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Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis
arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”. -
Disney Bingo the Arc, Ocean County Chapter Virtual Recreation
Disney Bingo The Arc, Ocean County Chapter Virtual Recreation Elsa Winnie the Pooh Nemo Donald Duck Ariel Tinker Bell Goofy Belle Stitch Bambi Free Space Minnie Mouse Jasmine Pocahontas Mulan Buzz Lightyear Dumbo Daisy Duck Cinderella Simba Snow White Pluto Pinocchio Moana Mickey Mouse Disney Bingo The Arc, Ocean County Chapter Virtual Recreation Cinderella Simba Goofy Tinker Bell Elsa Bambi Moana Snow White Dumbo Minnie Mouse Free Space Mulan Donald Duck Jasmine Pinocchio Winnie the Pooh Belle Pocahontas Mickey Mouse Nemo Daisy Duck Buzz Lightyear Pluto Stitch Ariel Disney Bingo The Arc, Ocean County Chapter Virtual Recreation Buzz Lightyear Minnie Mouse Simba Bambi Elsa Cinderella Pinocchio Pocahontas Ariel Daisy Duck Free Space Tinker Bell Snow White Mickey Mouse Winnie the Pooh Donald Duck Dumbo Jasmine Stitch Moana Mulan Nemo Goofy Belle Pluto Disney Bingo The Arc, Ocean County Chapter Virtual Recreation Snow White Nemo Bambi Cinderella Donald Duck Winnie the Pooh Mickey Mouse Jasmine Pluto Mulan Free Space Daisy Duck Tinker Bell Pocahontas Buzz Lightyear Stitch Simba Minnie Mouse Dumbo Ariel Moana Pinocchio Belle Goofy Elsa Disney Bingo The Arc, Ocean County Chapter Virtual Recreation Mickey Mouse Belle Winnie the Pooh Ariel Elsa Snow White Stitch Daisy Duck Bambi Nemo Free Space Moana Jasmine Minnie Mouse Simba Pluto Pinocchio Pocahontas Tinker Bell Donald Duck Mulan Goofy Buzz Lightyear Cinderella Dumbo. -
Redefining Gender in Disney Films from the 20Th to 21St Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019
Alshabasy 1 "A Whole New World": Redefining Gender in Disney Films from the 20th to 21st Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019 Alshabasy 2 The Disney Dynasty is as familiar to American culture as apple pie. Sitting on land that is twice the size of Manhattan, the Disney Kingdom has expanded over the years to create a whole new world; a world seriously considered by cultural theorists like Baudrillard, as a simulacrum, a symbol so close to reality that it becomes hyperreality. Before water parks and resort hotels, before Disney bought out the land of orange groves and walnut trees in Anaheim, California, the Magic Kingdom began its conquest on American ideology. The Walt Disney Company started in 1923 as “The Disney Brothers Cartoon Studio,” and churned out films that embodied American ideals. Oftentimes, these films were set in 19th century rural America and featured an American hero -- usually Mickey Mouse, who could outwork and challenge any enemy big or small with his bravery. An embodiment of American ideals, Disney films became loved and endeared by audiences during morally depleting times, like the Depression years (“How Disney Came to Define What Constitutes the American Experience”). Audiences latched onto these ideals, seemingly stable, even when external factors were not. In 1938, Disney shifted gears into feature films with his vision of Snow White and the Seven Dwarfs. Although many had their doubts, after three years of work Snow White was released and it quickly became the highest grossing film of all time. Feature films became the money makers for Disney and the start of consumer fascination with Disney culture (“Disney Animation Is Closing the Book on Fairy Tales”). -
Discourse Analysis of Ethical Challenges in Mulan Disney Princess Movie
IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 7, Issue 1, Jan 2019, 431-442 © Impact Journals DISCOURSE ANALYSIS OF ETHICAL CHALLENGES IN MULAN DISNEY PRINCESS MOVIE Farah Abdul-Jabbar Almnaseer 1 & Kawther Adnan Saleh 2 1Senior Assistant Professor, Department of English Language and Literature, Al-Mustansiriyah University, Baghdad, Iraq 2Researcher, Department of English Language and Literature, Al-Mustansiriyah University, Baghdad, Iraq Received: 10 Jan 2019 Accepted: 28 Jan 2019 Published: 31 Jan 2019 ABSTRACT Movies are one of the most favorable types of media which play a great role in shaping our daily lives. Also, they hold a huge impact on both children and adult in the whole word. Due to this importance, the present study shades the light on Mulan (1998) Disney princess animated movie which is highly seen by the audience. It seeks to analyze the verses of one of the movie's songs which is entitled " you'll bring honor to us all ". The article tends to analyze the types and the frequency of the different categories of lexical cohesion. For this purpose, Tanskanen's (2006) model of lexical cohesion is adopted for the analysis. The analysis revealed 42 lexical cohesive devices. The article reaches the conclusions that simple repetition is highly used among the other types and especially the repetition of the pronoun "you" in order to indicate that the honor of Mulan's family is based on her, since their cultural norms force the girl to be like " a perfect porcelain doll " in order to impress men and this in return will bring honor to the family. -
Open Attractions & Food
OPEN FOR BUSINESS WHEN PARKS REOPEN DISNEYLAND CALIFORNIA ADVENTURE PARK Bengal Barbecue Adorable Snowman Cafe Orleans Angry Dogs French Market Restaurant Award Wieners Galactic Grill Carthay Circle Lounge Gibson Girl Ice Cream Parlor Cocina Cucamonga Mexican Jolly Holiday Bakery Cafe Grill Cozy Cone Motel Little Red Wagon Cappuccino Cart Market House Fiddler, Fifer, & Practical Cafe Milk Stand Flo’s V8 Cafe Mint Julep Bar Ghirardelli Chocolate Factory Plaza Inn (modified) Hollywood Lounge Red Rose Tavern Lamplight Lounge River Belle Terrace Pacific Wharf Ronto Roasters Poultry Palace Ship to Shore Marketplace Rita’s Bajas Blenders Stage Door Cafe Senor Buzz Churros Tropical Hideaway Smokejumper’s Grill Churros, popcorn, & ice Sonoma Terrace cream carts Studio Catering Co. ALLACCESSDISNEYLAND.COM AVAILABLE ATTRACTIONS WHEN PARKS REOPEN Games of Pixar Pier Pixar Pal-A-Round Goofy’s Sky School Radiator Springs Racers Guardians of the Galaxy Silly Symphony Swings Incredicoaster Soarin’ Around the World Inside Out Emotional The Little Mermaid Whirlwind Toy Story Midway Mania Jessie’s Critter Carousel Turtle Talk with Crush Jumpin’ Jellyfish Mickey’s Philharmonic Luigi’s Rollickin’ Roadsters Monsters Inc. Mater’s Junkyard Jamboree ALLACCESSDISNEYLAND.COM ALLACCESSDISNEYLAND.COM AVAILABLE ATTRACTIONS WHEN PARKS REOPEN Alice in Wonderland Indiana Jones Adventure Astro Orbitor It’s a Small World Autopia King Arthur Carrousel Big Thunder Mountain Mad Tea Party Railroad Mark Twain Riverboat Casey Jr. Circus Train Main Street Vehicles Disneyland Railroad -
Gender, Class and Ethnicity in the Disney Princesses Series – Kirsten Malfroid 1
Universiteit Gent Faculteit Letteren en Wijsbegeerte Gender, Class, and Ethnicity in the Disney Princesses Series Kirsten Malfroid Promotor: Masterproef ingediend met het oog op het behalen van de graad van Dr. Katrien De Moor Master in de Vergelijkende Moderne Letterkunde Academiejaar 2008 - 2009 ii ACKNOWLEDGEMENTS Real heroes and heroines stay in anonymity, but I would still like to extend some words of thankfulness to my family and friends, who “simply” were there with ceaseless support. I would also like to thank the Walt Disney Company, for releasing the movies that became my current material for analysis; my parents, for once taking me to the theater to see them; and Prof. dr. Àngels Carabí Ribera, who teaches at the University of Barcelona, for introducing me to “a whole new world” of gender studies to analyze them. In addition, Sebastian Loll deserves special mention for pointing to Donald Duck‟s collision with fascism, while Kasper Malfroid has spared me the desperation of trying to subdue Microsoft Office. But most of all, I am indebted to my promoter, dr. Katrien De Moor, who guided me with excellent advice and encouraging words until the end. Ghent, augustus 2009 iii TABLE OF CONTENTS Acknowledgements ...................................................................................................... ii Table of Contents ........................................................................................................ iii I. Introduction ......................................................................................................... -
