Den här uppsatsen undersöker Askungens förändring genom tiderna via ett intersektionellt perspektiv, där analys av maktförhållanden i sagan ingår. Analysen går igenom tre olika versioner av Askungen som jämförs med varandra. Jag har tagit hjälp av den tidigare forskningen som Jack Zipes och Bruno Bettelheim har ägnats sig åt inom detta område. Simone de Beauvoir och Michel Foucault teorier används i uppsatsen för att öppna upp sagan från flera håll.

Disney is one of the largest media companies in the world. They have been critizied for portrayting men, women and love relationships with stereotypical behaviours and attributes. This may lead to negative effects on childrens and adolescents perception of reality. The purpose of this study was to investigate how Disney portrays the dynamic between the characters within the love relationship in their movies launched in the 21st century. This study has examined four movies released in the 21st century containing a love relationship between a man and a woman. Movies examined were; Atlantis - The Lost Empire, The Princess and the Frog, Tangled and Frozen. For this study, a quantitative content analysis with qualitative elements was applied to answer the purpose and issue of the study. The study measured the frequency of the characters activities and actions when they are with and without each other, what they are doing together and who is the initiator of classical love actions. The results for this study presented interesting patterns. Both female and male characters were often portrayed with stereotypical behaviuors in Disneys animated movies. However, these patterns differed when the characters were with and without each other. When the characters were together, the female characters tended to be portrayed with more male attributes, whilst the male characterstended to be portrayed with more female attributes. Additionally, Disney tend to portray love relationships in a stereotypical and unrealistic way.

The Disney princess line includes nine films, in our study we have extended this line to include the latest three films from Walt Disney Pictures that follow the same pattern. These films are Tangled (2010), Brave (2012) and Frozen (2013). We have conducted our study using the same method used by England, Descartes and Collier-Meeks (2011) in their study of the first nine films, starting with Snow White and the Seven Dwarfs produced in 1937 to Princess and the Frog from 2009. A quantitative study was executed where we focused on gender role portrayal, the main characters behavioral characteristics and performed rescues. We applied the following theories to our result; the Social Constructivism, Laura Mulvey’s theory of the Male Gaze, Michel Foucault’s theory of power and discourse, intersectionality and Claude E. Shannon and Warren Weaver’s model of communication. Our result of the content coding shows a more nuanced depiction of both male and female main characters where the roles have shifted. The female main characters have been asigned a more traditionally masculine role in the films. The story in all of our three films revolves around the female main characters efforts to achieve their goals. The male main characters have abandoned their shiny armour and white horse and persued a role as the one who leads the female to her goal. A one-way analysis of variance was implemented to see differences over time in gender role portrayal of men and women. The result suggest that the male and female roles have changed over time, altough the men are those who have changed the most.

Stuttgart, FH, Diplomarb., 2002.

Thesis (Ph. D.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaves 318-338).

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains v, 59 p. Includes bibliographical references.

Den här uppsatsen undersöker hur mammorna Kala och Gothel i Disneyfilmerna Tarzan och Tangled gestaltas. Mitt syfte med uppsatsen är att, genom att jämföra två till synes helt olika mammor, uppmärksamma hur Disney signalerar vilka mammor som är "bra" och vilka som är "dåliga" mammor. I analysen jämför jag, utifrån ett feministiskt perspektiv och med hjälp av teori från semiotiken, hur mammorna beter sig mot sina barn, huruvida deras egna behov framkommer och hur barnet och mamman interagerar mot slutet av varje film, när barnet gör valet att lämna modern. Jag skrev den här uppsatsen med förhoppningen att belysa hur presentationen av kvinnor, framförallt mammor, kan se ut i ett samhälle som sätter orimligt hårda krav i media på hur kvinnor bör bete sig. Eftersom det finns mycket tidigare forskning om kvinnlig representation hoppas jag att mitt arbete kommer kunna vara ett bidrag i forskningen.

