THE MUSICAL EVOLUTION OF THE PRINCESS IN DISNEY’S ANIMATED FEATURES Oliver Lindman STRUCTURE OF PRESENTATION The title – explanation and background The research questions Literature review - overview Structure of dissertation - overview THE TITLE – EXPLANATION AND PURPOSE The musical evolution of the princess in Disney’s animated features Time period: 1937 (Snow White and the Seven Dwarfs) – 2013 (Frozen) • 53 feature films – 38 musical films – 11 princess films Purpose: Disney music countributes, subverts, adds … …to an industry synonymous with family value1 and a symbol of right and wrong.2 • • 1 Byrne et al., 1999. Deconstructing Disney, p. 58. 2 Michel, 1996. ’Re-Reading Disney’, p. 5. RESEARCH QUESTIONS With reference to the song score, how has the musical treatment of the Disney princess changed over time, and to what effect? With reference to the instrumental score, how has the musical treatment of the Disney princess changed over time, and to what effect? What do close readings of the music suggest about the characterization and representation of Disney female characters, and how do they compare to more general scholarly analyses of these characters? L I T E R AT U R E R E V I E W PA R T I – T H E D I S N E Y I N F L U E N C E AIMS: Historical overview, and highlight… • I – Disney as influential movie industry • Cheu, 2013. Diversity in Disney Films, p. 7. • Korkis, 2012. The Revised Vault of Walt, p. xv. • II – Disney as enforcer of patriarchal ideologies • E.g. Gender stereotyping / vilifying female power • Sells, 1995. ’Where Do the Mermaids Stand’, p. 181. • England et al., 2011. ’Gender Role Portrayal and the Disney Princesses’, p. 565. • Disney makes us ’long’ for ’patriarchal realms’. • Zipes, 1995. ’Breaking the Disney Spell’, p. 40. L I T E R AT U R E R E V I E W PA R T I I – T H E P R I N C E S S AIMS: show link to children and role internalisation through media • The desire to be a princess • Ambjörnsson, 2011. Rosa – den farliga färgen [Pink – The Dangerous Colour], pp. 59-116. • Media informs roles that children play • Davis, 2006. Good Girls and Wicked Witches, pp. 27-30. Connect this phenomenon to Disney • Griffin, 2000. Tinker Belles and Evil Queens. • Bell et al., 1995. From Mouse to Mermaid. • Matthew et al., 2009. ’The Ideology of the Mermaid’. L I T E R AT U R E R E V I E W PA R T I I I – F I L M M U S I C A S C H A R A C T E R I S E R AIMS: suggest how film music ’conditions identification processes’ • Kassabian, 2001. Hearing Film, p. 60. Outline theory of connotative intersubjectivity • Tagg, 2013. Music’s Meanings, p. 200. • Which extramusical connotations relate to gender? • Laing, 2007. The Gendered Score, pp. 13-14. Applying connotative semiotics to Disney music • E.g. What associations does the show tune in Frozen evoke? L I T E R AT U R E R E V I E W PA R T I V – T H E M U S I C A L A N D T H E V O I C E AIMS: state implications of Disney’s use of songs • Menken: Disney films often close to musical theatre • Spaeth, 1997. ’Alan Menken on Music’s Many Forms’, p. 40. Illustrate the role of the song number … • Often occurs at moment of highest emotional expression • Marshall, Stilwell, 2000. Musicals: Hollywood and Beyond, p. 9. … and that of the voice • Timbral qualities shape the persona of the singer • Smith, 2005. The Musical, p. 58. DISSERTATION STRUCTURE Introduction • • • • • Title explanation and background LR I – The Disney Influence LR II – The Princess LR III – Film Music as Characteriser LR IV – The Musical and the Voice Chapter 1: The Classical Era: Snow White and the Seven Dwarfs (1937) Chapter 2: The Renaissance Era: The Little Mermaid (1989) Chapter 3: The Revival Era: Frozen (2013) Conclusion THE BODY CHAPTERS STRUCTURE Introduction Overview of era, social trends The film in academia, e.g. feminist responses. The score – general observations Songs, voice persona; specific musical treatment Short summary EXAMPLE CHAPTER THE LIT TLE MERMAID (1989) Introduction Aspects of Disney renaissance (1989-1999) Ariel the Princess –Progressive? Traditional? How does score affect that understanding? Ariel’s theme – why ballad? / effect of Jodi Benson’s voice / … Short summary THANK YOU! References: See handout. Question for discussion: Would my dissertation benefit from practical investigations, such as online surveys, to get an idea of public response?