Rape Culture in Disney Animated Princess Movies

Total Page:16

File Type:pdf, Size:1020Kb

Rape Culture in Disney Animated Princess Movies Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2018 Rape Culture in Disney Animated Princess Movies Patricia Paulson Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Gender and Sexuality Commons, and the Other Film and Media Studies Commons Recommended Citation Paulson, P. (2018). Rape Culture in Disney Animated Princess Movies [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/805/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Rape Culture in Disney Animated Princess Movies By: Patricia K. Paulson A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of M.S. of Sociology In Human Service Planning and Administration Minnesota State University, Mankato Mankato, Minnesota December 2017 October 9, 2017 Rape Culture in Disney Animated Princess Movies Patricia K Paulson This thesis has been examined and approved by the following members of the student’s committee. ________________________________ Dr. Carol L. Glasser ________________________________ Dr. Emily M. Boyd ________________________________ Dr. Amy L. Lauters ABSTRACT Gender stereotypes, rape myths, and rape culture are perpetuated in U.S. media, including media aimed at young people. Previous research in the areas of gender, gender stereotypes, portrayals of gender in movies, Disney movies, rape myths, and rape culture are all examined. Prior to this research, no study had been conducted to determine if the characteristics of rape culture are portrayed in Disney animated princess movies. For this research, an ethnographic content analysis is conducted on all thirteen of the Disney animated princess movies to determine if the characteristics associated with rape culture are portrayed in these movies. The findings are organized in three board categories: a) how the characteristics of rape culture are portrayed, b) who uses the characteristics of rape culture, and c) if the portrayal of rape culture in the Disney animated princess movies changes over time. This study finds that the portrayal of rape culture in Disney movies 1) relies on intimidation, coercion/threats, 2) that isolation is used as a characteristic of rape culture but also as a way to resist patriarchal power and control, 3) the severity of rape culture in these movies is not dependent on the total number of characteristics of rape culture present, but rather on the frequency with which various aspects of rape culture are shown, and 4) that movies depict the characteristics of rape culture by focusing on femininity and sexuality. While this research examines the portrayal of characteristics associated with rape culture in Disney animated princess movies it also discovers that some positive and empowering traits of the princesses are also observed. 1 INTRODUCTION Gender stereotypes, rape myths and rape culture are detrimental to society and U.S. culture, but are especially harmful to children. All of these ideas are represented in the media, including media aimed, produced, and released for the entertainment of children (Oliver and Green 2001). It is the intent of this researcher to examine Disney animated princess movies to further determine the extent and prevalence of children’s exposure to gender stereotypes, myths, and overall rape culture. Research has already been conducted on stereotypical gender roles portrayed in media aimed at children (Smith, Pieper, Granados and Choueiti 2010), and the acceptance of rape myths have been researched in the area of adolescence and early adulthood (Lonsway and Fitzgerald 1995). This study adds to this literature by examining the degree to which gender stereotypes, rape myths, and the characteristics associated with rape culture are portrayed in Disney animated princess movies. These movies are specifically aimed at very young girls, typically before they enter school. Previous research has not examined whether or not attributes of rape culture are portrayed in Disney animated princess movies. For this study, an ethnographic content analysis (ECA) is conducted on Disney animated princess movies. The research is framed by feminist theory, which supports the ideas that rape, rape myths and rape culture are all structural, cultural problems, and social problems that need to be changed. This research also examines whether or not the characteristics of rape culture has changed over the last eighty years in Disney animated princess movies. 2 LITERATURE REVIEW Gender and Gender Stereotypes West and Zimmerman (1987) propose gender as a routine, methodical and recurring accomplishment. To most people gender is not just what they are but is also who they are and how they act on a daily basis. Gender shapes not only how we view ourselves but how we view others around us (Deutsch 2007). Immediately at our birth, or sometimes even before we are born, gender is assigned and usually we conform to the ideas and norms of our culture and society about gender. Gender is an ongoing aspect of social situations, as an outcome of and a rationale for various social arrangements and a means of legitimating one of the most fundamental division of society (West and Zimmerman 1987). Gender is considered by some as a master status that overrides all other roles and statuses that we hold (Deutsch 2007). Deutsch (2007) finds that in U.S. culture and most other cultures around the world there are two primary gender categories, men and women, and value is placed on each gender differently. Men are supposed to be strong, rational, and dominating, while women are supposed to be in need of protection, emotional, and subservient. It is these thoughts and ideas about gender that create gender stereotypes. Deutsch (2007) further explained the process this way: “People act with an awareness that they will be judged according to what is deemed appropriate feminine or masculine behavior” (106). Characteristics, values, and roles are assigned to each person based on their perceived gender. Males are typically given more value than women, which creates a power struggle or conflict between the genders. Gender is only one aspect of all of us; however, for many it is the first and most important aspect that they look at. Gender is only one 3 part of our story as a person, and gender is only a social construct that does not reflect the complexity of lived lives (Wohlwend 2009). However, it remains a powerful ideological device, which produces, reproduces, and legitimates the choices and limits that are culturally assigned to individuals (West and Zimmerman 1987). “Doing gender” means creating differences between girls and boys and women and men, differences that are not natural, essential, or biological. Once the differences have been constructed, they are used to reinforce the "essentialness" of gender (West and Zimmerman 1987). Because “doing gender” is a learned behavior, viewing gender stereotypes in the media can have a strong influence on young children. Coyne, Linder, Rasmussen, Nelson and Collier (2014) examined how viewing gender stereotypical behavior in the media can influence the play of young children. Masculine and feminine characteristics are expressed through the media and influence children in three different ways; modeling, which is the initial exposure to gender stereotypes; enactive experience, which is when children learn from the outcome of their behaviors; and direct tuition, when parents verbally instruct children on appropriate gender behaviors. Young boys learn the appropriate gender ideal of efficaciousness by being able to affect the physical and social environment through the exercise of physical strength or skills, and young girls learn to value appearance and managing themselves as ornamental objects (West and Zimmerman 1987). A plethora of research has been conducted regarding gender stereotypes in the media and the effects on young girls, but young boys can certainly be influenced by gender stereotypes in the media as well (Coyne et al. 2014). Children may play a bigger role in the gender conformity process than once 4 thought. Brinkman, Rabenstein, Rosen, and Zimmerman (2014) conducted research on how children act and react to gender role socialization as part of a dynamic negotiation process. They found that children do play a role and have a position of power regarding their own gender identity development. Children in this study were able to discuss the idea of conformity and the consequences of nonconformity against the idea of being authentic to themselves. As active agents in the dynamic gender identity development process, children attempt to balance the pressure of conforming against the benefits of being authentic to their sense of self. Many of the children in this study expressed the desire to be able to make their own
Recommended publications
  • About Disney's Newsies Character Breakdown
    About Disney’s Newsies Based on the real-life Newsboy Strike of 1899, this new Disney musical tells the story of Jack Kelly, a rebellious newsboy who dreams of a life as an artist away from the big city. After publishing giant Joseph Pulitzer raises newspaper prices at the newsboys’ expense, Jack and his fellow newsies take action. With help from the intrepid reporter Katherine Plumber, all of New York City soon recognizes the power of young people. From the award winning minds of Alan Menken (Disney’s Beauty and the Beast, Aladdin) and four-time Tony® Award winner Harvey Fierstein (La Cage aux Folles, Kinky Boots), you’ll be singing along to the hit songs “King of New York”, “Seize the Day,” and “Santa Fe.” Character Breakdown: JACK KELLY – leader of the newsies CRUTCHIE – newsie with a bum leg DAVEY – new, bookish newsie LES – Davey’s fearless younger brother. (ELEMENTARY AGE) RACE, ALBERT, SPECS, HENRY, FINCH, ROMEO, ELMER MUSH, BUTTONS, TOMMY BOY, JOJO, SPLASHER, MIKE, IKE – newsies SCABS (3) SPOT CONLON – Leader of the Brooklyn Newsies KATHERINE PLUMBER – feisty/ambitious young reporter DARCY – upper-class son of a publisher BILL – son of William Randolf Hearst WIESEL – runs the distribution window of The World MORRIS DELANCEY– heavy at The World’s distribution window OSCAR DELANCEY – Morris’s equally tough brother JOSEPH PULITZER – no-nonsense Publisher of The World SEITZ – Pulitzer’s editor BUNSEN – Pulitzer’s bookkeeper HANNAH – Pulitzer’s secretary NUNZIO – Pulitzer’s barber GUARD SNYDER – warden of The Refuge; a frightening and sinister man MEDDA LARKIN – A vaudeville star, owns her own theater BOWERY BEAUTIES – showgirls at Medda’s theatre STAGE MANAGER NUNS (3) WOMAN – newspaper customer JACOBI – owner of Jacobi’s deli POLICEMEN MAYOR GOVENOR TEDDY ROOSEVELT .