Submitted by Jaqueline Duarte (1157279@mackenzie.br) on 2018-10-12T00:13:26Z No. of bitstreams: 2 Claudio Imamura.pdf: 3767226 bytes, checksum: 12fef8116b0fda18c7b4234ec4c306e2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Paola Damato (repositorio@mackenzie.br) on 2018-10-25T15:25:59Z (GMT) No. of bitstreams: 2 Claudio Imamura.pdf: 3767226 bytes, checksum: 12fef8116b0fda18c7b4234ec4c306e2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-10-25T15:25:59Z (GMT). No. of bitstreams: 2 Claudio Imamura.pdf: 3767226 bytes, checksum: 12fef8116b0fda18c7b4234ec4c306e2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present work aims at identifying the archetypes of the goddesses Athena, Artemis, Hestia, Hera, Demeter, Persephone and Aphrodite, in cartoons. Selecting Walt Disney Studios animated feature films "Snow White and the Seven Dwarfs" (1937), "Cinderella" (1950), "Mulan" (1998), "Valente" and "Moana" (2017) and respectively the female protagonists and antagonists. How culture and influence relations between the sexes and how the woman is interpreted in this media and what issues can be raised about it. Fairytales provide numerous symbolic interpretations and are used for cinematic adaptations in animation. From the archetypal concepts used by Jean Shinoda Bolen, The Goddesses and the Woman (1990). It becomes possible to identify the archetypes of goddesses and understand how they act. The concept of archetypes and the collective unconscious are also explained using the archetypes and the unconscious of Carl Jung. Joseph Campbell The hero of a thousand faces (1990) stands out as the basis for understanding the myths and interpreting the hero's journey. There is a need to understand the processes of creating a cartoon, its origin and development with the reference of Lucena Junior. The cartoon is part of the cultural industry, and a major promoter of mass culture. In it, movies gain planetary insight and sell products derived from characters and adventures to the public that consumes the media. In the Walt Disney films, the entertainment magician, there are female representations that show how culture, society sees women, in the collective, a genre put into a character. In some princesses, a princess's sister, a warrior, and the daughter of a village chief. Analyzing each film, the mythology itself, the hero's journey, in this case heroine, did not change. But one can see the dynamic change of the feminine archetypes, their mythological context and their representations. / O presente trabalho visa identificar os arquétipos das deusas Atena, Artêmis, Héstia, Hera, Deméter, Perséfone e Afrodite, nos desenhos animados. Selecionando os filmes de animação do Walt Disney Studios: "Branca de Neve e os sete anões" (1937), "Cinderela" (1950), "Mulan" (1998), "Valente" (2012), "Frozen" (2013) e "Moana" (2017) e, respectivamente, as protagonistas e antagonistas femininas. Como a cultura e influência nas relações entre os sexos e como a mulher é interpretada nesta mídia e quais questões podem ser levantadas a respeito. Os contos de fadas fornecem inúmeras interpretações simbólicas e são utilizados para adaptações cinematográficas em animação. A partir dos conceitos arquetípicos utilizados por Jean Shinoda Bolen, As deusas e a mulher (1990), torna-se possível identificar os arquétipos das deusas e compreender como agem. O conceito de arquétipos e do inconsciente coletivo também são explicados utilizando Os arquétipos e o inconsciente de Carl Jung. Joseph Campbell O herói de mil faces (1990) sobressai como base de entendimento dos mitos e da interpretação da jornada do herói. Existe a necessidade de entender os processos de criação de um desenho animado, sua origem e desenvolvimento com o referencial de Lucena Junior. O desenho animado é parte da indústria cultural e grande divulgador da Cultura de massa. Nela, os filmes ganham divulgação planetária e vendem produtos derivados dos personagens e das aventuras do público que consome essa mídia. Nos filmes de Walt Disney, o mago do entretenimento, existem representações femininas que mostram como a cultura, a sociedade vê as mulheres, no coletivo, um gênero colocado em uma personagem. Em algumas princesas, uma irmã de princesa, em uma guerreira, e na filha de um chefe de aldeia. Analisando cada filme, a mitologia em si, a jornada do herói, neste caso da heroína, não se alterou. Porém, percebe-se a dinâmica mudança dos arquétipos femininos, seu contexto mitológico e suas representações.

Denna studie undersöker ifall det är möjligt att illustrera känslor genom animation på en simplistisk modell, i detta fallet en kub. Animationerna som genomförs baseras i Disneys animationsprinciper samt Labans rörelseteori, två olika teorier angående hur högkvalitativ animation kan skapas och analyseras. Två animationer skapades, en som är tänkt att illustrera sorg och en som är tänkt att illustrera glädje. Dessa animationer tillsammans med en kort enkät nådde 84 respondenter och fick väntat resultat. Majoriteten av respondenterna läste in känslor i animationerna, men ett par av respondenterna som läste in känslor i animationerna läste in andra känslor än de som var tänkta att representeras. Slutsatsen är att det är möjligt att förmedla känslor genom animation på en simplistisk modell, men arbetet kan utökas ytterligare genom att nå ut till fler, basera animationerna på en bredare vetenskaplig grund samt att animationerna i sig recenseras och revideras av fler animatörer.

Syftet med studien är att undersöka likheter och skillnader mellan tre versioner av sagan Törnrosa i deras framställning av berättelsens struktur, karaktärers funktion och teman, samt hur sagan förändras när den filmatiseras. Studiens syfte är även förankrad i läroplanen för att visa vilka möjligheter det primära materialet har utifrån ett didaktiskt perspektiv. Studien bygger på Algirdas Julien Greimas aktant modell (1983), Maria Nikolajevas (2017) karaktärsskildring och Åsa Jernudds (2010) filmpoetiska begrepp. Analysen visar att de karaktärer som är nödvändiga för intrigen i samtliga versioner är ett subjekt, ett objekt, en hjälpare och en motståndare. Det framgår tydligt i samtliga versioner att oavsett vem huvudpersonen är och oavsett vilket problem skurken skapar ska samtliga berättelser nå ett lyckligt slut. Bröderna Grimms Törnrosa (1981) och Disneys Törnrosa (1959) skildrar prinsessans öde. Disneys Maleficent (2014) skildrar istället den onda fens öde.