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1	“I AM NOT A PRINCESS BUT…”: AN IDEOLOGICAL CRITICISM OF “FEMINIST” IDEOLOGIES IN DISNEY’S MOANA Luckner, Victoria 01 September 2018 (has links) 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. Feminism Disney Communication Ecofeminism Post Feminism Moana Other Film and Media Studies
2	Role of lithospheric delamination and ice-driven rockfall erosion in the evolution of mountainous landscapes / Hales, Tristram Charles, January 2006 (has links) Thesis (Ph. D.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 115-137). Also available for download via the World Wide Web; free to University of Oregon users.
3	Walt Disney’s Moana, “We are Polynesia” : A CDA of Disney’s representation of the Polynesian culture inside Moana Nauta, Melanie January 2018 (has links) Disney is known for their family animation movies with a non-western or indigenous cultural background. Nevertheless, Disney is basically very influential for the perception of cultures by a global audience. Many studies have proven that Disney’s depiction of a certain represented culture has not always been that clean. Of course two side notes are that Disney does make movies from an American dominant perspective and second, there is no such thing as a ‘real’ or ‘correct’ culture. Now, with the movie Moana freshly released in 2016, Disney took a step in the indigenous Polynesian culture. This research uses a thorough Critical Discourse Analysis to analyse how Disney portrays Polynesia and the Polynesian culture inside four selected samples of the movie Moana. This analysis is combined with the theories and concepts of Americanisation, Disneyfication and cultural appropriation to find out mixtures of the portrayed Polynesian culture with American and Disney values. Interesting findings were that Disney indeed portrays a hotchpotch of many cultures that can be found in Polynesia. Disney took care of highlighting the culture in the general storyline, in the characters and in the small details. Disney uses details of Polynesian mythology and the history around the ancient voyagers and wayfinding techniques for the storyline. What Disney emphasises is the importance of family, their history and their culture. Disney always portrays the culture with a certain emission of power and pride. However, the American dominancy is still noticeable. For example, the depiction of the coconut and the plumeria flower are signs of Americanised Polynesia. The American and Disney values are all visible during the whole movie and can be found in quotes, gestures and behaviour of characters as Moana, the ocean and demigod Maui. Especially Maui is being portrayed as the ‘American dominant hero’ even though Maui is considered to be a honoured and popular Polynesian demigod. Disney Moana Culture Disneyfication Americanisation Cultural appropriation Critical Discourse Analysis Polynesia Media and Communications Medie- och kommunikationsvetenskap
4	Idioma y género en Disney : Un estudio de los rasgos de habla femenina en Moana, la princesa moderna de Walt Disney Company / A study of the modern Disney princess language features Stålnacke, Annika January 2019 (has links) ResumenEste estudio tiene como objetivo explorar el lenguaje de la princesa moderna de Disney y qué mensaje transmite su discurso a los niños con el fin de clarificar si Disney hace uso del “lenguaje femenino” cómo ha sido investigado por la investigadora Robin Lakoff. Es fundamental analizar la visión de la princesa Disneyana transmitida por la multinacional ya que por el lenguaje empleado se averiguan los valores que van dirigidos al público infantil en todo el mundo. Aunque se puede rechazar la afirmación de que las películas infantiles transmitan ideas y valores, la carga ideológica de los medios sigue siendo grande. La película analizada en el estudio es la más moderna de Disney; Moana: Un Mar de Aventuras. Se prestó atención a los atenuantes, adjetivos vacíos, intensificadores y preguntas eco. Los resultados no demuestran ninguna coherencia relativa a diferencias lingüísticas entre los sexos: un aspecto lingüístico fue utilizado por el personaje femenino sola, lo que, sin embargo, podría ser relacionada con las características del personaje. Un hallazgo adicional reveló que el protagonista masculino pronuncia más palabras que la protagonista femenina, a pesar de tener menos exposición en la película. Disney lenguaje femenino Moana género medios infantiles el discurso de Disney General Language Studies and Linguistics
