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)
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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
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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
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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?