{"title":"迪士尼动画电影,他们的公主们,以及其他人","authors":"Alia R. Tyner-Mullings","doi":"10.1080/1369118X.2023.2166362","DOIUrl":null,"url":null,"abstract":"ABSTRACT In April 2021, The Walt Disney Company (Disney) announced the Ultimate Princess Celebration, ‘a year-long event spotlighting the courage and kindness these Disney heroines inspire in fans all around the world’ (Deitchman, 2021). Princesses have remained an important element of Disney’s identity and the movies they create. Broadening research beyond these characters and examining a larger sample demonstrated distinctions in the characteristics present in Official Disney Princess (ODP) movies, Actual Princess (AP) movies, and the 45 in the full catalog (All-Movies) that are or share characteristics with Disney Princess Movies. This article compares the race, class, and gender of the protagonist and antagonist as well as other story elements of 45 animated or partially animated movies that typify Disney’s ‘Classics Period’ between 1937 and 2017 across those three groups. This work examines the ways in which the ODP and AP are different from the overall catalog and violate some of the Disney norms to which we are accustomed while fully embracing others. The research found that while the Official Princess movies had more racial diversity in the main characters than the overall catalog, for example, they also had more stereotypical female villains, more magic, and more romance. Acknowledging these divisions can lead to more robust research where a research sample can be critically collected based on the topic of interest. This article provides a foundation for those examinations.","PeriodicalId":48335,"journal":{"name":"Information Communication & Society","volume":"26 1","pages":"891 - 903"},"PeriodicalIF":4.2000,"publicationDate":"2023-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Disney animated movies, their princesses, and everyone else\",\"authors\":\"Alia R. Tyner-Mullings\",\"doi\":\"10.1080/1369118X.2023.2166362\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT In April 2021, The Walt Disney Company (Disney) announced the Ultimate Princess Celebration, ‘a year-long event spotlighting the courage and kindness these Disney heroines inspire in fans all around the world’ (Deitchman, 2021). Princesses have remained an important element of Disney’s identity and the movies they create. Broadening research beyond these characters and examining a larger sample demonstrated distinctions in the characteristics present in Official Disney Princess (ODP) movies, Actual Princess (AP) movies, and the 45 in the full catalog (All-Movies) that are or share characteristics with Disney Princess Movies. This article compares the race, class, and gender of the protagonist and antagonist as well as other story elements of 45 animated or partially animated movies that typify Disney’s ‘Classics Period’ between 1937 and 2017 across those three groups. This work examines the ways in which the ODP and AP are different from the overall catalog and violate some of the Disney norms to which we are accustomed while fully embracing others. The research found that while the Official Princess movies had more racial diversity in the main characters than the overall catalog, for example, they also had more stereotypical female villains, more magic, and more romance. Acknowledging these divisions can lead to more robust research where a research sample can be critically collected based on the topic of interest. This article provides a foundation for those examinations.\",\"PeriodicalId\":48335,\"journal\":{\"name\":\"Information Communication & Society\",\"volume\":\"26 1\",\"pages\":\"891 - 903\"},\"PeriodicalIF\":4.2000,\"publicationDate\":\"2023-01-12\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Information Communication & Society\",\"FirstCategoryId\":\"98\",\"ListUrlMain\":\"https://doi.org/10.1080/1369118X.2023.2166362\",\"RegionNum\":1,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q1\",\"JCRName\":\"COMMUNICATION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Information Communication & Society","FirstCategoryId":"98","ListUrlMain":"https://doi.org/10.1080/1369118X.2023.2166362","RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"COMMUNICATION","Score":null,"Total":0}
Disney animated movies, their princesses, and everyone else
ABSTRACT In April 2021, The Walt Disney Company (Disney) announced the Ultimate Princess Celebration, ‘a year-long event spotlighting the courage and kindness these Disney heroines inspire in fans all around the world’ (Deitchman, 2021). Princesses have remained an important element of Disney’s identity and the movies they create. Broadening research beyond these characters and examining a larger sample demonstrated distinctions in the characteristics present in Official Disney Princess (ODP) movies, Actual Princess (AP) movies, and the 45 in the full catalog (All-Movies) that are or share characteristics with Disney Princess Movies. This article compares the race, class, and gender of the protagonist and antagonist as well as other story elements of 45 animated or partially animated movies that typify Disney’s ‘Classics Period’ between 1937 and 2017 across those three groups. This work examines the ways in which the ODP and AP are different from the overall catalog and violate some of the Disney norms to which we are accustomed while fully embracing others. The research found that while the Official Princess movies had more racial diversity in the main characters than the overall catalog, for example, they also had more stereotypical female villains, more magic, and more romance. Acknowledging these divisions can lead to more robust research where a research sample can be critically collected based on the topic of interest. This article provides a foundation for those examinations.
期刊介绍:
Drawing together the most current work upon the social, economic, and cultural impact of the emerging properties of the new information and communications technologies, this journal positions itself at the centre of contemporary debates about the information age. Information, Communication & Society (iCS) transcends cultural and geographical boundaries as it explores a diverse range of issues relating to the development and application of information and communications technologies (ICTs), asking such questions as: -What are the new and evolving forms of social software? What direction will these forms take? -ICTs facilitating globalization and how might this affect conceptions of local identity, ethnic differences, and regional sub-cultures? -Are ICTs leading to an age of electronic surveillance and social control? What are the implications for policing criminal activity, citizen privacy and public expression? -How are ICTs affecting daily life and social structures such as the family, work and organization, commerce and business, education, health care, and leisure activities? -To what extent do the virtual worlds constructed using ICTs impact on the construction of objects, spaces, and entities in the material world? iCS analyses such questions from a global, interdisciplinary perspective in contributions of the very highest quality from scholars and practitioners in the social sciences, gender and cultural studies, communication and media studies, as well as in the information and computer sciences.