    [Show full text]
  • How Disney Visual Media Influences Children's Perceptions of Family a Content Analysis an Honors Thesis
    Family on Film: How Disney Visual Media Influences Children's Perceptions of Family A Content Analysis An Honors Thesis (SOC 424) by Alexandra Garman Thesis Advisor Dr. Richard Petts ) c' __ / Ball State University Muncie, Indiana December, 2011 Expected Date of Graduation December 17, 2011 ," I . / ' 1 Abstract The Walt Disney Company has held a decades-long grip on family entertainment through visual media, amusement parks, clothing, toys, and even food. American children, and children throughout the world, are readily exposed to Disney's visual media as often as several times a day through film and television shows. As such, reviewing what this media says and analyzing its potential affects on our society can be beneficial in determining what messages children are receiving regarding values and norms concerning family. Specifically, analyzing family structure can help to provide an outlook for future normative structure. Depicted family interactions may also reflect how realistic families interact, what children expect from their families, and how children may interact with their own families in coming years. This study seeks to analyze various media released in recent years (2006-2011) and how these media portray family structure and interaction. Family appears to be variant in structure, including varied parental figures, as well as occasionally including non-biological figures. However, the family structure still seems, on the whole, to fit or otherwise promote (through inability of variants to do well) the traditional family model ofheterosexual, married biological parents and their offspring. Interestingly, Disney appears to place a great emphasis on fathers. Interactions between family members are relatively balanced, with some families being more positive in interaction and others being more negative.
    [Show full text]
  • A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected]
    Student Research and Creative Works Book Collecting Contest Essays University of Puget Sound Year 2015 The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works Krista Silva University of Puget Sound, [email protected] This paper is posted at Sound Ideas. http://soundideas.pugetsound.edu/book collecting essays/6 Krista Silva The Wonderful World of Whedon: A Collection of Texts Celebrating Joss Whedon and His Works I am an inhabitant of the Whedonverse. When I say this, I don’t just mean that I am a fan of Joss Whedon. I am sincere. I live and breathe his works, the ever-expanding universe— sometimes funny, sometimes scary, and often heartbreaking—that he has created. A multi- talented writer, director and creator, Joss is responsible for television series such as Buffy the Vampire Slayer , Firefly , Angel , and Dollhouse . In 2012 he collaborated with Drew Goddard, writer for Buffy and Angel , to bring us the satirical horror film The Cabin in the Woods . Most recently he has been integrated into the Marvel cinematic universe as the director of The Avengers franchise, as well as earning a creative credit for Agents of S.H.I.E.L.D. My love for Joss Whedon began in 1998. I was only eleven years old, and through an incredible moment of happenstance, and a bit of boredom, I turned the television channel to the WB and encountered my first episode of Buffy the Vampire Slayer . I was instantly smitten with Buffy Summers. She defied the rules and regulations of my conservative southern upbringing.
    [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]
