward those entities; however, he worked within those parameters to present a credible image. This thesis seeks to substantiate those ways and how the original monument-like figure Disney erected in the Brazilian public square, the image of José Carioca in Saludos Amigos and The Three Caballeros, led to unity—and not division—as most imperial monuments had done in earlier centuries. A possible explanation as to how Disney's multiple nuanced iterations of the character leads to such critique of the original "monument" will also be provided.