Letting gendered spaces go: striving toward gender and nature balance through bonding in Disney's Frozen and Maleficent

dc.contributor.advisor Michèle A. Schaal
dc.contributor.author Crosby, Sarah
dc.contributor.department English
dc.date 2018-08-11T17:01:14.000
dc.date.accessioned 2020-06-30T03:01:54Z
dc.date.available 2020-06-30T03:01:54Z
dc.date.copyright Fri Jan 01 00:00:00 UTC 2016
dc.date.embargo 2001-01-01
dc.date.issued 2016-01-01
dc.description.abstract <p>From Snow White and the Seven Dwarfs (1937) to more contemporary releases such as Brave (2012), scholars have extensively examined the portrayal of gender in the Disney Princess films. A significant shift in representation started to occur in the 21st century with a greater portrayal—albeit still problematic—of gender roles. Two recent films, Disney's animated Frozen (2013) and live-action Maleficent (2014), significantly illustrate how society's views of women have shifted, causing Disney to adjust its Princesses so as to mirror contemporary, more egalitarian ideals. In this thesis, I will demonstrate how the depiction of sisterly love in Frozen and the portrayal of motherhood in Maleficent as more important than romantic love establishes a deviation from Disney's prior portrayal of female characters while parodying “traditional” gender depictions. Although both films still lack diversity, patriarchy and gender roles are challenged by female bonding and the desegregation of gendered spaces.</p> <p>Due to the impact of space or location on gender roles and familial relationships, change must take place at a private and public level to be truly effective. Dualisms—gendered respectively in the masculine and feminine—are present but eventually challenged by Elsa and Anna in Frozen, as well as Maleficent and Aurora in Maleficent: these characters destabilize the spatially connected patriarchal structures by utilizing personal and political power in both public and private spheres. Therefore, Frozen and Maleficent, through the emphasis on familial, female bonding and desegregation of gendered locations, depart from previous Disney depictions of gender roles, dualistic spaces, and the notion of “happily ever after” as achieved through heterosexual romance and marriage.</p>
dc.format.mimetype application/pdf
dc.identifier archive/lib.dr.iastate.edu/etd/15162/
dc.identifier.articleid 6169
dc.identifier.contextkey 8929011
dc.identifier.doi https://doi.org/10.31274/etd-180810-4764
dc.identifier.s3bucket isulib-bepress-aws-west
dc.identifier.submissionpath etd/15162
dc.identifier.uri https://dr.lib.iastate.edu/handle/20.500.12876/29346
dc.language.iso en
dc.source.bitstream archive/lib.dr.iastate.edu/etd/15162/Crosby_iastate_0097M_15502.pdf|||Fri Jan 14 20:36:41 UTC 2022
dc.subject.disciplines Feminist, Gender, and Sexuality Studies
dc.subject.disciplines Film and Media Studies
dc.subject.disciplines Folklore
dc.subject.disciplines Gender and Sexuality
dc.subject.keywords English (Literature)
dc.subject.keywords English
dc.subject.keywords Literature
dc.subject.keywords bonding
dc.subject.keywords Disney
dc.subject.keywords ecofeminism
dc.subject.keywords female empowerment
dc.subject.keywords gendered spaces
dc.subject.keywords male ally
dc.title Letting gendered spaces go: striving toward gender and nature balance through bonding in Disney's Frozen and Maleficent
dc.type article
dc.type.genre thesis
dspace.entity.type Publication
relation.isOrgUnitOfPublication a7f2ac65-89b1-4c12-b0c2-b9bb01dd641b
thesis.degree.discipline English (Literature)
thesis.degree.level thesis
thesis.degree.name Master of Arts
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