  • 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's ALADDIN – Adapted for the Stage by Joey Landwehr 1
    DISNEY’S ALADDIN – Adapted for the Stage by Joey Landwehr 1 DISNEY’S ALADDIN – Adapted for the Stage by Joey Landwehr DISNEY'S ALADDIN - CHARACTER BREAK DOWN Baklava Kunafa Akim Gazeem Scheherezade Zelda Jafar Iago Cave (Voice) Aladdin Baker Razoul Sultan Raja Princess Jasmine Prince Baba of Ganoush Prince Dahdu Rahn Rahn Prince Pas Tafazoul Guard 2 Guard 3 Guard 4 Abu 1st Woman Girl Carpet Genie Harem Girls Guards Peddlers Ensemble 2 DISNEY’S ALADDIN – Adapted for the Stage by Joey Landwehr Song Number Song List ACT I 1 INTRO ACT I 2 ARABIAN NIGHTS - PART 1 3 ARABIAN NIGHTS - PART 2 4 ARABIAN NIGHTS - PART 3 5 ARABIAN NIGHTS - PART 4 6 ONE JUMP AHEAD - PART 1 7 ONE JUMP AHEAD - PART 2 8 TRANSITION OUT OF ONE JUMP 9 ONE JUMP AHEAD - REPRISE 1 10 PROUD OF YOUR BOY 11 ONE JUMP AHEAD - REPRISE 2 12 ARABIAN NIGHTS - REPRISE 1 13 WHY ME? 14 TO BE FREE 15 ARABIAN NIGHTS - REPRISE 2 16 CAVE RACE 17 RUBBING THE LAMP 18 FRIEND LIKE ME 19 FRIEND LIKE ME PLAYOFF 20 INTO A PRINCE ACT II 21 INTRO ACT II 22 ARABIAN NIGHTS - ACT II REPRISE 23 PRINCE ALI 24 PRINCE ALI- TAG 25 JAFAR'S EXIT 26 A WHOLE NEW WORLD 27 CAPTURED 28 RUBBING THE LAMP 2 29 FREEZE 30 WHY ME? - REPRISE 31 ARABIAN NIGHTS - REPRISE 3 32 WHEN YOU'RE SULTAN 33 WHEN YOU'RE SULTAN - PLAYOFF 34 PRINCE ALI - REPRISE 1 35 PRINCE ALI - REPRISE 2 36 BACK IN THE BOTTLE 37 A WHOLE NEW WORLD - REPRISE 38 FRIEND LIKE ME - BOWS 39 A WHOLE NEW WORLD - EXIT MUSIC 3 DISNEY’S ALADDIN – Adapted for the Stage by Joey Landwehr Act I - ALADDIN ((1) INTRO ACT I (ARABIAN NIGHTS – PART 1 ~ :01-:13) Somewhere in the vast Arabian Desert.
    [Show full text]
  • Zack Whedon Davidé Fabbri Zack Whedon 2/17/12 1:11 Pm ® S R
    ZACKZACK WHEDONWHEDON ® DAVIDÉDAVIDÉ FABBRIFABBRI STAR WARS FREE ® FROM YOUR PALS AT DARK HORSE COMICS AND COMICS HORSE DARK AT PALS YOUR FROM FCBD12 SW-SEREN.indd 1 2/17/12 1:11 PM FCBD12 SW-SEREN.indd 2 tions, or locales, without satiric intent, is coincidental. Printed by Cadmus Communications, Easton, PA, U.S.A. tions, orlocales,without satiricintent,iscoincidental.Printed byCadmusCommunications,Easton, PA, Anyresemblancetoactual persons(livingordead),events,institu either aretheproduct oftheauthor’simaginationorareused fictitiously. writtenpermissionofDarkHorse Comics,Inc.Names,characters,places,andincidentsfeaturedinthispublication without theexpress categories andcountries.Allrightsreserved. Noportionofthispublicationmaybereproducedortransmitted,inanyform or are ©2012LucasfilmLtd.DarkHorse Comics® andtheDarkHorselogoaretrademarksofComics,Inc.,registered inva Wars andillustrationsforStar Text ©2012LucasfilmLtd.&™.Allrightsreserved.Usedunderauthorization. Milwaukie, OR97222.StarWars ArtoftheBadDeal,”May2012.PublishedbyDarkHorseComics, Inc.,10956SEMainStreet, WARS—“The STAR FREE COMICBOOK DAY: RONDA D MICHAEL A D ZACK WHEDON ZACK advertising sales: (503) 905-2370 » comic shop locator service: (888)266-4226 service: (503)905-2370»comicshop locator sales: advertising ALLA ALLA DA AVIDÉ FABBRI AVIDÉ MIKE RANDY RANDY M H M C assistant editor assistant collection editor P F HRISTIAN REDD cover art SIERRA R lettering V T ATTISON T ICHARDSON INA ALESSI ECCHIA talk about this issue online at: online at: aboutthisissue talk Pencils HO UGHES Colors STRADLE publisher D script designer YE YE AVID M editor Inks HAHN LINS AS Y STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS | STAR WARS ANDERMAN at lucas licensing. ANDERMAN at ALDERS, CAROL special thankstoJ ROEDER Comics! Horse Dark from pals this your at free offering enjoy please afirst-timer, or time reader along you’re whether But Emperor.
