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  • Author or Editor: Robyn Muir x
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This chapter introduces the fifth wave of the Disney Princess Phenomenon: Merida, Anna, Elsa and Moana. Their films are situated within their cultural context, before the dominant images of femininity in the wave are introduced and discussed: assertiveness, leadership, female support and lack of romantic relationships, with the chapter identifying them as ‘innovative leaders’..

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This chapter introduces the first wave of the Disney Princess Phenomenon: Snow White, Cinderella, and Aurora. Their films are situated within their cultural context, before the dominant images of femininity in the wave are introduced and discussed: domesticity, passivity, victimhood, and desiring a romantic relationship, with the chapter identifying them as ‘passive dreamers’.

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A Feminist Analysis
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The Disney Princesses are a billion-dollar industry, known and loved by children across the globe.

Robyn Muir provides an exploratory and holistic examination of this worldwide commercial and cultural phenomenon in its key representations: films, merchandising and marketing, and park experiences. Muir highlights the messages and images of femininity found within the Disney Princess canon and provides a rigorous and innovative methodology for analysing gender in media.

Including an in-depth examination of each princess film from the last 83 years, the book provides a lens through which to view and understand how Disney Princesses have contributed to the depiction of femininity within popular culture.

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This chapter explores the third facet of the Disney Princess Phenomenon: consumer experiences. Through an autoethnography, the chapter maps out how the Disney Princesses are remediated through theme park meet and greets, identifying which models of femininity are dominant.

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This chapter concludes by identifying the Disney Princesses as role models, and therefore inherently political. It summarizes the key arguments of the book, explaining how the study of Disney Princesses must continue to measure their relationship with audiences and what this means for the conceptualization of gender. . Throughout this book I have sought to discover how femininity is depicted within the Disney Princess Phenomenon through three facets: films, merchandising/marketing, and park experiences. I examined the film facet first, as this is where a princess’ mediation journey begins. I created a film analysis framework that allowed me to use the examination of speech, movement, plot lines, narratives, and treatment of characters to identify characteristics displayed by each princess.

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This chapter explores the connection between the images of femininity found in Disney Princess films and their remediations through the phenomenon’s second facet: merchandise and marketing. A content analysis of Disney Princess merchandise demonstrates which princesses and waves were most dominant. Distinguishing which of these waves are dominant in remediations of the films is imperative to outline which models of femininity are being promoted to consumers.

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This chapter introduces the second wave of the Disney Princess Phenomenon: Eilonwy, Ariel, Belle, and Jasmine. Their films are situated within their cultural context, before the dominant images of femininity in the wave are introduced and discussed: assertiveness, rebelliousness and bravery and desiring a romantic relationship, with the chapter identifying them as ‘lost dreamers’.

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This chapter introduces the third wave of the Disney Princess Phenomenon: Pocahontas, Mulan, and Kida. Their films are situated within their cultural context, before the dominant images of femininity in the wave are introduced and discussed: assertiveness, communication and negotiation, leadership, and desiring a romantic relationship, with the chapter identifying them as ‘active leaders’.

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This chapter introduces the fourth wave of the Disney Princess Phenomenon: Tiana and Rapunzel. Their films are situated within their cultural context, before the dominant images of femininity in the wave are introduced and discussed: determination, assertiveness, self-sacrifice, and desiring a romantic relationship, with the chapter identifying them as ‘sacrificing dreamers’.

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This section introduces the first facet of the Disney Princess Phenomenon: the films. It outlines the film analysis framework created to analyze the Disney Princess films. It introduces the framework, along with guidance questions so it can be used by scholars, students, and audiences. To analyze the Disney Princess films I created a new film analysis framework to produce a thick description of the film facet of the Disney Princess Phenomenon. Not only will this help scholars in Disney Studies who wish to analyze and create a typology to identify the changes in representation within the Disney Princess Phenomenon or in wider Disney animation/franchises, but due to the transferable nature of the film framework it can be used to explore a variety of popular culture from a feminist media studies perspective.

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