{"id":{"repo_id":"malta","oai_identifier":"oai:www.um.edu.mt:123456789/141964"},"canonical_url":"https://search.dev.ndltd.org/etd/malta/oai:www.um.edu.mt:123456789/141964","repository":{"repo_id":"malta","name":"University of Malta","base_url":"https://www.um.edu.mt/library/oar/oai/request"},"display":{"title":"Translation, gender in Disney’s live-action productions: a translation studies perspective on the representation of gender stereotypes in Pinocchio, Aladdin and Beauty and the Beast","abstract":"This study investigates how gender representation is rewritten in Disney’s live-action adaptations of Beauty and the Beast (Condon 2017), Aladdin (Ritchie 2019), and Pinocchio (Zemeckis 2022), through the lens of Translation Studies. It draws on Lefevere’s theory of translation as rewriting, Butler’s theory of gender performativity, and Bassnett’s model of features, and is integrated within a qualitative, comparative, and interdisciplinary framework. The analysis attempts to address how ideological forces such as patronage and poetics, influence Disney’s adaptations, and how they reflect and reshape contemporary gender norms. The methodology of this research focuses on the taxonomies developed to map narrative and character features across the source texts, animations and live-action remakes, providing a diachronic view of the shifts in gender representation. Secondary focus is given to the subtitles, highlighting the roles of interlingual, intralingual, and intersemiotic translation strategies in shaping gender discourse. Findings reveal Disney’s clear attempt at progressiveness in gender representation – such as increased female agency or queer representation – although often resulting in superficial additions and, paradoxically, reinforcing patriarchal and heteronormative ideologies. Furthermore, linguistic analysis of subtitles and translation strategies further reveal ideological manipulation and superficiality of progress. By combining theories from Translation Studies, Adaptation Studies, Feminist and Queer Theory, and Semiotics and Narratology, this study highlights the role of translation as a vehicle of cultural and ideological transmission within children’s media. In conclusion, Disney’s adaptations are shaped as much by market and cultural expectations as by narrative fidelity, positioning translation as a central process in reinforcing gender ideologies and representation.","abstract_html":"This study investigates how gender representation is rewritten in Disney’s live-action adaptations of Beauty and the Beast (Condon 2017), Aladdin (Ritchie 2019), and Pinocchio (Zemeckis 2022), through the lens of Translation Studies. It draws on Lefevere’s theory of translation as rewriting, Butler’s theory of gender performativity, and Bassnett’s model of features, and is integrated within a qualitative, comparative, and interdisciplinary framework. The analysis attempts to address how ideological forces such as patronage and poetics, influence Disney’s adaptations, and how they reflect and reshape contemporary gender norms. The methodology of this research focuses on the taxonomies developed to map narrative and character features across the source texts, animations and live-action remakes, providing a diachronic view of the shifts in gender representation. Secondary focus is given to the subtitles, highlighting the roles of interlingual, intralingual, and intersemiotic translation strategies in shaping gender discourse. Findings reveal Disney’s clear attempt at progressiveness in gender representation – such as increased female agency or queer representation – although often resulting in superficial additions and, paradoxically, reinforcing patriarchal and heteronormative ideologies. Furthermore, linguistic analysis of subtitles and translation strategies further reveal ideological manipulation and superficiality of progress. By combining theories from Translation Studies, Adaptation Studies, Feminist and Queer Theory, and Semiotics and Narratology, this study highlights the role of translation as a vehicle of cultural and ideological transmission within children’s media. In conclusion, Disney’s adaptations are shaped as much by market and cultural expectations as by narrative fidelity, positioning translation as a central process in reinforcing gender ideologies and representation.","abstract_has_math":false,"creators":[],"institution":"University of Malta","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2025,"date_issued":"2025","date_published":"2025","updated_at":"2026-07-27T20:11:54Z","subjects":["Feminist theory","Disney characters","Translating and interpreting","Queer theory","Sex"],"languages":["en"],"rights":["info:eu-repo/semantics/restrictedAccess"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://www.um.edu.mt/library/oar/handle/123456789/141964","outbound_label":"Repository record","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-12-05T09:07:19Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-12-05T09:07:19Z"]},{"key":"dc:date.issued","label":"Date","values":["2025"]},{"key":"dc:publisher.department","label":"Dc Publisher Department","values":["Faculty of Arts. Department of Translation, Terminology & Interpreting Studies"]},{"key":"dc:publisher.institution","label":"Dc Publisher Institution","values":["University of Malta"]},{"key":"dc:type","label":"Dc Type","values":["masterThesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Feminist theory","Disney characters","Translating and interpreting","Queer theory","Sex"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["info:eu-repo/semantics/restrictedAccess"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://www.um.edu.mt/library/oar/handle/123456789/141964"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["M.Trans.