Emma Löfvendahl och Lina Karlsson (2023) Underlandet - En adaptionsstudie av Lewis Carrolls originalversion och Disneys film. Självständigt arbete, Svenska, inriktning F-3, grundnivå, 15 högskolepoäng. Institutionen för humaniora, utbildnings- och samhällsvetenskap. Syftet med denna studie är att undersöka förändringar som gjorts vid adaptionen av Lewis Carrolls verk Alice i underlandet till Disneys filmversion. Det som mer specifikt fokuseras på vid analysen är de skillnader och likheter som finns mellan verkens karaktärsgestaltning och intrigens skildring. Vidare förs även en didaktisk diskussion kring hur dessa verk kan användas i grundskolans F-3. Uppsatsen är en komparativ adaptionsstudie som jämför verken med utgångspunkt ur Maria Nikolajevas begrepp kring barnlitteratur. Analysen visar att de viktiga karaktärsdragen skildras överensstämmande i adaptionen i jämförelse med originalverket. Intrigens kärna är bevarad i filmadaptionen och är därför sann till originalverket trots de förändringar som skett. Resultatet visar att de skillnader som skett i adaptionen är betingade av mediets påverkan och disneyfication.

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Throughout much of the twentieth century Walt Disney wielded considerable influence in American culture. By identifying and commercially exploiting a strain of environmental thought that sentimentalized and romanticized nature, Walt Disney influenced the attitudes of millions of Americans concerning how they conceptualized environmental issues. The Walt Disney Company’s nature documentaries and their popularity as both entertainment as well as educational material helped disseminate the virtues of conservation within the American mindset. The Disney interpretation of conservation clashed with other post-war environmental understandings of the ethic, as did the company’s consistently inaccurate representations of nature on film. Disney’s particular strain of environmentalism, based on an Edenic appreciation for nature, the belief that to conserve land it must be developed, and practice of moralizing to humans through anthropomorphized depictions of animal behavior, stood out in contrast to other existing post-war environmental mindsets during the controversy surrounded the proposed construction of a vacation resort in Mineral King, California, following Disney’s death. / History

I vår uppsats jämför vi bröderna Grimms sagor Snövit, Askungen och Törnrosa med Walt Disneys adaptioner av dessa.I de flesta utgivna sagohistorier skildras den kvinnliga karaktären på två olika sätt där det goda möter det onda. Syftet med denna uppsats är att undersöka, reflektera och framhäva hur de angivna karaktärerna framhävs och hur detta bemöts av läsaren. Detta för att ta reda på hur de olika verken skiljer sig i framställning av dessa karaktärer samt hur detta mottages och påverkar läsaren/tittaren Vi diskuterar vidare den roll dessa framställningar har för barns identitetsskapande samt hur vi som lärare kan arbeta med dessa verk för att synliggöra stereotypa könsmönster.Vår komparativa studie kommer i huvudsak bestå av en djupgående analys av karaktärer baserad på litteratur, vetenskapliga artiklar, artiklar, examensarbeten och filmer.Resultatet visar en tydlig polarisering av karaktärerna i de angivna sagohistorier, där de ofta kategoriseras som antingen goda eller onda. Detta leder till att läsaren kan behöva välja sida vilket i de flesta fall medför att läsarens sympatiserar med det goda. Det finns dock risker som medföljer denna kategorisering, såsom de ouppnåeliga normerna som en flicka förväntas agera som i sin tur kan leda till blandade känslor av dålig självkänsla och otillräcklighet.

Uppsatsen analyserar karaktärer och utvalda delar i Maj Bylocks återberättade version Ringaren i Notre-Dame (2000) och Walt Disneys filmatisering Ringaren i Notre-Dame (The Hunchback of Notre-Dame, 1996), som båda baseras på Victor Hugos roman Notre-Dame de Paris (1831). Syftet med denna uppsats är att genom en komparativ analys av verken få syn på skillnader och likheter som har gjorts gällande karaktärerna och utvalda scener. Analysen visar att det finns stora skillnader men också likheter både vad gäller karaktärerna och scenerna, men som ändå resulterar i att vi menar att man kan tala om adaption i filmens fall och en bearbetning i bokens fall, trots stora skillnader, då verken fortfarande går att känna igen.

Ce travail aborde les relations existant entre l’amour platonicien et l’amour présent dans les films d’animation de Walt Disney. Disney étant l’un des plus grands médias culturels occidentaux, si ce n’est mondiaux, retrouver Platon chez Disney, c’est voir l’influence de la philosophie grecque sur l’Occident actuel et son héritage. La comparaison sera déployée selon quatre grands thèmes : le rôle du beau dans l’amour, ἔρως comme intermédiaire, l’amour comme folie divine, l’amour comme méthode éducative. Nous commencerons par exposer les mœurs en Grèce antique, pour présenter adéquatement la position de Platon. Nous nous demanderons ensuite les causes pouvant expliquer l’apparition de la théorie platonicienne de l’amour chez Disney. Nous présenterons par la même occasion les contes qui ont inspiré Disney et qui peuvent parfois avoir des racines platoniciennes. Finalement, nous comparerons les films de Disney avec la pensée de Platon au sujet de l’amour. / This paper presents the existing correlations between the concept of platonic love and the love displayed in Walt Disney's animated movies. Disney being one of the biggest media in Occident, if not in the world, finding Plato's theory in Disney movies means seeing the traces of Greek philosophy in today’s occidental world, and its heritage. We will ask ourselves why there is an existing relationship between Plato’s theory and Disney. The comparison will be made around four themes: the role of beauty in love, ἔρως as intermediary, love as divine foolishness, love as educational method. We will first expose the customs of ancient Greece in order to present adequately Plato’s position. We will present the fairy tales that inspired Disney, which sometimes find their origin in Platonism. Finally, we will compare Disney movies with Plato’s reflections about love.

