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1	"He's a Human, You're a Mermaid": Narrative Performance in Disney's The Little Mermaid Polanco, Raquel 05 1900 (has links) Disney animation represents a powerful source of economic and cultural production. However, following the death of Walt Disney, the animation division found itself struggling to survive. It was not until the 1989 release of the hugely successful animated film The Little Mermaid that Disney would reclaim its domination among children's cultural producers. Additionally, The Little Mermaid inaugurated a shift in Disney's portrayals of gender as the company replaced the docile passive princess characteristic of its previous animated films with a physically active and strong willed ambitious heroine. Grounded in an understanding of Disney's cultural significance as dominant storyteller, the present study explores gender in The Little Mermaid by means of narrative performativity. Specifically, I analyze the film's songs "Part of Your World," "Under the Sea," and "Poor Unfortunate Souls" as metonymic narrative performances of gender that are (1) embodied, (2) materially situated, (3) discursively embedded and (4) capable of legitimating and critiquing existing power relations. Narrative Disney performance Sex role in motion pictures. Little mermaid (Motion picture) Discourse analysis, Narrative.
2	På egna ben : En genusvetenskaplig analys av huvudrollerna i The Little Mermaid och Kiki’s Delivery Service Lindqvist, Elias January 2020 (has links) Synen på vad som utgör den så kallade starka kvinnliga karaktären har varit objekt för förändring, vilket kan synliggöras bland annat via filmmediet. Syftet med studien är att granska och jämföra två tecknade kvinnliga protagonister utifrån ett genusvetenskapligt perspektiv. Metoden för studien utgörs av två genusvetenskapliga modeller som kategoriserar manligt och kvinnligt beteende, samt semiotisk bildanalys. Materialet består av Disneys The Little Mermaid och Studio Ghiblis Kiki’s Delivery Service. Resultatet visade att karaktärerna uppvisar liknande personliga egenskaper, då de båda är vackra, sårbara, aktiva, skyddande och självständiga, men att de trots detta spelar mycket olikartade rolltyper, samt utformats på olika sätt av sina skapare. Slutsatsen är att Kiki förefaller vara den mer feministiska av de två karaktärerna, men att även Ariel med tanke på verkets inomtextuella tidsperiod till viss del kan tolkas som feministisk. Litteraturvetenskap genusvetenskap genuskontrakt semiotik Disney Studio Ghibli Hayao Miyazaki The Little Mermaid Kiki’s Delivery Service General Literature Studies Litteraturvetenskap
3	Once Upon a Time in a Single-Parent Family: Father and Daughter Relationships in Disney's The Little Mermaid and Beauty and the Beast Sharp, Ashli A. 01 December 2006 (has links) (PDF) Fairy tales are adapted to fit the needs of each generation, reflecting the unique challenges of that society. In the 1980s and 1990s of the United States, issues of what constituted a family circulated as divorce increased and fatherhood was debated. At this time, Disney released two animated films featuring a father and daughter: The Little Mermaid and Beauty and the Beast. Both films are adaptations of fairy tales, and they incorporate changes that specifically reflect concerns of the United States in the late-twentieth century. In the original narrative of "The Little Mermaid" the heroine is primarily raised by her grandmother and wants an immortal soul more than the love of the prince. The tale ends with her death and expectation that after 300 years of service, she can obtain an immortal soul. Disney changes the story, however, by removing the grandmother and placing Triton at the head of the family. His overbearing nature pushes Ariel away as she struggles to gain her independence and win Eric's love. Before the story concludes, Triton, Ariel, and Eric work together to defeat the sea witch and achieve the film's happy ending--the creation of a traditional family. The fairy tale of "Beauty and the Beast" begins with a father who is educated, respected, and wealthy before hardship strikes. Beauty's request for a rose is what starts the adventure as she must learn to love the Beast to save him from an enchanted curse. Disney's alterations to the narrative make Maurice an ineffectual father whose inadequacies bring Belle to the Beast's castle, and the modified curse on the Beast makes both him and Belle need to fall in love, founding their relationship on equality. The tale concludes with the jubilant hope that the couple will form a family together. Both animated features proved popular with the public, suggesting that the films' resolutions are considered desirable endings. The films can then be interpreted as expressing the hope that from the single-parent homes of the late-twentieth century, a new generation of stronger nuclear families can arise if these homes base their relationships on unified efforts and equal partnerships. Disney The Little Mermaid Beauty and the Beast father daughter single-parent family divorce fairy tale late-twentieth century United States Classics Comparative Literature
