Thesis advisor: Min H. Song / This dissertation examines how contemporary Filipino American novels narrate the experiences of immigrant Filipino workers in the US in the context of neoliberal globalization. In particular, I analyze how these novels depict neoliberal global capitalism's re-ordering of urban and suburban spaces in order to create safe spaces for consumption, and the impact of such re-ordering on immigrant Filipino service workers. This re-ordering of space, based on urban management principles pioneered by Disney Corporation that have become dominant across the US and in other places like the Philippines, has widened the gulf between those who have the means to partake of consumption and those who do not. The dissertation argues that the contemporary Filipino American novels under study perform the cultural task of capturing the disturbances brought about by the dizzying shifts in the nature of work, understanding of self, affiliation, and the world, and of reflecting back to their readers their personal and social costs. Chapter One traces the roots of Disneyfication to the world's fairs of the late nineteenth and early twentieth centuries, highlighting the imperialist legacy imbricated in the Disney theme parks' nativist and anti-poor tendencies. I argue that such bias underpin the strategies of Disneyfication that has dominated the US urban landscape beginning in the 1970s. Chapter Two analyzes Jessica Hagedorn's two novels on the Philippines, Dogeaters and Dream Jungle, focusing on her literary representation of the Marcos dictatorship's attempt to use the strategies of Disneyfication to cover over the regime's violent exploitation of its own people in connivance with the then US-dominated global capitalism. Chapter Three discusses how Han Ong's Fixer Chao depicts the transformation of the subjectivity of an immigrant Filipino service worker against the background of New York City's gentrification in the 1990s. Ong uses the motifs of fragmentation, displacement, and conflation of moral good and material goods to present a Filipino American critique of neoliberal global capitalism's ethos of consumerism. Finally, Chapter Four studies Brian Ascalon Roley's American Son and Evelina Galang's One Tribe in terms of the novels' depiction of the immigrant Filipino workers' experience of the strategies of exclusion and control. Both novels delineate formal and informal means of surveillance targeted at Filipino immigrant workers, highlighting the way immigrant Filipino families and communities discipline their members, in particular the young females, to argue for assimilation into the Disneyfied mainstream American society and culture. / Thesis (PhD) — Boston College, 2014. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: English.

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.

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.

Les espaces publics dépendent désormais d’une ville néolibérale et entrepreneuriale qui doit obéir à des impératifs de rentabilité économique. Cette thèse entend montrer comment les municipalités doivent redorer leur image pour attirer de nouveaux capitaux, ce qui implique de se débarrasser des « indésirables » (les sans-abris et autres personnes perçues comme des nuisances) qui ternissent l’image de leurs espaces publics. Elle s’intéresse à trois analyses de cas : les centres commerciaux The Grove et Americana At Brand, les Business Improvement Districts et Safer Cities Initiative, un programme de « tolérance zéro » mis en place par la municipalité de Los Angeles en 2006. Il s’agit de comprendre en quoi l’expérience de l’urbanité a été tempérée et régulée par de nouveaux codes où les aspects dérangeants ont tous été dissous dans un tissu urbain lavé de toute diversité socio-culturelle. L’exclusion systématique des indésirables incarne particulièrement bien cette volonté d’imposer une norme dominante. Ces nouveaux espaces semblent sûrs et sécurisés mais s’avèrent être des espaces contrôlés, surveillés, dépourvus d’authenticité, où les comportements sont attentivement scrutés. Il s’agit également de démontrer comment l’exclusion spatiale et l’exclusion sociale se renforcent mutuellement. Enfin, cette thèse analyse également les groupes qui se positionnent contre la privatisation de l’espace public et proposent de repenser la ville contemporaine. / Public spaces now depend on a neoliberal and entrepreneurial city that has to obey economic profitability priorities. This thesis aims at showing how municipalities try to bolster their image in order to attract new capital, which entails getting rid of its undesirables (the homeless and other people perceived as problems) who tarnish their public spaces’ image. This thesis includes three case studies : two malls The Grove and Americana At Brand, Business Improvement Districts and Safer Cities Initiative a zero tolerance policy program initiated by the city of Los Angeles in 2006. The goal is to understand to what extent the urban experience has been tempered and regulated with new codes, and in which all disturbing aspects have all been disolved in an urban fabric cleaned of all socio-cultural diversity. The automatic exclusion of undesirables embodies perfectly well this desire to impose dominant norms. All these new spaces seem safe and secured but they turn out to be controlled, surveilled, deprived of authenticity, in which bevahiours are heavily scrutinized. This thesis also aims to demonstrate how spatial and social exclusion mutually reinforce each other. Finally, it analyzes groups that are against public space privatization and offers alternatives to the redesign the contemporary city.

