DOCSLIB.ORG

The Shattered Slipper Project: the Impact of the Disney Princess

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Shattered Slipper Project: the Impact of the Disney Princess Southeastern University FireScholars Selected Honors Theses Fall 11-2016 The hS attered Slipper Project: The mpI act of the Disney Princess Franchise on Girls Ages 6-12 Caila Leigh Cordwell Southeastern University - Lakeland Follow this and additional works at: http://firescholars.seu.edu/honors Part of the Gender and Sexuality Commons, Marketing Commons, and the Race and Ethnicity Commons Recommended Citation Cordwell, Caila Leigh, "The hS attered Slipper Project: The mpI act of the Disney Princess Franchise on Girls Ages 6-12" (2016). Selected Honors Theses. 57. http://firescholars.seu.edu/honors/57 This Thesis is brought to you for free and open access by FireScholars. It has been accepted for inclusion in Selected Honors Theses by an authorized administrator of FireScholars. For more information, please contact [email protected]. THE SHATTERED SLIPPER PROJECT: THE IMPACT OF THE DISNEY PRINCESS FRANCHISE ON GIRLS AGES 6-12 Caila Leigh Cordwell Southeastern University © Caila Leigh Cordwell, Southeastern University 2016 ABSTRACT The Disney Princess franchise is arguably the largest and most popular franchise in the world, earning billions of dollars globally each year. Due to the prevalence and ease of access, the Disney princesses have a tremendous impact on today’s youth, namely young girls. This qualitative study investigated just how much of an impact the Disney Princess franchise has on American girls ages 6-12 through the production of a documentary film, entitled The Shattered Slipper Project. The research team selected girls from private schools in Lakeland, Florida and Sharpsburg, Georgia. The researcher conducted two interviews—one a roundtable-style group interview focusing on body image and a personal interview focusing on gender roles and race. With regards to body image, the girls communicated that Disney princesses have body types different than those of real women, and that, by animating the characters in such a way, the Walt Disney Company sends certain messages about what body types are ideal. The girls expressed progressive values with regards to gender roles and race, looking beyond traditional masculine and feminine roles and the prejudices that continue to characterize America’s cultural landscape. KEYWORDS: Disney Princess, Disney, feminism, gender, gender studies, gender roles, race, body image, gendered marketing, girls ages 6-12 “Men want girls with good taste. Calm, obedient, who work fast-paced. With good breeding, and a tiny waist, you’ll bring honor to us all.” --lyrics from “Honor to Us All” (Mulan, 1998) TABLE OF CONTENTS Introduction………………………………………………………………………………..1 Review of Literature………………………………………………………………………4 Gender Roles and the Disney Princess....................................................................4 Early Disney Princesses (1937-1959)..........................................................5 Modern Disney Princesses (1989-1998)......................................................8 Postmodern Disney Princesses (2009-2013).............................................13 Unofficial and Upcoming Disney Princesses (2013-2016).......................14 Race and the Disney Princess................................................................................15 Fig. 1..........................................................................................................19 Body Image and the Disney Princess.....................................................................19 Gendered Marketing and the Disney Princess.......................................................22 Methodology…………………………………………………………………………......24 Pre-Production……………………………………………………………….......24 Filming Locations..................................................................................................25 Production………………………………………………………………………..26 Analysis of Questions……………………………………………………………27 Analysis of Data and Results……………………………….............................................28 Questions on Gender Roles………………………………………………………29 What does it mean to be a princess?..........................................................29 Fig. 2……………………………………………………………..30 What does a princess do?...........................................................................30 Fig. 3……………………………………………………………..31 Occupational Scenarios: Can a princess do ______?................................31 Table 1……………….…………………………………………..32 Question on Race………………………………………………………………...33 Can ______ be a princess?.........................................................................33 Table 2…………………………………….……………………..34 Questions on Body Image………………………………………………………..36 Do Disney Princesses look like real women?............................................36 Why does Disney make princesses look the way they do?........................37 What do you think about Moana?..............................................................38 Fig. 4..............................................................................................39 What does a princess look like?.................................................................40 Fig. 5……………………………………………………………..40 Conclusion..................................................................................................................