Name: Amy-Lauren Bissell

Transcription

1 Name: Amy-Lauren Bissell Module: MFC5112 Understanding Disney Module Tutor: Dr Jason Scott Assignment Number: Assignment One - Portfolio Date of Submission: 29 th November 2013 Academic Year: Second Year Grade: 73 (1 st Class) The following document was written by Amy-Lauren Bissell as part of a BA (Hons) Film Studies degree at Leeds Trinity University. A portfolio compiling several smaller assignments over the course of the first semester. Word Count: 990 words (Film Analyses and Annotation on Bibliography)

2 Content: Section 1: Essay Title Proposal Page 3 Section 2: Film analysis section: Music Land (1934) words. The Little Mermaid (1989) words. Page 3 Page 4 Section 3: Timeline of significant events and moments: In relation to Disney Animation. Pages 5 & 6 Section 4: Full Bibliography, complete with annotations words. Pages 7 & 9 Page 2

3 Section 1: Essay title proposal MFC 5112: Understanding Disney Mirror Mirror on the Wall: In what way are female protagonists, in both Classic and New Disney feature films represented, in terms of appearance, personality and their individual identity? Section 2: Film Analysis Section Film Analysis One: Music Land (1935) The concept of Classic Disney can be adequately addressed through the early shorts of the Silly Symphony collection, such as Music Land (1935). Using Wasko s (2001) definitions and outlined characteristics, we can examine Disney products to contain a consistent set of themes and values that represent Disney to the general public (pp. 110). In terms of characterisation, Music Land focuses on anthropomorphized musical instruments as oppose to animals, which live in a fantasy environment. Two protagonists, each from opposing musical genres of symphony and jazz, fall in the love, and have to overcome conflict to achieve their happily ever after. There is a strong sense of style, music being one of the primary focuses of the film. It is used to drive the narrative and provide personalities to the instruments, who do not speak and therefore use music as a mode of communication and to represent their individual identities. Music Land can easily be classified as light entertainment, with its cute characters and use of slapstick comic violence to present conflict. Music Land harnesses elements of the Classic Hollywood Cinema Model suggested by Bordwell, as the protagonists must confront various antagonists or problems to reach the goal succeed in reaching the goal [and] the film has closure (cited by Wasko, 2001, pp. 114). Todorov s theory of equilibrium can be applied to the narrative, as the once separate life of the two separate musical isles is disrupted by battle, then later joined together as harmony in their new equilibrium. Although some elements of Classic Disney are ignored by Music Land, for example the narrative being original as oppose to revised folk law, there is a clearly present utilisation of characteristics that reflect the Disney message. It also echoes the sentimental modernism associated with Disney texts, including musical elements of both high and popular culture. Word Count: 304 words Page 3

4 Film Analysis Two: The Little Mermaid (1989) Ariel s character in The Little Mermaid (1989) demonstrates both a reconfirmation of Classic Disney and the modification of characteristics and attitudes in New Disney productions. The narrative focuses on Classic Disney themes and style, with a variety of music numbers, humour and light entertainment, all shaping an ultimately romantic story line. Anthropomorphised sea creatures serve as Ariel s sidekicks, as she explores the fantasy underwater landscape. Magic is explored through the antagonist, Ursula the sea witch, who provides the conflict of good V.S evil, but ultimately is defeated. This underwater world exemplifies Disney s use of verisimilitude, using animals and environments that are realistic to an extent, however in a caricature physical styling with vibrant colours and dynamic movement. Wasko describes Ariel as, sensual, aggressive, mischievous, adventurous, [and] savvy (2001, pp. 134), somewhat separate to previous Disney female protagonists. During the Part of you World sequence, Ariel presents herself as an individualist, addressing her desire to escape. This demonstrates Classic Disney, but also the persona of a rebellious teenager, with an interest in materialistic products. This can be addressed as the Disney portrayal of the coming of age and the agenda of American consumerism. Ariel has ideological depth, as Davis argues, dreaming instead of living in a world where she is not just accepted, but valued (2006, pp. 178). However, despite this and her individual traits that are much more modernised to relate the contemporary audience of 1989, we must consider the ultimate goals she shares with other Disney heroines. Wasko addresses the conflicted feminist analyses in relation to The Little Mermaid as she compares Ariel and Snow White as surrounded by male characters dissatisfied with their current lives, and wish to marry a prince (2001, pp. 134). The happily- ever- after Ariel wishes for is so much achieved, but granted to her by her father, projecting a patriarchal message of masculine dominance. It could be argued that this is simply her ownership being exchanged to Prince Eric as her husband. Word Count: 329 words Page 4