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

nÃo hà / Alice no PaÃs das Maravilhas, de Lewis Carroll, à considerada uma das obras mais conhecidas da literatura vitoriana infanto-juvenil e sua adaptaÃÃo em animaÃÃo para o cinema, pelos estÃdios Walt Disney, herdou semelhante fama. Sob o viÃs dos Estudos da TraduÃÃo, esse projeto tem por objetivo analisar a traduÃÃo intersemiÃtica das personagens Alice, Gato de Cheshire, Coelho Branco e Rainha de Copas. Tendo em vista esse objetivo, serÃo utilizadas as abordagens de Charles Peirce (1839) e JÃlio Plaza (2001) para elucidar a reconstruÃÃo intersemiÃtica das personagens por meio das relaÃÃes entre as trÃades sÃgnicas icÃnicas, indiciais e simbÃlicas que a compÃem. Ademais, tambÃm serà examinado o impacto da disneyficaÃÃo, segundo Alan Bryman (2004) e Janet Wasko (2001), na realizaÃÃo da adaptaÃÃo fÃlmica e o impacto que esta possui tanto para o texto de partida, quanto para o pÃblico de chegada.

MONTEIRO, Paulo Henrique Calixto Moreira. Alice no país dos signos: uma abordagem peirceana acerca da adaptação disneyficada das personagens de Carroll. 2016. 132f. –Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-Graduação em Estudos da Tradução, Fortaleza (CE), 2016. / Submitted by Gustavo Daher (gdaherufc@hotmail.com) on 2017-02-07T16:25:37Z No. of bitstreams: 1 2016_dis_phcmmonteiro.pdf: 4220559 bytes, checksum: c392ddbc861bf84c201a96eb8bbe90f3 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2017-02-09T10:55:09Z (GMT) No. of bitstreams: 1 2016_dis_phcmmonteiro.pdf: 4220559 bytes, checksum: c392ddbc861bf84c201a96eb8bbe90f3 (MD5) / Made available in DSpace on 2017-02-09T10:55:09Z (GMT). No. of bitstreams: 1 2016_dis_phcmmonteiro.pdf: 4220559 bytes, checksum: c392ddbc861bf84c201a96eb8bbe90f3 (MD5) Previous issue date: 2016 / Alice no País das Maravilhas, de Lewis Carroll, é considerada uma das obras mais conhecidas da literatura vitoriana infanto-juvenil e sua adaptação em animação para o cinema, pelos estúdios Walt Disney, herdou semelhante fama. Sob o viés dos Estudos da Tradução, esse projeto tem por objetivo analisar a tradução intersemiótica das personagens Alice, Gato de Cheshire, Coelho Branco e Rainha de Copas. Tendo em vista esse objetivo, serão utilizadas as abordagens de Charles Peirce (1839) e Júlio Plaza (2001) para elucidar a reconstrução intersemiótica das personagens por meio das relações entre as tríades sígnicas icônicas, indiciais e simbólicas que a compõem. Ademais, também será examinado o impacto da disneyficação, segundo Alan Bryman (2004) e Janet Wasko (2001), na realização da adaptação fílmica e o impacto que esta possui tanto para o texto de partida, quanto para o público de chegada.