(Melit.)"]},{"key":"dc:description.abstract","label":"Abstract","values":["This study investigates how gender representation is rewritten in Disney’s live-action adaptations of Beauty and the Beast (Condon 2017), Aladdin (Ritchie 2019), and Pinocchio (Zemeckis 2022), through the lens of Translation Studies. It draws on Lefevere’s theory of translation as rewriting, Butler’s theory of gender performativity, and Bassnett’s model of features, and is integrated within a qualitative, comparative, and interdisciplinary framework. The analysis attempts to address how ideological forces such as patronage and poetics, influence Disney’s adaptations, and how they reflect and reshape contemporary gender norms. The methodology of this research focuses on the taxonomies developed to map narrative and character features across the source texts, animations and live-action remakes, providing a diachronic view of the shifts in gender representation. Secondary focus is given to the subtitles, highlighting the roles of interlingual, intralingual, and intersemiotic translation strategies in shaping gender discourse. Findings reveal Disney’s clear attempt at progressiveness in gender representation – such as increased female agency or queer representation – although often resulting in superficial additions and, paradoxically, reinforcing patriarchal and heteronormative ideologies. Furthermore, linguistic analysis of subtitles and translation strategies further reveal ideological manipulation and superficiality of progress. By combining theories from Translation Studies, Adaptation Studies, Feminist and Queer Theory, and Semiotics and Narratology, this study highlights the role of translation as a vehicle of cultural and ideological transmission within children’s media. In conclusion, Disney’s adaptations are shaped as much by market and cultural expectations as by narrative fidelity, positioning translation as a central process in reinforcing gender ideologies and representation."]},{"key":"dc:title","label":"Title","values":["Translation, gender in Disney’s live-action productions: a translation studies perspective on the representation of gender stereotypes in Pinocchio, Aladdin and Beauty and the Beast"]}]}],"canonical_facts":{"dc:date.accessioned":["2025-12-05T09:07:19Z"],"dc:date.available":["2025-12-05T09:07:19Z"],"dc:date.issued":["2025"],"dc:description":["M.Trans.(Melit.)"],"dc:description.abstract":["This study investigates how gender representation is rewritten in Disney’s live-action adaptations of Beauty and the Beast (Condon 2017), Aladdin (Ritchie 2019), and Pinocchio (Zemeckis 2022), through the lens of Translation Studies. It draws on Lefevere’s theory of translation as rewriting, Butler’s theory of gender performativity, and Bassnett’s model of features, and is integrated within a qualitative, comparative, and interdisciplinary framework. The analysis attempts to address how ideological forces such as patronage and poetics, influence Disney’s adaptations, and how they reflect and reshape contemporary gender norms. The methodology of this research focuses on the taxonomies developed to map narrative and character features across the source texts, animations and live-action remakes, providing a diachronic view of the shifts in gender representation. Secondary focus is given to the subtitles, highlighting the roles of interlingual, intralingual, and intersemiotic translation strategies in shaping gender discourse. Findings reveal Disney’s clear attempt at progressiveness in gender representation – such as increased female agency or queer representation – although often resulting in superficial additions and, paradoxically, reinforcing patriarchal and heteronormative ideologies. Furthermore, linguistic analysis of subtitles and translation strategies further reveal ideological manipulation and superficiality of progress. By combining theories from Translation Studies, Adaptation Studies, Feminist and Queer Theory, and Semiotics and Narratology, this study highlights the role of translation as a vehicle of cultural and ideological transmission within children’s media. In conclusion, Disney’s adaptations are shaped as much by market and cultural expectations as by narrative fidelity, positioning translation as a central process in reinforcing gender ideologies and representation."],"dc:identifier.uri":["https://www.um.edu.mt/library/oar/handle/123456789/141964"],"dc:language.iso":["en"],"dc:publisher.department":["Faculty of Arts. Department of Translation, Terminology & Interpreting Studies"],"dc:publisher.institution":["University of Malta"],"dc:rights":["info:eu-repo/semantics/restrictedAccess"],"dc:subject":["Feminist theory","Disney characters","Translating and interpreting","Queer theory","Sex"],"dc:title":["Translation, gender in Disney’s live-action productions: a translation studies perspective on the representation of gender stereotypes in Pinocchio, Aladdin and Beauty and the Beast"],"dc:type":["masterThesis"]},"updated_at":"2026-07-27T20:11:54Z"}