…...42 Limitations……………………………………………………………………….42 Further Study.........................................................................................................43 Works Cited.......................................................................................................................44 Appendices.........................................................................................................................50 Appendix A: Recruitment Flyer.............................................................................51 Appendix B: Parent Letter.....................................................................................52 Appendix C: Parental Consent Form.....................................................................53 Appendix D: Child Assent Form...........................................................................55 Appendix E: Interview Questions..........................................................................57 Appendix F: Personal Interview Pictures..............................................................59 Appendix G: Tables and Graphs............................................................................65 Table 1.......................................................................................................65 Table 2.......................................................................................................66 Table 3.......................................................................................................67 Cordwell 1 The Shattered Slipper Project: The Impact of the Disney Princess Franchise on Girls Ages 6-12 Introduction Snow White. Cinderella. Ariel. Rapunzel. Their names are internationally well- known. Their films are some of the most popular children’s films of all time. Their toys are the fastest-selling on the market. From Disney’s first full-length animated feature Snow White and the Seven Dwarfs in 1937 to the 2013 international blockbuster Frozen (based on Hans Christian Andersen’s tale “The Snow Queen”), the Disney Princess franchise has transformed today’s image of girlhood, beauty, and what it truly means to be a princess. Little girls all over the world play with Disney Princess merchandise, watch Disney Princess films, and dress up in Disney Princess costumes. What has made the Disney Princess franchise so popular? Although The Walt Disney Company has been around since 1923, the Disney Princess franchise did not actually exist until the early 2000s, when then-chairman of the Disney Consumer Products division Andy Mooney visited a Disney on Ice show and saw little girls decked out in what he described as “generic princess products” (Ng). He, along with his team, promptly began work on establishing a franchise specifically for Disney Princesses, which included media and an extensive merchandise line (Smith). Originally, the franchise included Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Pocahontas, Mulan, and Tinker Bell; however, Tinker Bell was removed shortly after the conception of the franchise (Orenstein). In 2005, Disney revealed the Disney Fairies franchise, which was headed up by Tinkerbell, making her removal from the Princess franchise much more profitable (Hill). Tiana, from The Princess and the Frog, was added Cordwell 2 in 2010, becoming the first new addition to the lineup since its conception (Greenberg). Since then, princesses Rapunzel and Merida were added in 2011 and 2013, respectively (Fox News; Banks). The franchise quickly rose to become the fastest-selling girl’s toy franchise in the world, topping Mattel’s ever-popular Barbie line (Orenstein). However, not everyone is so impressed. Peggy Orenstein, in a 2006 New York Times article entitled “What’s Wrong With Cinderella?,” examines just how much of an impact princesses have on young girls. A mother herself, Orenstein expresses her frustration with the princess-obsessed society that pushes princesses, glitter, and all things pink onto young girls. Largely because of the impact of the Disney Princess franchise, little girls seem to want nothing but to be princesses. She notes that “some psychologists say that until permanency sets in, kids embrace whatever stereotypes our culture presents,” meaning that companies like Disney are almost responsible, in a way,
Load more

Recommended publications
  • Racism and Stereotypes: Th Movies-A Special Reference to And
    People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific ResearchResearch Larbi Ben M’h idi University-Oum El Bouaghi Faculty of Letters and Languages Department of English Racism and Stereotypes: The Image of the Other in Disney’s Movies-A Special Reference to Aladdin , Dumbo and The Lion King A Dissertation Submitted in Partial Fulfillment of the Requirements for the D egree of Master of Arts in Anglo-American Studies By: Abed Khaoula Board of Examiners Supervisor: Hafsa Naima Examiner: Stiti Rinad 2015-2016 Dedication To the best parents on earth Ouiza and Mourad To the most adorable sisters Shayma, Imène, Kenza and Abir To my best friend Doudou with love i Acknowledgements First of all,I would like to thank ‘A llah’ who guides and gives me the courage and Patience for conducting this research.. I would like to express my deep appreciation to my supervisor Miss Hafsa Naima who traced the path for this dissertation. This work would have never existed without her guidance and help. Special thanks to my examiner Miss Stiti Rinad who accepted to evaluate my work. In a more personal vein I would like to thank my mother thousand and one thanks for her patience and unconditional support that facilitated the completion of my graduate work. Last but not least, I acknowledge the help of my generous teacher Mr. Bouri who believed in me and lifted up my spirits. Thank you for everyone who believed in me. ii ا ا أن اوات ا اد ر ر دة اطل , د ه اوات ا .
