The ―Disney-fication‖ of Gender, Race, and Place Fall 2011

Instructor: Cierra Olivia Thomas-Williams Office Hours: TBA

Course Times: TBA Office Location: MM TBA
Course Location: TBA Phone: (812) 855-0101
Relevant in-document links: Learning Objectives, E-mail: cthomasw@umail.iu.edu
Assignments and Graded Work, Graded Work Website: http://www.gender.edu/~gender
Calendar, Policies, Required Texts, Course
Readings/Screenings Schedule

I remember Daddy told me : Sleeping Beauty fair,

"Fairytales can come true
You gotta make 'em happen, it all depends on you"
So I work real hard each and every day . . .
There's been trials and tribulations
You know I've had my share
But I've climbed the mountain, I've crossed the
river. And I'm almost there, I'm almost there
I'm almost there!
- Princess Tiana
The Princess & The Frog, 2009 Disney
Gold of sunshine in your hair,
Lips that shame the red, red rose,
Dreaming of true love in slumber repose
One day he will come,
Riding over the dawn,
When you awaken to love's first kiss,
Till then, Sleeping Beauty, sleep on
One day you'll awaken to love's first kiss,
Till then, Sleeping Beauty, sleep on.
- Handsome Prince
Sleeping Beauty Song, 1959 Disney

COURSE DESCRIPTION
Disney is a corporation, an American cultural icon, and a global brand with a long transnational history.
This seminar is an interdisciplinary exploration of representations of gender, race, and place in the
animated films of Walt Disney. Weekly film screenings are paired with critical readings to foster our
analyses of the politics of representation that are particular to Disney. We will develop a complex
understanding of the relationship of Walt Disney movies and products to identity formation, market
expansion, nation-building, and globalization. Not only will we learn about the ways in which academics
respond to Disney, this course is designed to practice multiple methodological approaches to the study of
film. Through various writing and research methods, we will examine the ways in which Disney films are
instrumental in the development of collective childhood fantasies about love, sex, family, war, marriage,
violence, nationality, individualism, and freedom. This will include an extensive focus on recurring identity
tropes, such as the princess, stepmother, prince, the hero and the foil, all of whom are integral to the
development of asymmetrical power relationships locally and globally.

Some of the lines of inquiry we will pursue this semester are: How do corporations and their products fit
into, shape, or change our understanding of American culture and individual gender and sexual
subjectivity? What are the social and political contexts of the Disney film under discussion both within
and outside of the diegesis (or ―movie world‖)? What is the role of place, meaning geography, in the
Disney films? How does place overlap with the construction of social geographies based on race, class,
gender, and sexuality? How do these representations change over time? How does a character‘s
apparent ethnicity or race correlate to the way in which that character is represented in life and love?
How is Disney‘s treatment of the heterosexual romance narrative constitutive of larger cultural ideologies
about race, gender, and sexuality? Can these same heterosexual love narratives be read as ―queer‖?

Indiana University, Bloomington 200/300 - 3 Credits

Instructor: Cierra Olivia Thomas-Williams 1
 The ―Disney-fication‖ of Gender, Race, and Place Fall 2011

Learning Objectives:
 Identify the characteristics of ―the Disney animated film‖ within the context of the larger genre of
the musical and Classical Hollywood Cinema, which includes specificities of narrative, sound, plot
development, and visual style.
 Become familiar with theories of ―the self/subject‖ as gendered and racialized through two broad
categories of intellectual investigation: structuralism and post-structuralism.
 Demonstrate through written work the skills to both critically analyze and historically and socially
contextualize media images and representations using queer theory and feminist frameworks and
anthropological practices.
 Recognize other themes (moments in history) in relation to the Disney canon, including
colonialism, conquest, militarism, globalization, war, and genocide in relation to cultural
knowledge production.
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Graded Work & Expectations:
1. Attendance – (1.5-3 points per day). Grade assessed by dividing total points earned with total points
possible (3 per session) throughout the course. 3 points are earned by daily attendance; tardiness
earns 1.5 points per day.
2. Participation/In-Class Worksheets/Short Home works – (100 points total). The in-class
worksheets, short home works, and occasionally announced quizzes will cover the critical concepts
learned from the assigned materials and lecture. These are designed as an ―incentive‖ to keep up
with the readings and to build on insights gleaned from discussion and collective intellectual
interrogation. The format of the home works / worksheets will be short essay answer.
3. Critical Responses (5 at 20 points each, 100 total points, and I will drop lowest score at end of
semester). You are expected to submit five critical responses (2 pages, approximately 400-500
words) over the course of the semester. These short discussion papers should: 1) reflect your critical
observations and ideas about the films we screen, 2) include discussion and analysis of at least one
course reading about film, 3) Use two critical terms correctly and define them either in-text or in a
footnote, 4) fully cite the readings and films using Chicago Style citation (oncourse/resources
/handouts). Please see the grading rubric for the critical responses in oncourse/resources/handouts
for a checklist and explanation of expectations for A, B, and C range writing. There are twelve-fifteen
films to screen and you must write about five of these films. A response essay on a particular film is
due at noon to oncourse/assignments on the Saturday following the class meetings in which we
discuss that film. No late response essays will be accepted barring exceptional circumstances. It is
suggested that you complete all five writing CRs prior to the first nine weeks of the semester so that
you can focus on your other assignments during the latter half of the seminar.
Aladdin, Due Sat. Mulan, Due Sat.
Beauty and the Beast, Due Sat. Pocahontas, Due Sat.
Lilo & Stitch, Due Sat. The Corporation (not Disney), Due Sat.
The Princess & The Frog, Due Sat. The Lion King, Due Sat.
Enchanted, Due Sat. The Little Mermaid, Due Sat.
Mickey Mouse Goes to Haiti: Walt Disney and the The North Avenue Irregulars, Due Sat.
Science of Exploitation (not Disney), Due Sat. Walt and El Grupo, Due Sat.
Mickey Mouse Monopoly (not Disney) , Due Sat. *2 or 3 films of your choice