5 Section 3: Timeline of significant event and moments - In relation to Disney Animation Walt and Roy Disney discover the rights to the Oswald the Lucky Rabbit animations they are currently working on are owned by Universal Studios (Wasko, 2001). As Wasko (2001, pp. 9) suggests, it taught Walt an important lesson: never lose control of your creations. This moment would help to shape the Disney business from here then on, in terms of business and personal ownership and the desire to expand and diversify it Walt Disney releases first cartoon to feature Mickey Mouse with Steamboat Willie (Maltby, 2003). Mickey Mouse, and his animated friend which would later join him, gained Disney popularity and exposure. Moreover, the iconic image of Mickey has become a universally understood and renowned iconography. It also highlights Disney s early interest in shorts that would continue into the 1930s with the Silly Symphonies Disney s Flowers and Trees is the first to use three- strip Technicolor (Maltby, 2003). This addresses the Disney aspiration to experiment with technology, even in their early productions. As part of the Silly Symphony collection, it also reflects the implementation of ideals, narrative structure and stylistic choices, which we now consider to be Classic Disney Snow White and the Seven Dwarfs is Disney s first feature- length animated movie (Maltby, 2003). This emphasises a change in attitudes towards animation, to be considered as feature- length worthy. It also highlights Disney s ambition and what we can consider to be a brave investment in terms of funding. The subsequent success of Snow White would change the future of the Disney company forever. Page 5

6 1939 The Academy of Motion Picture Arts and Sciences awards Snow White and the Seven Dwarfs a special Oscar. (Albarran, 2005). Special recognition given to the studio at such as early stage in their history, accentuates the cultural importance of Disney Studios in the wider context of Hollywood and filmmaking Songs of the South is the first Disney production to combine live action and animation (Albarran, 2005). This demonstrates Disney Studios ingenuity, creative and development of technology, and the desire to incorporate their renowned animation skills and techniques into other projects. This technique would be used in a variety of Disney productions from them on, such as in Mary Poppins (1964) and Bedknobs and Broomsticks (1971) Beauty and the Beast becomes the first animated film to be nominated for an Oscar for Best Picture. (Maltby, 2003). Being the first animation to be nominated for Best Picture stresses the cultural appreciation from Disney, and furthermore, animation. It also suggests that Disney animated products, although widely considered to be aimed at children, can be enjoyed and admired by adults Disney and Pixar announce and agreement to make and distribute at least one computer- generated animated movie (Pixar Website). Although Disney would eventually buy the rights to Pixar as a company, this demonstrates Disney s diversification and further experimentation with technology. Pixar would also become a huge part of the Disney universe, invested in its store, theme parks and TV programming. Page 6

7 Section 4: Full bibliography with annotations Books, ebooks and Academic Journals; Albarran, A. B. & Moellinger, T. The Top Six Communication Industry Firms: Structure, Performance and Strategy, In: Picard, R. G. (2005), Media Firms: Structures, Operations and Performance, pp Psychology Press. Available at: dq=alan+b.+albarran+%26+terry+moellinger+'the+top+six+communication +Industry+Firms:+Structure,+Performance+and+Strategy',&source=bl&ots=Lz Otiyru4T&sig=kWJSaAT2pyh- r028nsfhtxfesfq&hl=en&sa=x&ei=gs2wus- tliefyaposycabg&ved=0cdeq6aewaa#v=onepage&q=alan%20b.%20albarr an%20%26%20terry%20moellinger%20'the%20top%20six%20communicati on%20industry%20firms%3a%20structure%2c%20performance%20and%20 Strategy'%2C&f=false [Accessed 27/11/2013]. Barker, M. Chapter 6: In the Jungle, the Mighty Jungle, In: Barker, M & Austin, T. (2000) From Antz to Titanic: Reinventing Film Studies, pp , London: Pluto Press. Available at: [Accessed 18/11/2013]. Bordwell, D. and Thompson, K. Film Art, 4th edition, New York: McGraw Hill, pp Byrne, E. & McQuillian, M. Chapter 5: You can t Lionise the Lion : Racing Disney In: Byrne, E. & McQuillian, M. (1999) Deconstructing Disney, pp , London: Pluto Press. Available at: [Accessed 18/11/2013]. Breaux, R. (2010) After 75 Years of Magic: Disney Answers Its Critics, Rewrites American History, and Cashes In on Its Racist Past, Journal of African American Studies, Vol. 14, (Issue 4), pp , Academic Search Premier, EBSCOhost, Available at: &authtype=athens&site=eds- live&scope=site [Accessed 03/11/2013]. This detailed analysis of The Princess and the Frog, argues that Disney s first animation to feature an African- American heroine attempts to cash in on [the] denial of its racist past. Through consideration of other films, including Aladdin (1992), Mulan (1998), and The Lady and the Tramp (1955), Breaux outlines critiques related to Disney s portrayal of race and sexualised female characters, and suggests an attempt to rewrite the African American history of the USA. This resource should prove pertinent in my consideration of racial Page 7

