Good Girls and Wicked Witches: Women in Disney’s Feature by Amy M. Davis

By Amy M. Davis

In strong ladies and depraved Witches, Amy M. Davis re-examines the proposal that Disney heroines are rewarded for passivity. Davis proceeds from the idea that, of their representations of femininity, Disney movies either mirrored and contributed to shaping the attitudes of the broader society, either on the time in their first unencumber and for that reason. examining the development of (mainly human) woman characters within the lively movies of the Walt Disney Studio among 1937 and 2001, she makes an attempt to set up the level to which those characterizations have been formed via wider renowned stereotypes. Davis argues that it truly is in the so much built of all relocating photos of the feminine form―the heroine of the lively film―that the main telling features of lady because the topic of Hollywood iconography and cultural principles of yankee womanhood are to be found.

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More recently, thanks are due to Máire Messenger-Davies, John Davies, Ciara Chambers, Niamh O’Sullivan, Andrew Boyce, and Helen Thornham, whose friendship and emotional support in the final stages of this project, not to mention the dog-sitting during research trips, have been of enormous help! Also, extra thanks to Helen for her hard work on the index! Special thanks, however, must be given to those who gave exceptional help to me in some way. My brother, Brian Davis, has always been most able and willing to talk Disney with me, and given me much inspiration and food for thought in the process.

Such questions as these are best answered not only through looking at Disney films as a genre in and of themselves, but also through looking at Disney in relation to the horror genre. Disney and horror The horror genre possesses many attributes in common with Disney’s animated films, thanks no doubt to the fact that Disney’s major source of stories has been fairy tales (which share major story elements and themes with classic horror films). 39 It is important to clarify that not all of the films within this study can be classed as horror.

The Disney corporation will be referred to as either the Disney corporation or the Disney company. The book begins with two chapters outlining the basic background to the problems to be analysed. Having looked briefly at constructions of femininity within American popular culture in this introduction and in the following chapter, it is intended that this initial discussion will serve as a basis for the in-depth examinations of constructions of femininity which will be undertaken on a film-by-film basis in the fourth, fifth, and sixth chapters.

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