4. The “REAL THING” Essay (100 points): Unlike your 5 response papers, this writing assignment
asks you to analyze an ―original/real thing‖ * version of a fairy tale and Disney‘s version of the same
tale. These are the requirements for this assignment: 1) You must communicate with me via email or
in person to get approval both your ―real thing‖ * source and your Disney source by week six. These
Disney tales can be films we have watched in class, but you are encouraged not to limit your choices
to the films we analyze together. 2) You will demonstrate an analytical understanding of the plot of
both the Disney and the original* version of the tale you are researching (analyze do not summarize).
3) You will need to use at least three critical terms correctly and define them either in-text or in a
footnote. 4) Finally, the essay will use a minimum of two articles or chapters from the course (in
addition to the sources you bring to this essay). See oncourse/assignments/the real thing for the

Indiana University, Bloomington 200/300 - 3 Credits

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 The ―Disney-fication‖ of Gender, Race, and Place Fall 2011

complete detailed instructions, a checklist, and explanation of expectations for A, B, and C range
writing. Due noon sat. week 9 in oncourse/assignments/ the real thing.
*This essay will require some outside research on your part. Some notable collectors and writers of
folk tales are The Brothers Grimm, Charles Perrault, Hans Christian Anderson, and Carlo Collodi.
The multitudinous sources will often be translated from another language to English. You should
consider translation as a form of distancing you from the ―original.‖ To find your ―original‖ tale you are
encouraged to use the ―keywords‖ feature of IUCAT to find a tale commensurate with your Disney
version at the Wells library. Because the possibilities are limitless, we will spend some time in class
doing searches for information on the ―real thing.‖
5. Final Project (One of Two Choices)
a. Ethnographic Research Paper (100 points paper/50 points Field Notes): During weeks 10,
11 and/or 12, the class will take group or individual expeditions in order to perform participant
observation field research as a means to develop an ethnographic research paper based on your
own primary research data. Some suggested field sites are Walt Disney World in Orlando,
Florida, Disneyland in Los Angeles, California, the Disney store in Indianapolis, the local Disney
isle in Walmart/Target/Kmart, or the local movie theatre during and after a Disney film. For this
paper you are to observe Disney‘s marketing strategies in connection with the critical concepts
and themes under discussion in our seminar. You are required to use the primary research
techniques of observation, interviews, examination of artifacts, and, if appropriate, collection of
data from surveys, interviews, or questionnaires you create. Based on this primary research data,
which you are required to submit in the form of field notes (for fifty points). From these notes, you
will craft a report, article, or narrative essay (for 100 points) that describes the subculture or
environment in great detail to an outsider of that subculture. See
oncourse/assignments/ethnography for complete detailed instructions, a checklist, and
explanation of expectations for A, B, and C range writing. Due noon sat. Week 16 in
oncourse/assignments/ethnography. If you would like to involve the Collins community or the
community at large, we should meet individually to discuss the best way to plan the event/s.
or
b. Creative Final Project (100 points project/ 50 points reflection paper): By week eight you
must meet with me to brainstorm the topic of your final project (100 pts.), which will require you to
be as creative and innovative as you can with the materials that we have watched, read, and
discussed. Do you use film or images in your daily life? Why not create an alternate or additional
filmic version of a fairy tale? You may create a painting, a play, a blog, organize and direct a
reading and discussion session of Disney books in the Collins cafe, start a website, create a
DVD, or Youtube video with director‘s commentary or even create a voiceover film similar to the
mystery science theatre. Feel free to offer additional ideas. Each creative project must be
accompanied by a brief (3-5 page, 50 pts.) reflection that explains the creative impetus behind
your project choice, the process you went through to complete your vision, and your evaluation of
the finished product in light of what you have learned, including the grade you hope to achieve.
While you should be thinking about this project and working toward it throughout the semester, it
is due the first session in Week 16 in oncourse/assignments/final project reflection. If you
would like to involve the Collins community or the community at large, we should meet
individually to discuss the best way to plan the event/s.
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Graded Work Calendar
Assignment Due Date/Time* Point Value
Participation/In-Class throughout the semester 100 pts.
Worksheets/Short Home Works
following film screening
Critical Film Responses throughout semester, 12 5 @ 20 points =100 pts.
p.m. Sat. (I will drop worst paper)
Possible topic for ―real thing‖ Wk 6 meeting or via email Req. for participation
Possible choice for final project Wk 8 meeting or via email Req. for participation
The ―Real Thing‖ Essay Wk 9*, Noon Sat. 100 pts.
Final Project