    [Show full text]
  • Aardman in Archive Exploring Digital Archival Research Through a History of Aardman Animations
    Aardman in Archive Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive | Exploring Digital Archival Research through a History of Aardman Animations Rebecca Adrian Aardman in Archive: Exploring Digital Archival Research through a History of Aardman Animations Copyright © 2018 by Rebecca Adrian All rights reserved. Cover image: BTS19_rgb - TM &2005 DreamWorks Animation SKG and TM Aardman Animations Ltd. A thesis submitted in partial fulfilment of the requirements for the degree of Master of Arts in Media and Performance Studies at Utrecht University. Author Rebecca A. E. E. Adrian Student number 4117379 Thesis supervisor Judith Keilbach Second reader Frank Kessler Date 17 August 2018 Contents Acknowledgements vi Abstract vii Introduction 1 1 // Stop-Motion Animation and Aardman 4 1.1 | Lack of Histories of Stop-Motion Animation and Aardman 4 1.2 | Marketing, Glocalisation and the Success of Aardman 7 1.3 | The Influence of the British Television Landscape 10 2 // Digital Archival Research 12 2.1 | Digital Surrogates in Archival Research 12 2.2 | Authenticity versus Accessibility 13 2.3 | Expanded Excavation and Search Limitations 14 2.4 | Prestige of Substance or Form 14 2.5 | Critical Engagement 15 3 // A History of Aardman in the British Television Landscape 18 3.1 | Aardman’s Origins and Children’s TV in the 1970s 18 3.1.1 | A Changing Attitude towards Television 19 3.2 | Animated Shorts and Channel 4 in the 1980s 20 3.2.1 | Broadcasting Act 1980 20 3.2.2 | Aardman and Channel
    [Show full text]
  • Spatial Design Principles in Digital Animation
    Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system.
    [Show full text]
  • Disney Magic Becomes a Little Less Magical and a Little More
    University of Hawai‘i at Hilo HOHONU 2019 Vol. 17 majority of Disney films often bequeath the antagonist of Disney Magic Becomes a Little the storyline with a non-American accent, exemplified Less Magical and a Little More by Shere Khan’s British accent in The Jungle Book. The protagonists of the films, like Mowgli in The Jungle Book, Discriminatory are almost always portrayed with the Standard American Kaleigh Anderson accent. It has been a common pattern within Disney’s animated features that characters who speak with non- Storytelling is a crucial part for humankind as well Standard American accents are portrayed as outsiders, as in oral history. Movie adaptations have also become and are selfish and corrupt with the desire to seek or a key ingredient in relaying certain messages to people obtain power. This analysis is clearly displayed in one of of all ages. However, children watching movies and Disney’s most popular animated feature films, The Lion absorbing stories are susceptible and systematically King. In this Hamlet-inspired tale, the main characters’ exposed to a standard (or specific) language ideology accents bring attention to which characters fall into by means of linguistic stereotypes in films and television the “good guy” versus “bad guy” stereotype. Simba, shows. These types of media specifically, provide a the prized protagonist in the film, and Nala, his love wider view on people of different races or nationalities interest, both speak Standard American dialects. Through to children (Green, 1997). Disney films, for instance, linguistic production, Simba’s portrayal as the Lion King are superficially cute, innocent and lighthearted, but translates an underlying message to children viewers through a deeper analysis , the details of Disney movies that characters who are portrayed as heroes or heroines provide, a severe, and discriminating image.