4	‘The Fisherman and his Soul’ Revalued : A Significant and Singular Fairy Tale in Oscar Wilde’s Work CAIZERGUES, Quentin January 2022 (has links) The period 1889-1891 has been regarded as crucial in Oscar Wilde’s (1854-1900) career. Having been somewhat unsuccessful as a writer during the 1880s, and turning to journalism to earn a living, Wilde in this period saw the publication of his dialogues which led to his sole novel The Picture of Dorian Gray (hereafter, Dorian), serialised in 1890 before being republished as a novel in 1891. It has been characterized as a turning point in his career, and critics have studied these works in detail, as well as those which followed, especially the four society’s comedies: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895), The Importance of Being Earnest (1895). However, besides this selection, much of Wilde’s work remains under-researched, particularly his fairy tales, whose study suffers from the prejudicial categorisation as children’s literature. Research to date has tended to privilege a single aspect of Wilde’sfairy tales, as in Jarlath Killeen’s The Fairy Tales of Oscar Wilde (2007) focusing on a Victorian societal perspective, rather than studying the fairy tales as a coherent and integral part of Wilde’s lifework. The essay focuses on ‘The Fisherman and His Soul’ (hereafter, ‘Fisherman’), recognised as the most sophisticated tale from Wilde’s A House of Pomegranates (1891) (hereafter, Pomegranates). It will establish the essential role of ‘Fisherman’ in understanding Wilde’s complex aesthetic philosophy by examining the tale from two distinct levels of intertextuality. First, Wilde borrowed some of the most emblematic aesthetical and narrative elements from Andersen’s ‘The Little Mermaid’ (hereafter, ‘Mermaid’) and other similar fairy tales from the early nineteenth century for explicitly positioning ‘Fisherman’ as a response to Andersen’stale. Taking the opposite approach to Andersen’s ‘Mermaid’, Wilde’s ‘Fisherman’ stands as a social critique against the Victorian doxa, especially denouncing its nefarious effect on art. Second, through epistolary and textual evidence, the essay reveals the connections between ‘Fisherman’, Dorian, and ‘The Soul of Man’ (1891), including their genesis, design, themes, and discourse. This dual intertextuality of ‘Fisherman’ allows us to reassess Wilde’s tale as an influential text. It contributes simultaneously to comprehending better how consistent Wilde’s aesthetic standards and societal view were. Oscar Wilde The Fisherman and his Soul fairy-tales studies aestheticism social critique Victorian studies Hans Christian Andersen The Little Mermaid Specific Literatures Litteraturstudier General Literature Studies Litteraturvetenskap Specific Languages Studier av enskilda språk
5	The Whole Other World of Ashman and Menken: Broadway Conventions in Disney's "Renaissance" Musicals Minelli, Kelli Marie 27 January 2023 (has links) No description available. Music Theater History Film Studies Motion Pictures Disney Renaissance Broadway musical theatre animation film Beauty and the Beast Aladdin The Little Mermaid musicals Howard Ashman Alan Menken Walt Disney Animation Studios voice theatre Times Square Disney
6	Interroger l’idéologie du studio Disney par la (re)composition musicale : une approche alternative de l’analyse filmique : La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) Naëck, Krishvy 03 1900 (has links) Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives. / Notre travail concernant Disney s’inscrit dans le champ de la musique de film, et même si le studio a fait l’objet de nombreuses recherches tant sur des questions esthétiques que culturelles, il reste intéressant à étudier, car il peut ainsi devenir l’objet de recherche, non sur l’originalité d’un corpus, mais sur un déplacement de la méthode, nous permettant d’interroger l’idéologie à l’œuvre. Notre thèse concentre son attention sur La Petite Sirène (1989), La Belle et la Bête (1991) et Aladdin (1992) où il nous semble que, en recourant à la recomposition de la musique de certaines séquences des films, nous puissions faire jouer à la part de virtualité du texte filmique un