Short Film Collection Is a Visual History of Pixar Animation Studios - Michael Kleinschrodt - Times-Picayune - NOLA.Com 9/17/08 7:45 AM
Short film collection is a visual history of Pixar Animation Studios - Michael Kleinschrodt - Times-Picayune - NOLA.com 9/17/08 7:45 AM Short film collection is a visual history of Pixar Animation Studios Posted by mkleinsc November 02, 2007 04:59AM A desire to prove the ability of new computer hardware and software led a group of technicians at LucasFilm Ltd. in 1984 to create a 90-second animated film titled "The Adventures of Andre and Wally B." Despite the film's artistic limitations, it excited animators at a graphic artists conference, who realized that computer animation was becoming a viable field, no longer limited to flat, unshaded and untextured colors, and the simplest of geometric shapes. The technology could be used to tell a story. Soon after, Apple executive Steve Jobs and other investors bought The Graphics Group from George Lucas, hired away the techies responsible for the division's work, and set up the division as its own company, bringing in John Lasseter -- an actual animator -- to provide the creative juice for the newly rechristened Pixar Animation Studios. The "Pixar Short Films Collection, Vol. 1," which is being released to DVD on Tuesday in conjunction with the DVD release of the summer hit "Ratatouille," provides a visual history of Pixar and computer animation. Jack-Jack, the harmless-looking infant from 'The Incredibles,' reveals his superpower in 'Jack-Jack Attack,' one of 13 computer-animated works included in the 'Pixar Short Films Collection, Vol. 1,' which arrives Tuesday on DVD. The 13 films include the studio's first official film, "Luxo Jr.," which is referenced in Pixar's animated logo, in which an artist's lamp mischievously tamps down the "I" in "Pixar." The films can be divided into three rough categories: early films that experimented with the technology, later works created for the animators' own amusement and follow-ups to the feature films for which Pixar has become famous. -
The Conundrum of the Post-Feminist Disney Princess Stover 1
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 2 | Issue 1 Article 29 2013 Damsels and Heroines: The onC undrum of the Post-Feminist Disney Princess Cassandra Stover University of Southern California, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Part of the American Popular Culture Commons, Critical and Cultural Studies Commons, Film and Media Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, and the Other Feminist, Gender, and Sexuality Studies Commons Recommended Citation Stover, Cassandra (2013) "Damsels and Heroines: The onC undrum of the Post-Feminist Disney Princess," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 2: Iss. 1, Article 29. Available at: http://scholarship.claremont.edu/lux/vol2/iss1/29 Stover: Damsels and Heroines: The Conundrum of the Post-Feminist Disney Princess Stover 1 Damsels and Heroines: The Conundrum of the Post-Feminist Disney Princess Cassandra Stover University of Southern California Abstract This research explores cultural shifts in the popularity of the Disney princess in American culture, especially its postmodern resurgence, as well as the complex relationship between Disney’s recent representations of women in the 1990’s and post-feminist ideology. My project begins by analyzing the historic appearance of the Disney female in relation to the women’s movements. I also examine lingering anti-feminist backlash in representations of what I call “New Wave” Disney heroines. Finally, I examine the implications of post-feminist discourse and advertising for young female viewers. When asked about Disney movies, many parents groan and launch into a familiar diatribe about the studio that transformed their daughters into princesses. -