8 identity, in conjunction with Hurley s article. It also helps to contextualise a current perspective of Disney products and my analysis of Tiana. Davis, A. M. (2006) Good girls and wicked witches: women in Disney s feature animation. Eastleigh: John Libbey. [Accessed 14/11/2013]. Davis explores an in- depth study of the female characters of Disney features (up to 2005). In devoted sections, Davis addresses key factors related to my study in assignment two, about female protagonists identities, with categories such as princesses (pp ), daughters (pp ) and tough gals (pp ). I also plan to further discuss and explore her section on cultural poignancy of Disney features, as a cultural mirror (pp. 19). Giroux, H. A. Children s Culture and Disney Animated Film, In: Giroux, H. A. (1995) The Mouse That Roared: Disney and the end of Innocence, Lanham, MD: Rowman & Littlefield. Giroux analyses the way in which children reflect and learn from Disney animated films. With quotations such as, [t]he construction of gender identity for girls and women represents one of the most controversial issues in Disney animated films, Giroux provides contextual grounding for my chosen essay subject. The analysis of The Little Mermaid also addressing identity, with such statements as, Ariel becomes a metaphor for the traditional housewife in the making. Hurley, D. L. (2005) Seeing White: Children of Color and the Disney Fairy Tale Princess, Journal of Negro Education, Vol. 74, (Issue 3), pp Available at: &authtype=athens&site=eds- live&scope=site [Accessed 03/11/2013]. Hurley analyses ideological and racial representations to assess its possible effects on children s self- image and belief- system (Hurley, 2005). The conclusions draw on when children begin to accumulate cultural information about themselves, others, and the relative status of group membership (Hurley, 2005) is particularly useful, as part of my study will assess how children interact with Disney characters to assess their own identity. Lugo- Lugo, C. and Bloodsworth- Lugo, M. (2009) Look Out New World, Here We Come? Race, Racialization, and Sexuality in Four Children s Animated Films by Disney, Pixar, and DreamWorks, Cultural Studies/Critical Methodologies, Vol. 9, (Issue 2), pp Available at: Page 8

9 &authtype=athens&site=eds- live&scope=site [Accessed 03/11/2013]. Maltby, R. Chapter 19. Chronology, In: Maltby, R. (2003) Hollywood Cinema, 2 nd ed. Wiley- Blackwell Publishing. Wasko, J. (2001) Understanding Disney, Cambridge, UK: Polity Press. An invaluable resource, used in conjunction with the entire content studied throughout semester one. Provides a clear understanding of Disney as a brand and a business, with an understanding of theoretical concepts such as Feminist theory (pp ), and Marxist theory (pp ). The concept of Classic Disney is analysed to a highly detailed extent. This resource was particularly useful for sections two and three of the portfolio. Website Resources; Enzo Giacosa, 2008, Silly Symphony - Music Land (1935), [online video]. Available at: [Accessed 10/11/2013]. Pixar Official Website, About Pixar, Available at: [Accessed 10/10/2013]. The Walt Disney Company, Available at: [Accessed 10/10/2013]. Walt Disney Animation Studios YouTube Channel, Channel Homepage, Available at: [Accessed 10/10/2013]. The Internet Movie Database, Walt Disney Pictures [US], Available at: [Accessed 10/10/2013]. Page 9