rôle dans cette entreprise critique : retrouver la voix des héroïnes Ariel, Belle et Jasmine. Nous pensons que les lectures préexistantes ont fait le choix de prioriser le récit et que le déplacement proposé par Stanley Cavell dans sa lecture de King Lear, prêtant la cohérence au personnage, nous invite, sur le même modèle, à faire une lecture similaire concernant les films de Disney. Si un geste de recomposition musicale peut nous aider à penser ce rapport au personnage, c’est parce que nous pensons que la musique peut faire entendre la virtualité d’un film (et plus précisément de ses personnages), et devenir par cela un geste d’analyse critique de son idéologie, et ici particulièrement des rapports de pouvoir. Recomposer certaines séquences importantes du film, c’est le rééclairer en reprenant les matériaux musicaux mêmes du compositeur du film (Alan Menken), pour en redistribuer les emphases — notion à laquelle nous ne donnons pas qu’une valeur musicale, mais une valeur philosophique, reprenant à Stanley Cavell cette idée qu’une différence d’accent peut faire toute la différence du monde. La recomposition musicale met en acte les allers-retours indispensables à la compréhension des séquences que nous travaillerons : elle redonne corps aux espaces de résonance du film et compose les affleurements d’une promesse initiale proposée par le film vis-à-vis de son héroïne. Elle aide à réfléchir au film et à ses interactions tout en faisant monter à la surface ladite promesse dont le film cherchait à bloquer l’actualisation. Ces allers-retours nous permettent de retrouver l’importance des numéros musicaux à l’intérieur des films dans lesquelles s’expriment les héroïnes. En prolongeant notre analyse par le prisme de l’intermédialité, nous réfléchissons à la porosité avec la scène de Broadway (ou plus précisément ici avec le off-Broadway) qui permettent des doubles lectures issues des numéros musicaux. L’ensemble de la musique, dans son lien au complexe audio-visuel, nous permet ainsi de réfléchir aux rapports de pouvoir inscrits dans le film. / From aesthetics to cultural studies, Disney has been the subject of many studies. Thanks to this prolific research, it is possible de study it by another methodological angle to understand the ideology of and within the movies. Within the academic field of film music, our thesis will draw its attention on The Little Mermaid (1989), Beauty and the Beast (1991) and Aladdin (1992). It seems that, thanks to an alternative version of the original score that we would compose, we may bring the potentiality inscribed in the movie to be a part of our critical study: find the heroines’ voice Ariel, Belle and Jasmine. We think that the previous studies of these films made the choice of prioritising a narrative analysis where ours is to take into account of the character’s consistency, as does Stanley Cavell in his reading of King Lear. The main idea is to see this new composition as an alternative version the composer could have come up with, and to measure how we can go from the recomposition to the original sequence and end up with another angle for the analysis of the movie. We think that this method will enable us to take account of the character’s consistency for the music can be a way to hear the potentiality of a movie (and specifically here, the characters), so it will be an opportunity to discuss Disney ideology. The musical recomposition of specifics sequences will help us to point out that the film makes a choice thanks to musical emphasis — notion that is not only musical but also philosophic, as Stanley Cavell points out that a difference of emphasis is able to make all the difference in the world. The musical recomposition enact the back and forth inside the different moments of the movie to help us understand what is at stake: it enlightens the resonances between the sequences and compose the surfacing promise initially build-up by the movie towards the heroine. It also helps us thinking about the movie’s interactions while getting to the surface the aforementioned promise the movie was trying to stop from actualising. Going back and forth into the movie thanks to the musical recomposition brings to light the importance of the musical numbers where the heroines have a space and moment to express themselves. By extending our analysis through the prism of intermediality, we consider the porosity of theses musical numbers with the Broadway stage (and more accurately the off-Broadway) whose enable us to do dual readings of the movie. All the music in its connexion to the rest of the audio-visual complex enable us to think about the power relations which occurs in the movie. Musique de film Recomposition musicale Intermédialité Emphase musicale Alan Menken (1949 -) Howard Ashman (1950-1991) La Petite Sirène La Belle et la Bête Aladdin Stanley Cavell Disney Film music Musical recomposition Intermédiality Musical emphasis The Little Mermaid Beauty and the Beast