5	The confiscation of Pare Hauraki: The impact of Te Ao Pākehā on the Iwi of Pare Hauraki Māori; on the whenua of Pare Hauraki 1835-1997 and The Foreshore and Seabed Act 2004 / Te raupatutanga o Pare Hauraki Peters, Murray Hamaka January 2007 (has links) Kia mau ki te rangatiratanga o te Iwi o Hauraki Just as the whakataukī explains Hold fast to the power and authority of the Hauraki tribes the focus of this study is to examine and evaluate the impact of Te Ao Pākehā on Pare Hauraki lands and Tīkapa Moana under the mana of Pare Hauraki Māori and Pare Hauraki tikanga. The iwi of Pare Hauraki have land claims through the, (Wai 100) and the Hauraki Māori Trust Board, before the Waitangi Tribunal highlighting whenua issues and their impact on Pare Hauraki iwi. Also relevant is the foreshore and seabed issue which is documented leading on to the infamous Foreshore and Seabed Act 2004, (for Māori anyway), sparking widespread opposition by Māori throughout the country, and other supportive non-Māori groups because of the issue concerning Māori kaitiiakitanga and guardianship roles. This investigation will commence by outlining the histories of discovery and settlement of Pare Hauraki, the concept of mana-whenua/mana-moana as it applies to Pare Hauraki Māori and our tikanga, and then to subsequent issues leading to land alienation of the early 19th to late 20th cenutries and then to the foreshore issue of the early 21st Century. This research will include information showing that before 1840 to Te Tiriti o Waitangi and thereafter that Pākehā and various Crown agents, through legislation claimed the rights to the lands, waterways and oceanic areas under the kaitiakitanga of my tupuna of Pare Hauraki. Tupuna and other iwi members have expressed their disgust seeing the mana of their traditional lands, waterways, oceanic areas and kaitiaki roles slipping away from them through these activities. Therefore, this thesis is a response to those issues and the impact on (a), Māori as a people, and our tikanga Māori and (b), Pare Hauraki Māori as the kaitiaki/guardians of the Pare Hauraki rohe/territory in accordance with tikanga Māori, and the significance of the responsibilities which arise out of the Māori concepts of kaitiakitanga, manaakitanga and rangatiratanga. Maori Treaty of Waitangi Declaration of Independence Foreshore Seabed Water Human Rights United Nations Waitangi Tribunal Tupua Taniwha Deity Waka Tupuna Ancestor Moana Whakapapa Tikanga History Iwi Marutuahu Tainui Tribe Hapu Subtribe Land Alienation Confiscation Raupatu Crown Law Pakeha English Aotearoa New Zealand Captain Cook Taraia Tukukino Horeta Te Taniwha Tanumeha Te Moananui Tikapa Coromandel Tinorangatiratanga
6	Imagineered Imperial Tourism: Disney & US Empire in Hawai'i Rachel E Bonini (8364543) 19 April 2022 (has links) <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> History Ethnic Studies Media Studies Settler colonialism Disney US empire Hawai'i Native Hawaiians TOURISM tourist industry Cultural tourism Settler ideology Decolonization. settler responsibility Critical discourse analysis (CDA) Lilo & Stitch Moana Aulani, A Disney Resort & Spa Walt Disney World Public pedagogy Multiculturalism Aloha spirit Spirit of aloha Cultural Authenticity Hawai'i Tourism Authority Counternarratives Militourism Aloha 'Aina Maunakea Thirty Meter Telescope Stop TMT American Studies Asian American studies
7	George Tsutakawa's fountain sculptures of the 1960s: fluidity and balance in postwar public art. Cuthbert, Nancy Marie 20 August 2012 (has links) Between 1960 and 1992, American artist George Tsutakawa (1910 – 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa's fountains present a major intervention in North America's urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle's development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW's Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America – that he and his art existed somewhere in-between. There is much truth in Reed's statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa's fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist's debts to intercultural networks of artistic exchange – between North America, Asia, and Europe – operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories. / Graduate George Tsutakawa American modernism modern design silicon bronze sculpture welded sheet metal sculpture West Coast modernism Pacific Northwest Seattle public art Century 21 Fulton Mall postwar shopping center design Asian American art World War II Japanese internment Nisei Kibei machine aesthetic abstract art spirituality in art Lawrence Halprin environmentalism in art International Style architecture postwar urban planning Ala Moana Center Northgate Shopping Center Zen in America Bauhaus in America Walter Gropius Victor Gruen Mark Tobey Japanese American Henry Moore Sigfried Giedion Lewis Mumford Alexander Archipenko Paul Horiuchi Johsel Namkung Dudley Carter Freeway Park, Seattle Bentall Centre, Vancouver Seattle Public Library secondary Orientalism organicism in art modernist architecture

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