    [Show full text]
  • SLEEPING BEAUTY PERMISSION FORM 1St-4Th Grade Students
    SLEEPING BEAUTY PERMISSION FORM 1st-4th Grade Students Rehearsal/Audition Schedule: Wednesday August 30, 3:20pm to 4:30pm Thursday August 31, 3:20pm to 5:00pm Tuesday September 5, 3:20pm to 5:00pm Wednesday September 6, 3:20 to 4:45 Full Cast Thursday September 7, 3:20 to 4:45 Full Cast Remaining rehearsals in September will be Tuesday, Wednesday, and Thursday 3:20-4:45 October will add Monday. A schedule after September 7th will be available after actors are cast. Saturday October 28th will be a full cast rehearsal with a time to be determined. As parents and students, we have gone over the rehearsal schedule together and agree to: ACCEPT ANY PART IN THE SHOW ...we all work together to make a great show! Respect myself and each cast member Attend each rehearsal as schedule Include a check for a costume fee of $30.00. Return this form to the main office by Monday, August 28, 2017 I. Student Information First Name_________________________________ Last Name______________________________ Grade entering first trimester of 2017________________ Unique talent(s) or skill(s): _____________________________________________________________ Conflicts with the rehearsal schedule:____________________________________________________ T-Shirt Size…please circle: Youth Small - Youth Medium - Youth Large Adult Small - Adult Medium- Adult Large - Adult Extra Large Medical condition/allergies (food or medicine)____________________________________________ II. Parent Information Mother’s Name ___________________________________ Home phone________________
    [Show full text]
  • Disney Princesses Trivia Quiz
    DISNEY PRINCESSES TRIVIA QUIZ ( www.TriviaChamp.com ) 1> Which princess has the ability to heal? a. Pocahontas b. Jasmine c. Rapunzel d. Megara 2> Which Disney princess is Scottish? a. Jasmine b. Merida c. Megara d. Mulan 3> Which princess sings the song entitled Part of this World? a. Belle b. Ariel c. Tiana d. Pocahontas 4> Which princess wears a green dress? a. Tiana b. Cinderella c. Aurora d. Belle 5> Who is the daughter of King Stefan and Queen Leah? a. Adrina b. Aurora c. Dot d. Eden 6> Which Princess falls in love with Eric? a. Eric b. Ariel c. Belle d. Tiana 7> Which princess is an excellent cook? a. Pocahontas b. Tiana c. Ariel d. Megera 8> What color does Rapunzel wear? a. Yellow b. Purple c. Blue d. Green 9> Which Disney princess dances with an owl? a. Aurora b. Jasmine c. Megara d. Dot 10> Which princess is asked to pour tea for the matchmaker? a. Mulan b. Pocahontas c. Ariel d. Belle 11> Which princess lives in Agrahba? a. Anna b. Jasmine c. Belle d. Rapunzel 12> Which princess falls in love with a thief? a. Cinderella b. Rapunzel c. Merida d. Snow White 13> Which Princess wears pants as part of her "official" costume? a. Belle b. Snow White c. Jasmine d. Cinderella 14> Which princess sings A Dream is a Wish Your Heart Makes? a. Snow White b. Aurora c. Cinderella d. Belle 15> Which princess is invited to be the dinner guest in a magical castle? a. Megara b.
    [Show full text]
  • Animated Stereotypes –
    Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes.
    [Show full text]
  • Disney Twenty-Three Celebrates 50 Enchanting Years of Walt Disney World Resort
    DISNEY TWENTY-THREE CELEBRATES 50 ENCHANTING YEARS OF WALT DISNEY WORLD RESORT FROM CLASSIC ENTERTAINMENT TO INCREDIBLE NEW EXPERIENCES, THE NEW ISSUE DETAILS EVERY SHIMMERING SURPRISE FANS NEED TO KNOW ABOUT THIS MOST MAGICAL MILESTONE ALSO IN THE FALL ISSUE: THE STARS OF SHANG-CHI AND THE LEGEND OF THE TEN RINGS AND ETERNALS, DOOGIE KAMEALOHA, M.D.’S PEYTON ELIZABETH LEE, THE CREATORS OF LEGO STAR WARS TERRIFYING TALES, AND MUPPETS HAUNTED MANSION STARS GONZO THE GREAT AND PEPÉ THE KING PRAWN BURBANK, Calif. – August 5, 2021 – On November 15, 1965, Walt and Roy Disney announced their “Florida project” to the largest media aggregation in Florida history, and this year, on October 1, Walt Disney World Resort will celebrate its 50th anniversary. Disney twenty-three marks this milestone with more than 20 pages dedicated to “The Most Magical Place on Earth.” Stories include a deep dive into the festivities in store for guests when they arrive at the celebration, including a revealing look at the new EPCOT nighttime spectacular, Harmonious. Also included is a “bonus” chapter from the upcoming book A Portrait of Walt Disney World: 50 Years of the Most Magical Place on Earth, looking at some of the park’s most beloved entertainment through the years, as well a glimpse at classic park collectibles through the years. The front cover—featuring Mickey Mouse and Minnie Mouse in front of Cinderella Castle in their EARidescent attire—and back cover—with Remy and Emile from Disney and Pixar’s Ratatouille welcoming guests to their new attraction at the EPCOT France pavilion—were shot exclusively for Disney twenty-three.