7	From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films / Från Snövit till Frost : En utvärdering av populära könsrepresentations-indikatorer tillämpade på Disneys prinsessfilmer Nyh, Johan January 2015 (has links) Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods. / <p>Betyg VG (skala IG-VG)</p> Disney princesses Disney princesses gender Bechdel Bechdel test Walt Disney Pixar Frozen children girl culture gender representations talk time talktime gendertimer equality content analysis female feminism feminist gender role socialization model gender role socialization model passive domestic active media post-feminist gender role portrayals key measures popular nature or nurture genes or environment gender differences expressions of gender gender experiments neurological brain plasticity constructivist cultivation theory social cognitive theory quantitative quantitative measures quantitative methods stereotypes stereotype stereotypical women character count biological sex biological gender metrics femininity textual analysis submissive submissive behaviour independence daddy's girl patriarchy patriarchal patriarchal approval wicked women old wicked women wicked witch male masculine masculine characteristics feminine characteristics genders marrying marriage love at first sight empowerment fairy tale fairy tales film movie films movies Mulan Pocahontas Snow White Snow White and the seven dwarfs Cinderella Sleeping Beauty Little Mermaid The Little Mermaid Beauty and the Beast Aladdin Tangled Brave Frozen The Princess and the Frog Merida relationship relationship formation true love true love's kiss sisterhood sisterly Grimm Grimm brothers parental approval matriarchal approval matriarchal matriarchy stereotyping evil queen rate rater rating measure measuring wicked stepmother binary gender gender binarity binary genders gender identities gender identity gender identity formation identity formation animation cell animation the Smurfette principle strong women strong girls girlie positivism positivistic film studies analysis analyses antagonism action coding cultivation effect cultivation effects socialization effect socialization effects coded content analysis simple metrics cognition theory connotations cultivation theory socialization theory depictions of femininity plasticity human brain damsels in distress feminist research inequality gender inequality media studies heroines mass media social media images of women woman as image reading interpretation modern day fairy tales Disney prinsessor Disneyprinsessor Disney-prinsessor kön genus genusvetenskap Bechdel Bechdel test Bechdeltest Bechdeltestet Walt Disney Pixar Frost barn flickor kulturuppväxt representationer skildringar intryck taltid talk time talktime gendertimer jämlikhet innehållsanalys feminin feminism könsroll könsroller socialisering socialiseringsmodellen passiv hushållsarbete aktiv media post-feministisk postfemininstisk nyckeltal populärvetenskaplig populärvetenskapligt naturen uppväxt eller gener gener eller upppväxt uppfostran genetik könsskillnader könsuttryck experiment hjärnan plasticitet konstruktivism kultivationsteori kognitiv teori kvantitativ kvantitativa mått kvantitativa metoder stereotyper stereotyp stereotypisk kvinnnor kvinna kön biologiskt kön mått nyckeltal femininitet textanalys filmanalys kuvad underkastad submissiv oberoende pappas flicka patriarkat patriarkisk patriarkalt godkännande manlig maskulin kön genus äktenskap kärlek vid första ögonkastet saga sagor bröderna Grimm film Mulan Pocahontas Snövit och de sju dvärgarna Askungen Törnrosa Den lilla Sjöjungfrun Skönheten och Odjuret Aladdin Trassel Modig Frost Prinsessan och Grodan Merida förhållanden sann kärlek Grimm matriark matriarkisk patriarkalt godkännande matriarkalt godkännande bedöma betygsätta mått mäta ond styvmor binära kön könsidentitet könsidentiteter animation Smurfan starka kvinnor starka flickor positivistisk positivism filmvetenskap filmstudier antagonism protagonist hjältinna kodning kultivationseffekten socialiseringseffekten socialisationseffekten kodad innehållsanalys förenklade mått kognitiv teori konnotationer konnotera feministisk forskning könsbalans mediastudier mediestudier massmedia social media bilder av kvinnor kvinnan som bild images of women woman as image reading interpretation modern day fairy tales tolkning

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