Indiana University, Bloomington 200/300 - 3 Credits

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 The ―Disney-fication‖ of Gender, Race, and Place Fall 2011

(2 choices, Pick 1)
Ethnographic Research Conducted Wks 10-12 Required for participation
Ethnography Wk 16, First session of 100 pts.
week
Ethnography Notes Wk 16, Noon on Sat. 50 pts.
or
Creative Final Project Executed Wks 10-12, 100 pts.
Presented Wks 15-16
Reflection on Final Project Wk 16, Noon on Sat. 50 pts.
Total for Assignments 500 pts. (not including
quizzes or attendance )
*all papers are due digitally through concourse/assignments to generate less paper waste.
Final projects not digitally rendered are due in class first session of last week of class.
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Policies:
1. Absences – Attendance and participation is required of all Collins residents and is also expected of
other IU students. Your presence is rewarded each meeting with three points (tardiness merits half
credit). Your attendance score will be calculated by adding up the total points you earned for
attendance (1.5-3 per day) and then dividing by the total possible points to give you your percentage.
2. Assigned Readings/ Movie Screenings – Films and reading assignments are listed next to the day
during which they will be discussed, and they should be screened, read, and analyzed by that day.
You are expected to be prepared to discuss the materials each day. A large portion of your grade
will come from participation in class discussions, thus you will need your reading materials to refer to
in class.
3. Graded Work – In order to pass the class, you must complete all of the assignments and attend all
screenings on the day in which they are due. All grades will count and no extensions or incompletes
will be granted barring any individual circumstances, which must be discussed privately via email.
Your grades on individual assignments will be calculated by adding up the points and then dividing by
the total possible points to give you your percentage.
4. Plagiarism - Remember to give credit where credit is due. Students who present another writer‘s
words as their own or who neglect to cite proper bibliographical information when referring to material
published on-line, in reference books, or in a journal or book of any kind are subject to disciplinary
procedures as outlined by Indiana University‘s Code of Student Rights, Responsibilities and Conduct.
If you have any questions regarding this policy, please consult said publication at
http://campuslife.indiana.edu/Code/. I will be using oncourse/assignments to keep electronic files
of your work this semester to ensure the academic integrity of the essays written in this course. As
such, you will be required to turn in all formal writing via oncourse/assignments on the day it is due.
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REQUIRED TEXTS & FILM SCREENINGS

To purchase:
 Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out, by Sean P.
Griffin, 2000, [TB]
 The Emperor's Old Groove : Decolonizing Disney's Magic Kingdom, Ayres, Brenda, 2003 [EOG]
To view online/print/or purchase:
 From Mouse to Mermaid: The Politics of Film, Gender, and Culture Walt Disney Company from
the Inside Out, Elizabeth Bell, Lynda Haas, and Laura Sells, eds., 2000, electronic resource in
Wells: http://www.iucat.iu.edu.ezproxy.lib.indiana.edu/uhtbin/cgisirsi/ByMqR8JBUg/B-
WELLS/325721349/5/0) [MM]
 Articles/Chapters in Oncourse [OC]

Films to view as a class*:

Indiana University, Bloomington 200/300 - 3 Credits

Instructor: Cierra Olivia Thomas-Williams 4
 The ―Disney-fication‖ of Gender, Race, and Place Fall 2011

Aladdin Mulan
Beauty and the Beast Pocahontas
Lilo & Stitch The Corporation (not Disney)
The Princess & The Frog The Lion King
Enchanted The Little Mermaid
Mickey Mouse Goes to Haiti: Walt Disney and The North Avenue Irregulars
the Science of Exploitation (not Disney) Walt and El Grupo
Mickey Mouse Monopoly (not Disney) *2 or 3 films of your choice

COURSE READING SCHEDULE

Class will meet two or three times per week. One class period is reserved for screenings, one session for
lecture/instruction when necessary, one session for discussion of readings and screenings. Reading
schedule is subject to change, therefore, please see oncourse/syllabus/updated course schedule for up to
date information. Quick links to Weeks: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16.