    [Show full text]
  • Tell Your Summer Disney Story!
    Tell Your Summer Disney Story! Disney PhotoPass® Guide Walt Disney World® Resort Summer 2019 Magic Kingdom® Park DISNEY ICONS Main Street, U.S.A.® Fantasyland® nnPark Entrance nnPrince Eric’s Castle nnCinderella Castle Frontierland® nnBig Thunder Mountain CHARACTER EXPERIENCES Main Street, U.S.A.® Fantasyland® nnMickey Mouse and Minnie Mouse nnAlice nnTinker Bell nnAriel Cinderella Adventureland® nn Daisy Duck nnAladdin and Princess Jasmine nn nnDonald Duck ® Tomorrowland nnElena of Avalor nnBuzz Lightyear nnGaston nnStitch nnGoofy nnMerida nnPluto nnRapunzel nnTiana nnWinnie the Pooh ATTRACTIONS Adventureland® Liberty Square nnPirates of the Caribbean®* nnHaunted Mansion* Frontierland® Fantasyland® nnSplash Mountain® nnSeven Dwarfs Mine Train* Includes attraction photo & video. Tomorrowland® nnSpace Mountain® nnBuzz Lightyear’s Space Ranger Spin® MAGIC SHOTS Main Entrance Main Street, U.S.A.® nnPeter Pan nnMickey Ice Cream Bar Fantasyland® nnAlice Frontierland® Liberty Square nnAriel nnMr. Bluebird nnHitchhiking Ghosts Cinderella nn Fantasyland® nnDaisy Duck nnNEW! Animated Magic Shot at Ariel’s Grotto nnDonald Duck nnElena of Avalor OTHER PHOTO EXPERIENCES nnGaston nnGoofy Fantasyland® nnMerida nnEnchanted Tales with Belle nnPluto nnDisney PhotoPass Studio Rapunzel nn Main Street, U.S.A.® nnTiana nnNEW! Cinderella Castle PhotoPass Experience at Plaza nnWinnie the Pooh Garden East *MagicBand required at time of capture to link and preview this attraction photo Epcot® DISNEY ICONS Future World nnSpaceship Earth® (Front) nnSpaceship Earth®
    [Show full text]
  • Your Favorite Disney Characters Return to Oklahoma City As Disney on Ice Presents Dream Big Comes to Jim Norick Arena During
    Contact: Jen Maninger/Feld Entertainment [email protected]; 314-800-3938 Your Favorite Disney Characters Return to Oklahoma City As Disney On Ice Presents Dream Big Comes to Jim Norick Arena during the Oklahoma State Fair from September 16–20, 2021 Feld Entertainment Introduces Guest Wellness Enhancements to the Beloved Live Family Experience Oklahoma City, OK (July 13, 2021) – Courage leads the way for Disney’s most adventurous heroes when Disney On Ice presents Dream Big comes to Oklahoma City for Opening Weekend at the Oklahoma State Fair. The nine performances run Thursday, September 16 through Monday, September 20. Dream Big features favorite Disney friends such as Mickey, Minnie, Miguel, Moana, Elsa, Belle, Genie, and more highlighting all the magic and adventure of Disney’s tales through world-class figure skating. Audiences will be transported to exciting worlds where heroes of every kind seek to fulfill their dreams at a live experience families will never forget! Disney On Ice Preferred Customers can purchase advance tickets starting today to get the best seats available before tickets go on-sale to the general public on July 20th. Fans can still sign up to become a Disney On Ice Preferred Customer and get exclusive access to the pre-sale offer code. Join the fearless Moana and the greatest demigod that ever lived, Maui, on an action-packed voyage to restore the stolen heart of Te Fiti. Explore the Land of the Dead as Miguel from Disney Pixar’s Coco brings the festivities of Día de los Muertos to the ice. Get tangled up in Rapunzel’s hair-raising quest to see the floating lights.
