The Disney Princesses are a billion-dollar industry, known and loved by children across the globe. Robyn Muir provides an exploratory and holistic examination of this worldwide commercial and cultural phenomenon in its key representations: films, merchandising and marketing, and park experiences. Muir highlights the messages and images of femininity found within the Disney Princess canon and provides a rigorous and innovative methodology for analysing gender in media. Including an in-depth examination of each princess film from the last 83 years, the book provides a lens through which to view and understand how Disney Princesses have contributed to the depiction of femininity within popular culture.

In the late 2000s, the Walt Disney Company expanded, rebranded, and recast itself around “woke,” empowered entertainment. This new era revitalized its princess franchise, seeking to elevate its female characters into heroes who save the day. Recasting the Disney Princess in an Era of New Media and Social Movements analyzes the way that the Walt Disney Company has co-opted contemporary social discourse, incorporating how audiences interpret their world through new media and activism into the company’s branding initiatives, programming, and films. The contributors in this collection study the company’s most iconic franchise, the Disney princesses, to evaluate how the company has addressed the patriarchy its own legacy cemented. Recasting the Disney Princess outlines how the current Disney era reflects changes in a global society where audiences are empowered by new media and social justice movements.

Peggy Orenstein, acclaimed author of the groundbreaking New York Times bestsellers Girls & Sex and Schoolgirls, offers a radical, timely wake-up call for parents, revealing the dark side of a pretty and pink culture confronting girls at every turn as they grow into adults. Sweet and sassy or predatory and hardened, sexualized girlhood influences our daughters from infancy onward, telling them that how a girl looks matters more than who she is. Somewhere between the exhilarating rise of Girl Power in the 1990s and today, the pursuit of physical perfection has been recast as the source of female empowerment. And commercialization has spread the message faster and farther, reaching girls at ever-younger ages. But how dangerous is pink and pretty, anyway? Being a princess is just make-believe; eventually they grow out of it . . . or do they? In search of answers, Peggy Orenstein visited Disneyland, trolled American Girl Place, and met parents of beauty-pageant preschoolers tricked out like Vegas showgirls. The stakes turn out to be higher than she ever imagined. From premature sexualization to the risk of depression to rising rates of narcissism, the potential negative impact of this new girlie-girl culture is undeniable—yet armed with awareness and recognition, parents can effectively counterbalance its influence in their daughters' lives.

The Disney princesses are adventurous, kind, and ready for anything! This Step 1 Deluxe Step into Reading leveled reader is perfect for children ages 4 to 6. The book features Snow White, Belle, Jasmine, Ariel, Sleeping Beauty, and Cinderella!

Get to know the Disney Princesses as you relive special moments from your favorite films. Prepare to be inspired! Experience the magic of Disney with this fully updated guide to the best-loved fairy-tale princesses of all time. The beautiful cover with silver foil adds extra sparkle and makes this book the perfect gift for fans of Disney's much-loved Princess movies. See inside Aurora's secret forest hideaway. Find out just how long Rapunzel's hair is. Discover the secret identity of Moana's most dangerous foe. Enter the magical worlds of Snow White, Cinderella, Sleeping Beauty, Ariel, Belle, Jasmine, Pocahontas, Mulan, Tiana, Rapunzel, Merida and Moana and find out everything you ever wanted to know about the lives, loyal friends and fiercest enemies of your favourite Disney Princesses. ©2019 Disney

These 30 true stories of take-charge princesses from around the world and throughout history offer a different kind of bedtime story . . . Pop history meets a funny, feminist point-of-view in these illustrated tales of “royal terrors who make modern gossip queens seem as demure as Snow White” (New York Post). You think you know her story. You’ve read the Brothers Grimm, you’ve watched the Disney cartoons, and you cheered as these virtuous women lived happily ever after. But real princesses didn’t always get happy endings—and had very little in common with Cinderella, Sleeping Beauty, Belle, or Ariel. Featuring illustrations by Wicked cover artist, Douglas Smith, Princesses Behaving Badly tells the true stories of famous (Marie Antoinette; Lucrezia Borgia)—and some not-so-famous—princesses throughout history and around the world, including: • Princess Stephanie von Hohenlohe, a Nazi spy. • Empress Elisabeth of the Austro-Hungarian Empire, who slept wearing a mask of raw veal. • Princess Olga of Kiev, who slaughtered her way to sainthood. • Princess Lakshmibai, who waged war on the battlefield with her toddler strapped to her back. Some were villains, some were heroes, some were just plain crazy. But none of these princesses felt constrained to our notions of “lady-like” behavior.

Disney Princesses and Tween Identity: The Franchise in Illiberal Hungary examines how tweens in illiberal Hungary construct verbal and visual identities through engagement with Disney princess animations. Presenting and analyzing ethnographic research in the form of interviews with Hungarian tweens around the time of the populist government’s winning the general elections in 2018, Anna Zsubori reveals the importance of social and cultural context in establishing the Disney princess phenomenon as a heterogeneous cultural force. The ambivalent and sometimes even contradictory ideas of identity expressed by the tweens highlight the role that diverse audiences, local negotiations, and dynamic discourses play in the reception of the Disney princess animations. Combining thematic and semiotic textual analyses of the conversations, tweens’ drawings and building blocks, and broader contextual examinations of the sessions with Hungarian children, this book offers original contributions on both theoretical and methodological levels.