Mulan: Female Character‟S Negotiation Towards
MULAN: FEMALE CHARACTER‟S Mulan, an animated movie by Walt Disney NEGOTIATION TOWARDS (1998), adopts the Chinese legend of Hua PATRIARCHY Mulan from the fourth century. It was directed by Tony Bancroft and Barry Cook. 1 2 Christy Tisnawijaya , Andreas Tano The movie was awarded 1999 Academy Awards Nominations: Best Original Score [email protected] and 1999 Golden Globe Awards Nominations: Best Original Score; Best English Department, Song. The main character, Fa Mulan, has a strong influence in the story. She is a Universitas Pamulang teenager who is not ready to be a wife, but her family insists her to be married. Then, Abstract she screws up her marriage and goes to a This research is aimed at showing the battle replacing her father. The issues of how gender inequality in Mulan animated movie men and women are expected to behave tend (1998). The elements of narrative: setting, to be prominent in many scenes of the plot, and point of view were analyzed through movie. the works of cinematography: angle and shot. The differences between the male and Patriarchy, the ideology that men female gender roles were found by examining are superior to women, determines women the dialogues and the song lyrics. The social roles in society based on her reproduction construction of gender roles was discussed organs‟ functions to childbearing (Irigaray, using the ideology of patriarchy by Irigaray 2004). This ideology makes “motherhood is (2004) and the concept of Confucianism by taken for granted as an identity for women” Lam (2016). (Woodward, 1999: 242). This feminine mystique, being a wife and a mother as the destiny of every girl, has restricted women in public space (Friedan, 1963). -
Guide for Guests with Disabilities
GUIDE FOR MOBILITY VISUAL HEARING TIPS AND INFORMATION ACCESSIBILITY AND MOBILITY GUESTS WITH Disabilities Disabilities Disabilities Courtesy Wheelchairs Complimentary Dining and Shopping Locations DISABILITIES Guest Amenities Wheelchairs and Electric Conveyance Vehicles (ECVs) Braille Guides Printed in Braille and large print text Assistive Listening Utilizes Disney’s Handheld wheelchairs are available for travel to and from Some counter-service and merchandise Available for Rent available for rent. Available on a first-come, first- to provide an overview of the Theme Park. Device to amplify sound through headphones or induction Cut the wait time in easy the Downtown Disney tram load/unload area and locations have narrow queues formed by or Deposit served basis. Audio Description Utilizes Disney’s Handheld neck loop at specific attractions. 3 the Main Entrance Esplanade. These courtesy steps: railings that may be difficult for Guests Device to provide supplemental audio information Handheld Captioning Utilizes Disney’s Handheld wheelchairs are not permitted for use inside the and narration at specific attractions and outdoor using wheelchairs. At these locations, we Device to display text at select attractions. Theme Parks. See a Cast Member at tram load/ locations via an interactive audio menu. ® suggest that a member of your party order Check your Times Guide for a list of Disney FASTPASS attractions. unload area for additional information. and transport the food, or contact a Cast Portable Tactile Maps Provides a tactile Video Captioning Caption-ready monitors designated Ready to use the FASTPASS service on another attraction? Look at the bottom of representation of building boundaries, walkways, with a “CC” symbol can be activated by remote control. -