    [Show full text]
  • Maleficent's Character Development As Seen In
    MALEFICENT’S CHARACTER DEVELOPMENT AS SEEN IN MALEFICENT MOVIE A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining The Bachelor Degree in English Literature By : Nur Asmawati 10150043 ENGLISH DEPARTEMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2015 PERUBAHAN KARAKTER MALEFICENT SEPERTI YANG TERGAMBAR DALAM FILM MALEFICENT Oleh Nur Asmawati ABSTRAK Skripsi ini berjudul “Perubahan Karakter Maleficent dalam Film Maleficent”. Maleficent adalah karakter utama dalam film Maleficent karya Joe Roth. Movie ini menarik untuk di analisis karakter utama Maleficent tersebut mengalami perubahan dari seorang peri yang baik menjadi peri yang jahat. Perubahan ini disebabkan oleh cintanya pada manusia bernama Stefan dan kemudian dan mendapat penghianatan. Data yang diambil dari film untuk analisis ini adalah naskah film tersebut. Metode analisis data merupakan penelitian deskriptif kualitatif. Penulis menggunakan teori struktural khususnya teori perubahan karakter, teori tersebut berhubungan dengan gagasan perubahan karakter yang di usulkan oleh William Kenny. Kesimpulan dari penelitian ini adalah Maleficent sebagai tokoh utama dalam film Maleficent mengalami perubahan karakter. Dalam cerita, Maleficent mengalami dua perubahan karakter yaitu, pertama karakter baik berubah menjadi karakter buruk, dan buruk karakter menjadi baik. Dalam perubahan karakter dari baik menjadi buruk disebabkan oleh dari berjiwa kepemimpinan dan persahabatan dan memiliki dendam dan dari mempunyai rasa cinta dan mengasihani menjadi marah dan benci. Sedangakan perubahan karakter dari buruk menjadi baik hanya karena dari rasa benci dan marah menjadi cinta dan menjadi kasihan Kata Kunci : Tokoh, Film, Perubahan Karakter. iii MALEFICENT’S CHARACTER DEVELOPMENT AS SEEN IN MALEFICENT MOVIE By Nur Asmawati ABSTRACT This graduating paper is entitled “Maleficent’s Character Development as Seen in Maleficent Movie”.
    [Show full text]
  • Erica Ossola 8-701 5-17 Funabashi, 156-0055 Tokyo Phone: +81-80-2020-7443 E-Mail: [email protected]
    Erica Ossola 8-701 5-17 Funabashi, 156-0055 Tokyo Phone: +81-80-2020-7443 E-Mail: [email protected] PERSONAL INFO Birth: Varese, November 19, 1974 Nationality: Italian Mobile: +81-(0)80-2020-7443 E-Mail: [email protected] Web: www.ericaossola.com Networks: www.linkedin.com/in/ericaossola OBJECTIVES Growing as videogames localization specialist, able to deliver high quality content for the Italian market. Open to new work challenges in the entertainment industry. EXPERIENCE Grasshopper Manufacture, Inc. - Tokyo (Japan) 2009-2010 Localization, QA Management and linguistic testing of the following project: November 2009 — January 2010 No More Heroes 2 (Wii) Square Enix Co., Ltd. - Tokyo (Japan) 2008-2011 Localization and QA Management of the following projects: December 2007 — September 2008 The Last Remnant (Xbox 360) December 2008 — July 2009 Dissidia: Final fantasy (PSP) August 2010 — January 2011 Dissidia 012: Final fantasy (PSP) Babel Media - Hove (UK) 2006-2011 Localization and QA Management of the following projects: GodHand - Ace Combat Six - Guilty Gear - Made Man - Medieval 2 Total War - Dave Mirra Wii - Monster Madness - RailRoad - Rainy Woods - Tamagotchi Angel - Thrillville - Toon Doku - Looney Tunes: ACME Arsenal - XMen - Cake Mania Ubisoft Entertainment - Montreal (Canada) 2005 Localization and QA Management of: Principe of Persia (PSP and DS versions). Nintendo of Europe GmbH - Frankfurt (Germany) 2004 Localization of Animal Crossing, (GameCube) in the internal localization studios of Nintendo. Blue Label, Milan (Italy)
    [Show full text]