Deconstructing Disney’s divas: a critique of the singing princess as filmic trope

This article contributes to the discourse of the body and the voice in feminist psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney’s Singing Princess as filmic trope. Analyses of vocal musical...

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Main Authors: Liske Potgieter, Zelda Potgieter
Format: Article
Language:English
Published: University of the Free State 2016-11-01
Series:Acta Academica
Online Access:http://journals.ufs.ac.za/index.php/aa/article/view/1511
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author Liske Potgieter
Zelda Potgieter
author_facet Liske Potgieter
Zelda Potgieter
author_sort Liske Potgieter
collection DOAJ
description This article contributes to the discourse of the body and the voice in feminist psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney’s Singing Princess as filmic trope. Analyses of vocal musical coding follow her trajectory across 13 Disney princess films to reveal deeper insight into what she sings, how she sings, and why she sings. In this manner, it is argued, the Singing Princess gradually emerges from her genealogical roots as innamorata, a position of vocal corporealisation and diegetic confinement, to one wherein her voice assumes a position of authority over the narrative, and from one of absolute submissiveness and naïve obedience to a greatly enriched experience of her own subjectivity.
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spelling doaj.art-84c65effaf76473a8e636e7f755109d12024-03-11T23:03:44ZengUniversity of the Free StateActa Academica0587-24052415-04792016-11-01482Deconstructing Disney’s divas: a critique of the singing princess as filmic tropeLiske Potgieter0Zelda Potgieter1Nelson Mandela Metropolitan UniversityNelson Mandela Metropolitan University This article contributes to the discourse of the body and the voice in feminist psychoanalytic film theory by exploring the currently under-theorised notion of the singing body in particular, as this notion finds manifestation in Disney’s Singing Princess as filmic trope. Analyses of vocal musical coding follow her trajectory across 13 Disney princess films to reveal deeper insight into what she sings, how she sings, and why she sings. In this manner, it is argued, the Singing Princess gradually emerges from her genealogical roots as innamorata, a position of vocal corporealisation and diegetic confinement, to one wherein her voice assumes a position of authority over the narrative, and from one of absolute submissiveness and naïve obedience to a greatly enriched experience of her own subjectivity. http://journals.ufs.ac.za/index.php/aa/article/view/1511
spellingShingle Liske Potgieter
Zelda Potgieter
Deconstructing Disney’s divas: a critique of the singing princess as filmic trope
Acta Academica
title Deconstructing Disney’s divas: a critique of the singing princess as filmic trope
title_full Deconstructing Disney’s divas: a critique of the singing princess as filmic trope
title_fullStr Deconstructing Disney’s divas: a critique of the singing princess as filmic trope
title_full_unstemmed Deconstructing Disney’s divas: a critique of the singing princess as filmic trope
title_short Deconstructing Disney’s divas: a critique of the singing princess as filmic trope
title_sort deconstructing disney s divas a critique of the singing princess as filmic trope
url http://journals.ufs.ac.za/index.php/aa/article/view/1511
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