This study is primarily about the theory of uneven geographical development. In an era when it is proclaimed that, through globalization, the world has become flat, the unevenness of economic and social development is often overlooked or suppressed. As the nexus between global and local processes, the urban space often becomes the site of conflict between those defining the hegemonic narrative of the space, from a global and flat perspective; and those experiencing heterogenous local narratives, whose uneven positions are reinforced by this hegemonic narrative. This study explores the conditions of uneven geographical development in the urban space of central Florida. Focusing primarily on the Reedy Creek Improvement District (RCID), better known by much of the world as Walt Disney World, and on Celebration, the community developed by the Disney Corporation in the 1990s, the relationship between urban development and tourism, the defining economic sector in the region, are explored in the context of space-place, global-local narratives. This is done using the four conditions of David Harvey's Theory of Uneven Geographical Development. First, the history of sociopolitical processes within the urban space are explored as creating a framework upon which contemporary uneven geographical development could be built. Second, the development and continued power of the RCID in central Florida are examined within the context of accumulation by dispossession. Third, Celebration as a consumed company town is examined in the context of accumulation across space-time. Finally, the relationships between the RCID and Celebration, and the rest of the central Florida region, are developed in the context of struggles occurring simultaneously across multiple scales. This study shows that the theory of uneven geographical development applies well to a region that is heavily dependent upon the tourist sector for its economy, and thereby works to control the narrative of that space to continue attracting consumers. It also shows that, while the theory of uneven geographical development works well for a space that is a primary global tourist sink, it needs additional theoretical sophistication in order to better suit rapidly changing global processes.

Lina Axelsson Berg (2017). Bambi – en komparativ analys av Felix Saltens bok och Walt Disneys film. (Bambi – a comparative analysis of Felix Salten’s book and Walt Disney’s film). Independent project, Swedish, Specialization in Grades 4-6, Advanced Course, 15 credits. School of Humanities, Education and Social Sciences. The aim of this study is to examine the changes that have occurred when Saltens novel Bambi was adapted to Disney’s Bambi. The specific elements that are examined are the scenes, some of the characters and the environment. This has been done through a comparative analysis. The results shows that the changes that has been done when Disney adapted Bambi is fairly small but the (for some) underlying meaning of Saltens Bambi, that it can be read as an allegory, is gone. There has been a change of characters, for Disney has chosen to ignore a couple of the significant characters in Salten and choose to add a couple of new characters which is a reason to why the underlying meaning of the story has changed. The study also examines if and how the story of Bambi (mostly Saltens) can be used in school subjects, primary when working with human values and how human treat animals. The result shows that the story can be used for that purpose but that the pedagogy who chooses to use is have to see to their own students and how they would react to a story like Saltens.

The purpose of this multi-method single-case study was to examine the application of Joseph Campbell's Heroic Journey model as a means of professional identity creation in the life of Walt Disney. Walt Disney was an entrepreneur, cartoonist, filmmaker, inventor, studio head, and family man whose career stretched through the first half of the 20th century. Walt used his imagination and creativity to establish industry norms in the animation, film, television, and amusement park industries. Walt Disney's legacy and vision continue to be a viable influence within the Walt Disney Company today. Campbell's Heroic Journey model was used as the theoretical framework for this study. The Heroic Journey model is rooted in folklore but is used as a means of personal self-discovery and self-construction (Murray, 2009). In the model, Campbell (2008) suggested that the world's myths were not a series of differing myths but one myth, the monomyth, played out differently across cultures. The monomyth is broken into three parts (separation, initiation, and return), with 17 stages dispersed across the parts. The Heroic Journey model states that all heroes leave their familiar world, progress through trials, and return home with new learning for change. This framework was applied to Walt Disney's life to look at the narrative influence on his professional identity. The expansion of narrative scholarship and its influence on creating personal and professional identity using historical research, document review, and observational data was the purpose of this qualitative study. The Heroic Journey model acts as a lens to create and discover one's identity by using stories as a vehicle of understanding. All of life's experiences must be viewed as narrative experiences to use the Heroic Journey model. This study found that narrative cannot be separated from the human experience. It is one's life and lived experiences that create the story of their existence through separation, initiation, and return. Every experience from one's birth to death contributes to whom they will become both personally and professionally. By looking at life as a series of stories and narratives, one realizes the depth of their identity through reflection and examination.