    [Show full text]
  • Dream Cast Announced for Disney's Aladdin
    DREAM CAST ANNOUNCED FOR DISNEY’S ALADDIN An exceptional group of Australia and New Zealand’s most outstanding musical theatre performers and exciting fresh faces has been announced for Disney’s new musical comedy, Aladdin. They will be joined by Broadway performer Michael James Scott in the role of the Genie. Based on the classic Academy Award®-winning animated film,Aladdin will open in Sydney at the Capitol Theatre in August 2016. Tickets go on sale to the GP 8th March 2016. The dream cast for Aladdin has been achieved after intense and competitive auditions throughout Australia. It will be one of the most diverse multi-cultural casts to appear on the Australian stage. American performer Michael James Scott will play the pivotal role of the Genie. Michael has performed in many Broadway shows including the original company of The Book of Mormon, the 2010 Broadway and London revival of Hair, as well as the standby Genie in the original Broadway cast of Aladdin. He was most recently seen in Casey Nicholaw’s third current Broadway hit, Something Rotten. Joining him will be the exciting new discovery Ainsley Melham making his mainstage debut in the title role of Aladdin. Ainsley is a graduate of the Western Australian Academy of Performing Arts (WAAPA). The principal cast features international musical theatre star Adam Jon Fiorentino (Saturday Night Fever, Mary Poppins) as Kassim, stage & television performer Adam Murphy as Jafar and Robert Tripolino in the role of Omar. Filling out the principal ranks is one of Australia’s most accomplished character actors and musical theatre stars Troy Sussman as Babkak and stage and television actor Aljin Abella as Iago.
    [Show full text]
  • Aladdin Movie 2019” Based on Disney’S Aladdin
    AN ANALYSIS OF MORAL VALUES IN GUY RITCHIE’S MOVIE “ALADDIN MOVIE 2019” BASED ON DISNEY’S ALADDIN THESIS BY DONNA TARULI AGUSTIA SILABAN NIM 372016024 UNIVERSITAS MUHAMMADIYAH PALEMBANG FACULTY OF TEACHER TRAINING AND EDUCATION ENGLISH EDUCATION STUDY PROGRAM AUGUST 2020 i AN ANALYSIS OF MORAL VALUES IN GUY RITCHIE’S MOVIE “ALADDIN MOVIE 2019” BASED ON DISNEY’S ALADDIN THESIS Presented to Universitas Muhammadiyah Palembang In partial fulfillment of the requirement For the degree of Sarjana in English Language Education By Donna Taruli Agustia Silaban NIM 372016024 UNIVERSITAS MUHAMMADIYAH PALEMBANG FACULTY OF TEACHER TRAINING AND EDUCATION ENGLISH EDUCATION STUDY PROGRAM August 2020 ii iii iv v ABSTRACT Donna Taruli Agustia Silaban, 2020. An Analysis of Moral Values in Guy Ritchie’s movie “Aladdin Movie 2019” Based on Disney’s Aladdin. Thesis, English Education Study Program, Sarjana Degree (S1), Faculty of Teacher Training and Education, Universitas Muhammadiyah Palembang. Advisor: (I) Kurnia Saputri,M.Pd. (II) Masagus Sulaiman, M.Pd. Keywords: Movie, Moral Values, Aladdin 2019 Movie The objectives of the research were to find out the types and meanings of moral values and the dominant moral value in Guy Ritchie’s movie “Aladdin 2019”. The researcher used a qualitative method in this research. The sources of this data were primary data and secondary data. In this research, the researcher used a documentation technique. In analyzing the data, the researcher used a literary analysis.There were some procedures in doing this research, such as identifying the conflict in the characters, classifying and categorizing of the conflicts found in the movie, identifying the important points related research, classifying the characters personalities and moral values in the movie, identifying the development of the plot and describing the conclusion.There were 7 moral values found in the “Aladdin 2019” movie directed by Guy Ritchie such as kindness, empathy, self-control, wisdom, cooperation, loyalty, and justice.
    [Show full text]
  • Disney Music Group
    Skill Launch: December 2018 Case Study: April 2020 Disney Music Group Disney Hits Challenge Powered by Creativity, Inc Case Study – Disney Music Group Problem As music listening habits evolve, revenues have moved away from physical album sales to paid downloads and streaming music services. In the face of digital disruption from these new monetization patterns, record labels must find alternative ways to build and engage audiences, stay relevant, and drive sales Opportunity With the growing presence of smart-speakers in US households, voice experiences have contributed to more audio consumption in the home, presenting an opportunity to build audiences and drive engagement for brands. Disney Music Group was encouraged to test how Amazon Alexa can increase usage for their curated playlists like Disney Hits on music streaming services Case Study – Disney Music Group Solution The Disney Hits Challenge skill offers a new way for families to engage with Disney’s music library and discover the Disney Hits playlist on streaming music platforms. Players hear song clips from Disney’s classic library and the latest theatrical releases then answer trivia questions that test their knowledge of the titles, characters, and lyrics from Disney’s Image most popular songs. The game is played over four rounds, with each successful FPO round earning you a star point and a fun fact about the world of Disney to deepen engagement with its characters, movies, parks, and Walt Disney himself. Leaderboards encourage repeat engagement with friends and family as you determine who is the biggest Disney fan of all. At the conclusion of the four rounds of gameplay, players hear their score and then receive the option to either open the Disney Hits Playlist on their music streaming service of choice or to play another game Go-To-Market Go-To-Market Approach The Disney Hits Challenge was supported by a digital campaign across Disney’s owned channels, including DTC emails, social media, and live event activations.
