Details

<span>This collection analyzes the way that the Walt Disney Company has co-opted contemporary social discourse and studies how the current Disney era reflects changes in a global society where audiences are empowered by new media and social justice movements.</span>

<span>Part I: Rebranding the Disney Princess</span>
<br>
<br>
<span>Chapter One: Recasting the Disney Princess in an Era of New Media and Social Movements</span>
<br>
<br>
<span>Shearon Roberts</span>
<br>
<br>
<span>Chapter Two: Diversity Sells: The Dollars and Cents of Woke Rebranding</span>
<br>
<br>
<span>Shaniece B. Bickham and Shearon Roberts</span>
<br>
<br>
<span>Chapter Three: </span>
<span>Sofia the First</span>
<span>: A Princess Life Fit for a Preschool Audience</span>
<br>
<br>
<span>Sarah Maben</span>
<br>
<br>
<span>Chapter Four: From Princess to Heroine: Expanding Representations of Girls and Women</span>
<br>
<br>
<span>Jana Thomas and Holly Speck</span>
<br>
<br>
<span>Chapter Five: Pop, Hip-Hop, and the Hamiltonization of the Disney Soundtrack</span>
<br>
<br>
<span>Daron Roberts and Turon Nicholas</span>
<br>
<br>
<span>Part II: Diversifying the Disney Princess</span>
<br>
<br>
<span>Chapter Six: Elena of Avalor and Mama Coco: Latina Sheroes and Knowledge Keepers</span>
<br>
<br>
<span>Alberto Rodriguez and Veronica N. Durant</span>
<br>
<br>
<span>Chapter Seven: #NolaBorn: Tiana and the Road Home for New Orleans Residents</span>
<br>
<br>
<span>Sheryl Kennedy Haydel</span>
<br>
<br>
<span>Chapter Eight: Moana: The Daughter of the Chief and Polynesian (in)Visibility</span>
<br>
<br>
<span>Jenny Banh</span>
<br>
<br>
<span>Chapter Nine: #MakeMulanRight: Retracing the Genealogy of Mulan from Ancient Chinese Tale to Disney Classic.</span>
<br>
<br>
<span>Jenny Banh</span>
<br>
<br>
<span>Chapter Ten: </span>
<span>Pocahontas</span>
<span>: Digital Coloniality, Coercive Fiction, and “Renewing” Western Hegemonic Power.</span>
<br>
<br>
<span>Leece Lee-Oliver</span>
<br>
<br>
<span>Chapter Eleven: A Whole New World: Gender Norms, Islamophobia and Orientalism</span>
<br>
<br>
<span>Krystal Ghisyawan</span>
<br>
<br>
<span>Part III: Deconstructing Princess Narratives</span>
<br>
<br>
<span>Chapter Twelve: Belle: Beyond the Classic Story for the Modern Audience</span>
<br>
<br>
<span>Rebecca Weidman-Winter</span>
<br>
<br>
<span>Chapter Thirteen: “Let it Go” as Radical Mantra: Subverting the Princess Narrative in </span>
<span>Frozen</span>
<br>
<br>
<span>Susanne R. Hackett</span>
<br>
<br>
<span>Chapter Fourteen: Shuri of Wakanda, The People’s Princess</span>
<br>
<br>
<span>Charity Clay</span>
<br>
<br>
<span>Chapter Fifteen: </span>
<span>Maleficent: </span>
<span>Rape, Wrath, and the Feminine Divine</span>
<br>
<br>
<span>Sarah A. Clunis</span>
<br>
<br>
<span>Part IV: Embedding Social Discourse around the Disney Heroine</span>
<br>
<br>
<span>Chapter Sixteen: Disney’s Social Consciousness: Explaining #BlackLivesMatter through </span>
<span>Zootopia</span>
<br>
<br>
<span>Ahli Chatters and Shearon Roberts</span>
<br>
<br>
<span>Chapter Seventeen: “It’s Good to Be Bad”: Marginalization and Othering in the </span>
<span>Descendants </span>
<span>Films</span>
<br>
<br>
<span>Shearon Roberts</span>
<br>
<br>
<span>Chapter Eighteen: No Capes Needed: The Plight of Super Moms</span>
<br>
<br>
<span>Alexis Woods Barr</span>
<br>
<br>
<span>Chapter Nineteen: The Women of Wakanda: Black Beauty and Casting</span>
<br>
<br>
<span>Abeo Jackson</span>
<br>
<br>
<span>Chapter Twenty: Culture Wars and the Politics of </span>
<span>Finding Dory</span>
<br>
<br>
<span>Prairie Parnell</span>
<br>
<br>
<span>Epilogue: Notes from Behind the Camera from a Father of Two Daughters</span>
<br>
<br>
<span>Varion Laurent</span>

<span>Shearon Roberts </span>
<span>is assistant professor of mass communication and a faculty member in African American and diaspora studies at Xavier University of Louisiana.</span>