A heterossexualidade não é natural, ela é uma condição culturalmente construída que precisa ser constantemente reiterada de modo a ‘normalizar’ os sujeitos. Esta pesquisa assume tal premissa como seu fundamento. No que se refere à perspectiva analítica, alinho-me aos Estudos Culturais em sua vertente pós-estruturalista e recorro a formulações dos Estudos Feministas e da Teoria Queer. Entendo que, no processo contínuo de reiteração da heterossexualidade como norma, inúmeras estratégias e artefatos culturais são utilizados. Nesta tese, analiso os mecanismos postos em ação pelos filmes infantis de animação da Disney, quais sejam: A Pequena Sereia, Mulan, A Bela e a Fera e O Rei Leão. Esses artefatos culturais têm grande importância não apenas no cotidiano das crianças, como também no funcionamento da economia global, movimentando milhões de dólares. Eles certamente constituem-se em importante recurso pedagógico contemporâneo. Interessam-me, aqui, especialmente os enunciados performativos que são repetidos nos filmes infantis, de modo a produzir identidades de gênero e sexuais e garantir a heterossexualidade como norma Acredito que a identidade hegemônica não é perseguida apenas e tão somente através da constante apresentação do Mesmo, mas também (e, talvez, principalmente) é reafirmada através da produção do estranho, do monstro, do abjeto, que funcionam, nesse contexto, como parâmetros de normalidade, como modos de garantir o cumprimento das normas regulatórias. Para desenvolver esta análise, utilizo como ferramentas analíticas fundamentalmente os conceitos de identidade, performatividade, abjeção e normalização.

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.

This dissertation explores the ways in which Janice Honeyman’s 2007 Swashbuckling Adventure, Peter Pan, The Pantomime represents notions of nation and identity in post-apartheid South Africa. In order to accomplish this, this study argues that despite the carnivalesque elements of the genre of pantomime and its potential to subvert the status quo, Honeyman’s translation of Peter Pan reinforces the imperialist ideology embedded in the source texts of Barrie’s 1904 and Disney’s 1953 Peter Pan. Through an exploration of colonialism and imperialism, and postcolonial studies with specific reference to the works of Bhabha (1990, 1994), Anderson (1991) and Said (1979, 1994), this discussion follows an examination of white Victorian British masculinity and imperialist ideology as it applies to Peter Pan to support the argument that through a process of translation, achieved through the techniques of Disneyfication and double localisation, the Barrie and Disney texts have been translated from their original contexts into the South African postcolonial and post-apartheid context. The argument concludes that in doing so, Honeyman has neglected to provide counter-discourses to the imperialist ideologies in the source texts and has reinforced the racial and gender stereotypes found therein, supporting the colonial power axis of the original text and colonial re-presentations of identity and nation. / Dissertation (MA)--University of Pretoria, 2013. / Drama / unrestricted

Esta tesina investiga si España incluyeron sus variedades de la lengua cuando doblaron películas de Disney. Por una encuesta se muestra si hablantes de español peninsular captan algunas dialectos o sociolectos socioeconómicos en las voces de los personajes decinco dibujos animados de Disney publicados entre 1991 a 1998. La tesina presenta actitudes contra dialectos regionales en España, sociolectos depende de la clase y sociolectos urbanas y rurales, además da cuenta de cómo variedades son usadas por las películas en la lengua original inglés estadounidense. La tesina saca la conclusión que solo hay tendencias de prejuicio contra la variedad de clase alta en las películas en cuestión, por lo demás no ocurre tan muchas variaciones en los doblajes de Disney en español.

Esta tesina investiga si España incluyeron sus variedades de la lengua cuando doblaron películas de Disney. Por una encuesta se muestra si hablantes de español peninsular captan algunas dialectos o sociolectos socioeconómicos en las voces de los personajes de cinco dibujos animados de Disney publicados entre 1991 a 1998. La tesina presenta actitudes contra dialectos regionales en España, sociolectos depende de la clase y sociolectos urbanas y rurales, además da cuenta de cómo variedades son usadas por las películas en la lengua original inglés estadounidense. La tesina saca la conclusión que solo hay tendencias de prejuicio contra la variedad de clase alta en las películas en cuestión, por lo demás no ocurre tan muchas variaciones en los doblajes de Disney enespañol.

Gulliver's Travels, by Jonathan Swift, has captured readers' imaginations for almost three hundred years, spawning countless adaptations over several different mediums. As different means of communicating and transforming art have been invented, these adaptations have grown to fill the new mediums and make use of the various possibilities each form has created. Film in particular has created an enormous opportunity to re-imagine Gulliver's Travels, since it can directly show the audience the fictional foreign locations in which Gulliver finds himself. In this study, I examine seven screen adaptations of Swift's novel to determine what our current culture views as the core of the work, or what we see as the important pieces to pass on to current and future audiences. The seven chosen adaptations were selected based on how well they have survived over the last century; adaptations which are no longer available for commercial purchase and/or viewing were excluded from the study. I have also only included works which maintain a resemblance to the original story in structure, even if merely loosely, and have excluded works which bear only a thematic tie; I based my choices on the works which make an overt claim to be interpretations of the original text. This study examines only the works which seek to directly represent the original novel. By looking at Swift's work through the lens of adaptation, this study will show how Swift's work is currently perceived, and examines what that may mean for the future of Swift's legacy. As cultural views and connotations of language have changed, the directors of the adaptations have used different means to achieve sometimes similar, sometimes different messages. Gulliver's Travels was originally a satiric work that addressed social problems of eighteenth-century England. Popular views on society have changed, however, as have the politicians holding office. Certain events in Gulliver's Travels, such as the reading of Gulliver's offences in Lilliput, no longer have nearly the same relevance. Therefore, it is important to examine how the directors address these changes to determine what will retain relevance over time.

Många barn har huvudkaraktärer från Disney som förebilder. Dessa förebilder inspirerar och påverkar barnen ända upp till vuxen ålder. På grund av detta inflytande är det viktigt hur dessa karaktärer framställs, vad för egenskaper de visar och står för för att se vilka egenskaper barnen sedan tar med upp i vuxen ålder. forskning hävdar även att kvinnor är underpresterade i filmer. Mot bakgrund av detta har jag undersökt hur barn påverkas av film, hur ledaregenskaper framställs och hur könsnormer ändrats genom åren. Tidigare forskning hävdar att traditionellt ledarskap består av traditionella manliga egenskaper, exempelvis dominans och behov av status. Ledarskapet har dock utvecklats i takt med samhället och en ny typ av ledarskap har växt fram, ett ledarskap som grundar sig i traditionellt kvinnliga egenskaper exempelvis demokratiskt tänkande och konsekvenstänk. För att undersöka detta i filmer har jag använt mig av en kvantitativ analys. Detta motiveras av att kvantitativ metod i högre utsträckning tillåter mätbar data och siffror Resultatet visar att kvinnor är underrepresenterade i Disneyfilmer samt att majoriteten av de ledaregenskaper som visas är manliga ledaregenskaper. Däremot ökar de kvinnliga ledaregenskaperna efter millenniumskiftet. Resultatet belyser vidare att den absoluta majoriteten av huvudkaraktärerna är manliga icke mänskliga karaktärer, en framställning som hävdas vara kvinnlig av tidigare forskning. Disney ändrar med tiden sin framställning av karaktärerna mot en mer modern syn på kön- och ledaregenskaper men inte i den takt samhällets normer ändras.

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.

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.

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