    [Show full text]
  • Musica E Fiaba Riflessioni, Percorsi E Proposte Didattiche
    Paola Lenzi Musica e fiaba Riflessioni, percorsi e proposte didattiche Edizioni ETS, Pisa 2004 Panoramica sulle fiabe in musica tra Otto e Novecento Aladino (da Aladino e la lampada meravigliosa) fa parte dei racconti de Le mille e una notte e compare per la prima volta in forma scritta nella traduzione francese dell’orientalista Antoine Galland (1646-1715). Attraverso la versione francese di Galland, la fiaba di Aladino è diventata una delle più famose della raccolta ed è entrata nella cultura narrativa orale di quasi tutto il mondo. Lo scrittore danese Adam Gottlob Oehlen Schläger fece di Aladino il protagonista di una delle sue novelle, inserita nella raccolta Poetiske skifter (1805), trasformandolo in un ragazzo cinese. Uno dei motivi centrali della narrazione è quello della lampada meravigliosa che aiuta il protagonista. La storia, divenuta un tema letterario popolare, ha ispirato anche il teatro, l’opera lirica e più tardi il cinema (del 1942 il film Le mille e una notte di John Rawline, del 1990 Superfantagenio con Bud Spencer e del 1992 il lungometraggio animato Disney Aladdin, con mus. di Alan Menken e Howard Hashman, VHS 1995). Aladino e la lampada magica. Fiaba lirica in 3 atti e 11 quadri, mus. Nino Rota (1911- 1979), libr. Vinci Verginelli. 1ª rappr.: Napoli, Teatro San Carlo, 13-I-1968 (dir. Carlo Franci). La vicenda si svolge in Cina e nel Magreb. Aladdin. Suite op. 34 di Carl Nielsen (1865-1931). CD Decca, 2-VIII-2000; CD Ondine (ODE 894), 16-IX-1997 (dir. L. Segerstan). Albero dei violini accesi. Opera da camera per bambini in 2 atti di Paolo Furlani (1964), per 7 voci soliste, un attore, un coro misto, 25 strumenti e un Quartettino formato da 4 violinisti; testo di Giuliano Scabia.
    [Show full text]
  • Holding out for a Hero(Ine): an Examination of the Presentation and Treatment of Female Superheroes in Marvel Movies Robyn Joffe
    Holding Out for a Hero(ine): An Examination of the Presentation and Treatment of Female Superheroes in Marvel Movies Robyn Joffe Abstract Prior to the release of Ant-Man and the Wasp (2018) and Captain Marvel (2019), the way that female characters from the Marvel Comics’ canon were realized onscreen was problematic for several reasons and encumbered by issues rooted in the strong female character trope and its postfeminist origins. A close examination of three Marvel superheroines—Black Widow, Scarlet Witch, and Mystique—reveals that while they initially appear to be positioned as equal to their male teammates, they are consistently burdened with difficulties and challenges that men never have to face. The filmmakers’ focus on these women’s appearance and sex appeal, their double standard for violent women, and their perception of a woman’s role, create a picture of “strong” women that is questionable at best and damaging at worst. Keywords: Marvel, postfeminism, sexualization, infantilization, maternalism Introduction The Marvel Cinematic Universe is a media franchise and shared universe, owned by Marvel Studios and currently consists of twenty feature films, seven television series, one digital series, assorted direct-to-video short films, tie-in comic books, and other mixed media products. It is a shared universe that is actively expanding as more and more properties are slated for release. The X-Men film series, until recently owned by 20th Century Fox, is one of the interconnecting series of films based on specific characters from Marvel Comics. It currently consists of eleven films and two television series, with more to be released this year.
    [Show full text]