Evolution d'une entreprise vouée à la communication et aux nouvelles technologies Walt Disney Productions.Hamel, Gérard. 1986 (has links)
Th.--Sci. de l'éduc. et de la communication--Paris 13, 1986.
A critical and contextual analysis of the changes in African-American character representation in Disney animated films from Dumbo (1941) to the Princess and the Frog (2009)Joffe, Sheri Lee 12 June 2014 (has links)
This paper explores how ethnic character representations in Disney films have changed in response to changing cultural attitudes and historical context over time in response to variations in the broader American sensitivity to race and ethnicity. When we today look at instances of African American representation from the 1940s, such as in the Film Dumbo (1941), we are shocked at how overtly stereotypical these representation are. According to today’s standards, it would be unacceptable to show such caricatured racial representations. But at the time in America such standards, and the attitudes that inform them, did not exist. In view of the progress made in the intervening 70 years in thinking about race and the extent to which attitudes to racial representations have changed, we should now see the representation of African Americans being dealt with very differently in recent films such as The Princess and The Frog (2009), which featured Disney’s first African- American princess (Breaux 413). In order to answer this question I in this paper critically assess African-American representation in Disney films from the 1940s to today. In order to see how race has been dealt with in one of the studio’s first feature-length films and in one of its most recent releases I analyzed specific instances of racial representation in two case studies: Dumbo (1941) and The Princess and the Frog (2009). This analysis is informed by an awareness that the offensiveness of such representations is culturally determined and has changed over time. By textually reconstructing the contexts in which the films were produced and then analyzing instances of racial representation according to how they have been constructed, making reference to concepts of Stereotyping, Othering and Hierarchy.
(has links) (PDF)
Thesis PlanB (M.S.)--University of Wisconsin--Stout, 2008. Includes bibliographical references.
1 May 2011
The objective of this study is to examine the emotional regulation strategies used by Walt Disney World on-stage employees as a way to fulfill requirements set forth by the company. Ten Disney on-stage employees were interviewed off-property in Orlando. The emotional regulation framework was divided into several categories: (1) a distinction between deep acting and surface acting, (2) emotional deviance, and (3) emotional exhaustion. "Surface acting" is a strategy by which employees display company-imposed emotions not genuinely felt, whereas "deep acting" occurs when employees do feel the emotions that they are required to express (Hochschild, 1983). Throughout the data reduction process, five key themes surfaced as the most relevant to the initial research questions: (1) Self-Motivated Deep Acting, (2) Organizational Expectations for Surface Acting, (3) "Back-Stage" vs. "Front-Stage" Dichotomy, (4) Benefits of Emotional Training, and (5) Negative Effects of Emotional Regulation. Overall, the researcher found that a key strategy of emotional regulation that Disney employees use frequently is surface acting, although deep acting was found to be more successful. In addition, while emotional exhaustion was a common problem among employees, very few of them will actually engage in emotional deviance in order to avoid the negative consequences of surface acting. Lastly, it was found that highly skilled Walt Disney World employees will have already internalized emotional regulation training and display rules that manage emotional behavior. Therefore, it becomes less essential for the Disney Company to formally monitor its employees' facial expressions and emotional behavior in the future. ID: 029809526; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 74-85). M.A. Masters Communication Sciences
Nicholson, Patricia Leigh
No description available.
Curran, Kerrie Lea
This thesis chronicles an attempt to delve into the murky world of image and semblance, illusion and contrivance. The examination and especially the celebration of image and style--of simulation--throughout recent cultural debate is incisively expressed through the framework of popular culture. Walt Disney World, as a cultural artifact and profit-making commodity, is the consummate model of all the entangled processes of popular culture: a turbulent melange of aesthetic, ethical, and sociological concerns. America is Disney World; borne of fantasy and ubiquitous iconism. Our cultural atlas reverberates with the energy of cinematic, pulsating and seductive imagery; restrained and unfulfilled by the voyeuristic stance of the pseudo-event. This study registers a pilgrimage into the shadows of our own creative aspirations: how can we engage in exploring new possibilities for architectural making, addressing imaginatively and ethically the rupture of the fabric symbolically connecting the actor and the drama?
Stuttgart, FH, Diplomarb., 2002.
Hightower, William Patrick. Davis, Frederick R.
Thesis (M.A.)--Florida State University, 2004. Advisor: Dr. Frederick Davis, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Jan. 12, 2005). Includes bibliographical references.
Ige, Barbara Kaoru.
Thesis (Ph. D.)--University of California, Santa Cruz, 1997. Typescript. Includes bibliographical references (leaves 318-338).
An Analysis of the Communication Efforts Made by Walt Disney World During the Energy Crisis - October 1973 to March 1974Campbell, Carol E. 1977 (has links)
Florida Technological University College of Social Sciences Thesis M.A. Masters Social Sciences Communication 89 p. v, 89 l. ; 28 cm.
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