Cultural Differences in Mulan Between Chinese Version and Disney Version
ISSN 1799-2591 Theory and Practice in Language Studies, Vol. 10, No. 10, pp. 1332-1336, October 2020 DOI: http://dx.doi.org/10.17507/tpls.1010.22 Cultural Differences in Mulan between Chinese Version and Disney Version Lei Wang School of Foreign Languages, Jining Medical University, 276826, China Bing Han School of Foreign Languages, Jining Medical University, 276826, China Guofei Xu School of Foreign Languages, Jining Medical University, 276826, China Abstract—This article puts Chinese Mulan and Disney Mulan's plots as the starting point, analyzes of the adaptation of the plots to show the different cultural significance given by different nationalities. The purpose of this paper is to research the cultural differences reflected in the films made by Hua Mulan in different countries. In this era of globalization, and in the face of different cultures, only by taking its essence and its dross will produce masterpieces that attract worldwide attention. There are indeed many cultural differences between the Chinese film Mulan and the American film Mulan. After analyzing the reasons for the differences, this study summarizes the enlightenment of these differences to cross-cultural research and shows some views. Index Terms—cultural differences, collectivism, individualism, patriarchy and feminism, equality consciousness I. INTRODUCTION From ancient times to the present, the heroine Mulan has been using “Mulan Ci” in “Haw to reply Haw, Mulan as Household Weaving”. “I didn't hear the sound of the machine, but I heard the sigh of the woman”. The traditional image of ancient Chinese women exists in the hearts of every Chinese. In the American Disney animated film Mulan, it gives another interpretation of Hua Mulan and the whole heroic deeds from the perspective of Westerners. -
Disney Sidekick
Sidekick Match Game PINOCCHIO THUMPER CINDERELLA PASCAL MULAN PUA ANNA ZAZU POCAHONTAS JIMINY CRICKET BAMBI MUSHU MUFASA OLAF PETER PAN FLOUNDER ALADDIN GUS GUS MOANA STITCH ARIEL ABU LILO FLIT RAPUNZEL TINKERBELL Draw a line from the character to their sidekick Love Interest Match Game Ariel Prince Charming Jasmine John Smith Cinderella Nala Pocahontas Prince Eric Aurora Flynn Rider Rapunzel The Prince Simba Jane Belle Prince Phillip Tarzan Aladdin Anna Lady Mulan The Beast Tramp Kristoff Snow White Li Shang Draw a lin e from the character to their lov e interest Match the Villain to the Movie Scar Beauty and the Beast Jafar Sleeping Beauty Cruella DeVil Peter Pan Captain Hook Snow White Maleficent The Jungle Book Gaston The Lion King The Evil Queen Hercules Shere Khan Frozen Mother Gothel Aladdin Hades Tangled Hans The Little Mermaid Queen of Hearts Alice in Wonderland Ursula 101 Dalmatians Dra w a line from the villain to the m ovie Sidekick ANSWER KEY PINOCCHIO JIMINY CRICKET CINDERELLA GUS GUS MULAN MUSHU ANNA OLAF POCAHONTAS FLIT BAMBI THUMPER MUFASA ZAZU PETER PAN TINKERBELL ALADDIN ABU MOANA PUA ARIEL FLOUNDER LILO STITCH RAPUNZEL PASCAL Draw a line from the character to their sidekick Love interest ANSWER KEY Ariel Prince Eric Jasmine Aladdin Cinderella Prince Charming Pocahontas John Smith Aurora Prince Phillip Rapunzel Flynn Rider Simba Nala Belle The Beast Tarzan Jane Anna Kristoff Mulan Li Shang Tramp Lady Snow White The Prince Draw a li ne from the character to their love interest Match the Villain ANSWER KEY Scar The Lion King Jafar Aladdin Cruella DeVil 101 Dalmatians Captain Hook Peter Pan Maleficent Sleeping Beauty Gaston Beauty and the Beast The Evil Queen Snow White Shere Khan Jungle Book Mother Gothel Tangled Hades Hercules Hans Frozen Queen of Hearts Alice in Wonderland Ursula The Little Mermaid Dra w a line from the villain to the movie.