Disney movies are a vehicle for American culture; however, Disney has lagged behind in representing queer people in their films as protagonists. For this reason, critical scholarship is necessary to understand Disney's role in building, replicating or changing culture. Although some critical work on Disney has focused on gender or race, queer theory is underutilized to understand Disney films, especially in the field of communication. Though much research exists on movies from the Disney Renaissance, relatively few have examined the films released in the past decade in a systematic way, focusing on how the movies may be relatable to queer experiences. This analysis combines a queer theory lens and a grounded theory approach to examine where queer people can find their experiences reflected in the most recent Disney movies, even without openly queer protagonists. The study resulted in the formation of six categories that describe instances of queering and queerness in Disney movies: queering of Disney logic, queering of "appropriate" through mature themes, queering of power and violence, villainous queerness, heroic queerness and queer acceptance. Previous literature and the new categories from this study as a whole suggest that the Walt Disney Company is taking small steps to offer more diverse narratives and subvert expectations in ways that allow queer people to read their experiences in the characters on screen. / Master of Arts / Disney movies are a multi-billion dollar industry (Vary, 2020), and the company has taken steps in recent years to feature more diverse storylines and characters in their animated movies. Despite this, there is yet to be an openly queer protagonist in a Disney animated film. With this fact in mind, this study seeks to find places where queer people can still see themselves and their experiences reflected in the Disney films release in the last decade. These instances range from ambiguity that allows audiences to read a character as similar to themselves to moments that question the power structures that push certain people to the margins of society in the first place. Six categories were created after analysis to describe these moments: the queering of Disney logic, the queering of "appropriate" through mature themes, the queering of power and violence, villainous queerness, heroic queerness and queer acceptance. Taken together, these findings and the previous research on Disney suggests the company is slowly moving to open up storylines to allow more people to see their experiences reflected in the movies.
| Identifer | oai:union.ndltd.org:VTETD/oai:vtechworks.lib.vt.edu:10919/106744 |
| Date | 03 June 2020 |
| Creators | King, Jessica Lynn |
| Contributors | Communication, Waggenspack, Beth M., Logan, Nneka, Ivory, Adrienne Holz |
| Publisher | Virginia Tech |
| Source Sets | Virginia Tech Theses and Dissertation |
| Detected Language | English |
| Type | Thesis |
| Format | ETD, application/pdf |
| Rights | In Copyright, http://rightsstatements.org/vocab/InC/1.0/ |
Page generated in 0.0022 seconds