Introduction: Once Upon a Time in Hollywood…

Mollet, Tracey

doi:10.1007/978-3-030-50149-5_1

Cited by 2 publications

(5 citation statements)

References 24 publications

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“…It is rightly claimed that Disney’s portrayals of women should be understood in their historical contexts, with Disney Princesses taken as symbolic of the times in which their respective movies were released (Davis, 2006; Mollet, 2020). The Princess brand was created in 2000 (Orenstein, 2006), following the period of the ‘Disney Renaissance’ (1989–1999), in order to satisfy the market demand through selling the existing Disney Princess characters as commodities under a single product category banner, encompassing the idealistic, nostalgic and romantic visions of a princess.…”

Section: Fairy Tales and -Isms: Positioning Disney Princesses And Hun...mentioning

confidence: 99%

“…Disney Princesses have become complex, internationally prominent commodities, and are thus conceptualised as a ‘phenomenon’ within this project, in a similar manner to the approach adopted by the feminist media scholar Robyn Muir (2023). These characters are also understood as definers of the concept of ‘the’ princess – at least to American audiences (Mollet, 2020) – and a subject of many debates, on the one hand, within diverse scholarly critiques, and on the other as inspiration for audiences’ cultural productions. Indeed, while the Princess Phenomenon has been termed a ‘Princess syndrome’ (Hartstein, 2011) or ‘Princess problem’ (Hains, 2014), there are also academics (Bruce, 2005; Hine et al, 2018) who, after undertaking diverse empirical studies, claim that the portrayals of Disney Princesses do not negatively influence girls’ images of themselves (Bruce, 2005), or even that the representations of the newer Disney Princesses could have a positive impact on how children interpret gender roles (Hine et al, 2018).…”

Section: Fairy Tales and -Isms: Positioning Disney Princesses And Hun...mentioning

confidence: 99%

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The Good, the Bad and the Disney: Employing princesses to examine Hungarian tweens’ understanding of gender

Zsubori

2023

European Journal of Cultural Studies

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By relying on diverse scholarly works within several fields – such as communication, cultural, feminist media, film and tweenhood studies – on the one hand, and conducting audience research with Hungarian informants on the other, this interdisciplinary study, as part of a bigger project, examines Hungarian tweenagers’ negotiation of gender. It does so by investigating the concept of ‘the’ princess, including but not limited to Disney Princesses, while offering unique contributions on both theoretical and methodological levels. Theoretically, it shines a light on the limitations of applying Western, post-feminist, liberal theories in a non-Western, post-socialist and ‘illiberal’ environment, and it discusses complexities of the Princess Phenomenon which have been overlooked in academia. From a methodological perspective, it presents innovative short-term ethnographic approaches, specifically in terms of conducting a gender-centred audience study with young people in an anti-gender milieu. To achieve these objectives, this work first introduces the historical, social and political contexts in contemporary Hungary. This is followed by a discussion of the theoretical and methodological approaches which it was necessary to consider before undertaking the fieldwork in Hungary. The article then analyses Hungarian children’s notions of gender by discussing their ideas about ‘the’ princess as a concept. Finally, as a summary, this study outlines its contributions to diverse academic disciplines.

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Section: Fairy Tales and -Isms: Positioning Disney Princesses And Hun...mentioning

confidence: 99%

Section: Fairy Tales and -Isms: Positioning Disney Princesses And Hun...mentioning

confidence: 99%

The Good, the Bad and the Disney: Employing princesses to examine Hungarian tweens’ understanding of gender

Zsubori

2023

European Journal of Cultural Studies

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“…The Disney Princesses have been a long-studied area within media and culture (Craven, 2002; Davis, 2006; Dundes, 2001; Edwards, 1999; England et al, 2011; Lester, 2010; Mollet, 2020; Ohmer, 2006; Stott, 2004; Stover, 2013; Zsubori, 2022). The 11 franchised 1 princesses that have adorned our screens, shops and theme parks are a worldwide commercial and cultural phenomenon making $1.686 bn in 2018 alone (The Licensing Letter, 2019).…”

Section: Introductionmentioning

confidence: 99%

“…Established ways of approaching the Disney Princesses focus on analysis of films (Craven, 2002; Davis, 2006; Dundes, 2001; Edwards, 1999; England et al, 2011; Hefner et al, 2017; Lester, 2010; Maity, 2014; Mollet, 2020; Ohmer, 2006; Stott, 2004; Stover, 2013) and theme parks (Shuler, 2015; Williams, 2020). The central argument is whether depictions of heroines have progressed (Davis, 2006, 2014; Do Rozario, 2004; Hine et al, 2018; Hoerrner, 1996; Itmeizeh and Ma’ayeh, 2017; Lacroix, 2004; Mollet, 2020; Wasko, 2001; Zarranz, 2007) or regressed (Rudloff, 2016; Stover, 2013; Whelan, 2012). However, these studies have not been revised to include the most recent princesses, nor do they illustrate the entwined relationship between the different parts of the Princess Phenomenon (films, theme parks, and merchandise), and how that may impact their portrayal.…”

Section: Introductionmentioning

confidence: 99%

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‘Into the Unknown’: Using facet methodology to explore the Disney Princess Phenomenon

Muir

2022

Methodological Innovations

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The Disney Princesses are 18 royal characters featured in Disney and Pixar animated films, merchandise, marketing, and consumer experiences, marketed towards young consumers. Whilst much research has focussed on the representation of gender in Disney Princess films, there has been little focus on the rest of princess culture. This article argues that to understand the Disney Princess Phenomenon in its entirety, a new methodology must be introduced to the field. The article introduces Mason’s facet methodology as a methodological innovation to the fields of Disney and feminist media studies. A creative and innovative approach that allows researchers to ‘play’ with different methods to explore cultural phenomenon. Facet methodology imagines the selected phenomenon as a gemstone, where each ‘element’ or ‘part’ of the phenomenon is a facet of the overall gem. By using different methods to explore each facet, researchers can use findings to refract and reflect ‘light’ on each of the different elements of the phenomenon, demonstrating its entwined nature. The paper firstly outlines Jennifer Mason’s facet methodology. Secondly, it introduces the facets identified in the Disney Princess Phenomenon: films, merchandising and marketing, and consumer experiences. The article then focuses on how facet methodology enabled a creative and holistic approach to studying each facet of the princess phenomenon through a variety of research methods: textual analysis, interviews, content analysis, and autoethnography. The paper then reflects on the approach of facet methodology for research on the Disney Princess Phenomenon and in feminist media studies and media and communication, arguing that facet methodology provides researchers with insights to phenomena we would otherwise not uncover due to its holistic approach.

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Introduction: Once Upon a Time in Hollywood…

Cited by 2 publications

References 24 publications

The Good, the Bad and the Disney: Employing princesses to examine Hungarian tweens’ understanding of gender

The Good, the Bad and the Disney: Employing princesses to examine Hungarian tweens’ understanding of gender

‘Into the Unknown’: Using facet methodology to explore the Disney Princess Phenomenon

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