{"id":{"repo_id":"central-wash","oai_identifier":"oai:digitalcommons.cwu.edu:etd-1078"},"canonical_url":"https://search.dev.ndltd.org/etd/central-wash/oai:digitalcommons.cwu.edu:etd-1078","repository":{"repo_id":"central-wash","name":"Central Washington University","base_url":"https://digitalcommons.cwu.edu/do/oai/"},"display":{"title":"Moving Foward?: Problematic Ideologies in Twenty-First Century Fairy Tale Films","abstract":"Fairy tales, as a reflection of our values and belief systems, are crucial in shaping and maintaining cultural ideologies. In the twenty-first century, cinematic fairy tales have the unique position of representing such values in an expansive and expeditious manner. Audiences must therefore be critically conscious of the messages promoted by these tales. An analysis of the five most popular contemporary fairy tale films, Disney’s <em>Princess and the Frog </em>(2009), <em>Tangled</em> (2010), Universal’s <em>Snow White and the Huntsman</em> (2012), and Disney’s <em>Frozen</em> (2013) and <em>Maleficent</em> (2014), revealed minimal attempts to propitiate critical audiences in regard to changing cultural values, but each film ultimately fails to break away from hegemonic assumptions about gender norms, class boundaries, and Caucasian privilege.","abstract_html":"Fairy tales, as a reflection of our values and belief systems, are crucial in shaping and maintaining cultural ideologies. In the twenty-first century, cinematic fairy tales have the unique position of representing such values in an expansive and expeditious manner. Audiences must therefore be critically conscious of the messages promoted by these tales. An analysis of the five most popular contemporary fairy tale films, Disney’s &lt;em&gt;Princess and the Frog &lt;/em&gt;(2009), &lt;em&gt;Tangled&lt;/em&gt; (2010), Universal’s &lt;em&gt;Snow White and the Huntsman&lt;/em&gt; (2012), and Disney’s &lt;em&gt;Frozen&lt;/em&gt; (2013) and &lt;em&gt;Maleficent&lt;/em&gt; (2014), revealed minimal attempts to propitiate critical audiences in regard to changing cultural values, but each film ultimately fails to break away from hegemonic assumptions about gender norms, class boundaries, and Caucasian privilege.","abstract_has_math":false,"creators":["Kilmer, Alyson"],"institution":null,"degree_name":"Master of Arts (MA)","degree_level":null,"degree_discipline":"English Literature","degree_department":null,"school":null,"contributors":["Patsy Callaghan","Laila Abdalla","Christine Sutphin"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2015,"date_issued":"2015-01-01T08:00:00Z","date_published":"2015-01-01T08:00:00Z","updated_at":"2026-07-24T01:36:32Z","subjects":["gender","class","race","Disney","Universal Studios","folklore","American Popular Culture","Other Feminist, Gender, and Sexuality Studies","Other Film and Media Studies","Race, Ethnicity and Post-Colonial Studies","Social Media"],"languages":["English"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://digitalcommons.cwu.edu/etd/73","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Patsy Callaghan","Laila Abdalla","Christine Sutphin"]},{"key":"dc:creator","label":"Author","values":["Kilmer, Alyson"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.available","label":"Dc Date Available","values":["2015-06-11T07:00:00Z"]},{"key":"dc:type","label":"Dc Type","values":["Text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["English Literature"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts (MA)"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["gender","class","race","Disney","Universal Studios","folklore","American Popular Culture","Other Feminist, Gender, and Sexuality Studies","Other Film and Media Studies","Race, Ethnicity and Post-Colonial Studies","Social Media"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://digitalcommons.cwu.edu/etd/73"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Fairy tales, as a reflection of our values and belief systems, are crucial in shaping and maintaining cultural ideologies. In the twenty-first century, cinematic fairy tales have the unique position of representing such values in an expansive and expeditious manner. Audiences must therefore be critically conscious of the messages promoted by these tales. An analysis of the five most popular contemporary fairy tale films, Disney’s <em>Princess and the Frog </em>(2009), <em>Tangled</em> (2010), Universal’s <em>Snow White and the Huntsman</em> (2012), and Disney’s <em>Frozen</em> (2013) and <em>Maleficent</em> (2014), revealed minimal attempts to propitiate critical audiences in regard to changing cultural values, but each film ultimately fails to break away from hegemonic assumptions about gender norms, class boundaries, and Caucasian privilege."]},{"key":"dc:title","label":"Title","values":["Moving Foward?: Problematic Ideologies in Twenty-First Century Fairy Tale Films"]}]}],"canonical_facts":{"dc:contributor":["Patsy Callaghan","Laila Abdalla","Christine Sutphin"],"dc:creator":["Kilmer, Alyson"],"dc:date.available":["2015-06-11T07:00:00Z"],"dc:description.abstract":["Fairy tales, as a reflection of our values and belief systems, are crucial in shaping and maintaining cultural ideologies. In the twenty-first century, cinematic fairy tales have the unique position of representing such values in an expansive and expeditious manner. Audiences must therefore be critically conscious of the messages promoted by these tales. An analysis of the five most popular contemporary fairy tale films, Disney’s <em>Princess and the Frog </em>(2009), <em>Tangled</em> (2010), Universal’s <em>Snow White and the Huntsman</em> (2012), and Disney’s <em>Frozen</em> (2013) and <em>Maleficent</em> (2014), revealed minimal attempts to propitiate critical audiences in regard to changing cultural values, but each film ultimately fails to break away from hegemonic assumptions about gender norms, class boundaries, and Caucasian privilege."],"dc:identifier":["https://digitalcommons.cwu.edu/etd/73"],"dc:language":["English"],"dc:subject":["gender","class","race","Disney","Universal Studios","folklore","American Popular Culture","Other Feminist, Gender, and Sexuality Studies","Other Film and Media Studies","Race, Ethnicity and Post-Colonial Studies","Social Media"],"dc:title":["Moving Foward?: Problematic Ideologies in Twenty-First Century Fairy Tale Films"],"dc:type":["Text"],"thesis:degree_discipline":["English Literature"],"thesis:degree_name":["Master of Arts (MA)"]},"updated_at":"2026-07-24T01:36:32Z"}