Wk 1 Introductions and course overview - What is culture? What is popular culture and how does it differ from
(top) culture at large? What are some approaches to popular culture?
Screenings: Mickey Mouse Monopoly: Disney, Childhood, and Corporate Power (2002, 52 min.) and
Mickey Mouse Goes to Haiti: Walt Disney and the Science of Exploitation (1996, 17 min.)
 ―Culture and Context,‖ and ―America and Consumption,‖ in Stephen M. Fjellman, Vinyl Leaves: Walt
Disney World and America, Boulder, Colorado: Westview Press, 1992, pg. 21-59. [OC]
 ―Defining Popular Culture,‖ in Hop on Pop: The Politics and Pleasures of Popular Culture, eds. Henry
Jenkins, Tara McPherson, and Jane Shattuc, Durham: Duke University press, 2002, pgs. 26-42. [OC]
Wk 2 American Business Practices and Critical Corporation Studies
(top) Screening: The Corporation, (2004, 145 min.)
 Peggy McIntosh, ―White Privilege: Unpacking the Invisible Knapsack,‖ 4 pages
http://www.nymbp.org/reference/WhitePrivilege.pdf
 Judith Lorber: ―‘Night to His Day‘: The Social Construction of Gender,‖ pgs. 13-36 [OC]
 ―Toward a Critical Corporate Studies,‖ by Purnima Bose and Laura E. Lyons in (ed.) Purnima Bose and
Laura E. Lyons, Cultural Critique and the Global Corporation. Bloomington: Indiana University Press,
2010, pg. 1-27 [OC]
Recommended: ―Mapping the box: Teaching TV at Advanced Level,‖ Nick Lacey [OC]
Wk 3 Romancing the Heterosexual & Other Gendering Mechanisms
(top) Scenes from Snow White (1937), Cinderella (1950), and Sleeping Beauty (1957)
Screening: Enchanted, (2007, 107 min.)
 ―Introduction: Walt‘s in the Movies,‖ Elizabeth Bell, et. al., [MM, 1-17]
 ―Breaking the Disney Spell,‖ Jack Zipes, [MM, 21-42]
Recommended: ―The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney
Princess, “Rebecca-Anne C Do Rozario, Women's Studies in Communication; Spring 2004; 27, 1; pg. 34-
59. [OC]
Wk 4 Women’s Bodies and Femininity in the Heterosexual Imagination
(top) Screening: The Little Mermaid (1989, 83 min.)
 ―Somatexts at the Disney Shop: Constructing the Pentimentos of Women‘s Animated Bodies‖ Elizabeth
Bell, [MM, 107-124]
 Laura Sells, ―‘Where do the Mermaids Stand?‘ Voice and Body in The Little Mermaid‖ [MM,175-192]
 ―Disney's Tempest: Colonizing Desire in the Little Mermaid,‖ by Richard [EOG]
Recommended: "The happiest films on earth: a textual and contextual analysis of Walt Disney's 'Cinderella'
and 'The Little Mermaid." O'Brien, Pamela Colby. Women's Studies in Communication. vol. 19.2 (Summer
1996): 155-. [OC]
Wk 5 Men and Masculinity
(top) Screening: Beauty and the Beast (1991, 90 min.)
 ―The Curse of Masculinity: Disney‘s Beauty and the Beast‖ by Susan Jeffords, [MM, 161-172]
 ――Disney, the beast, and woman as civilizing force,‖ by Kathleen E. B. Manley in Ed. Brenda Ayres, The
Emperor's Old Groove : Decolonizing Disney's Magic Kingdom, Ayres, 2003 [EOG]
 ―Beauties and their beasts & other motherless tales from the wonderful world of Walt Disney,‖ by Mark
Indiana University, Bloomington 200/300 - 3 Credits
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 The ―Disney-fication‖ of Gender, Race, and Place Fall 2011

Axelrod [EOG]
Recommended: Class in America—2009,‖ p. 177-192 and ―Media Magic: Making Class Invisible,‖ p 610-
618, by Greg Mantsios in ed. Paula S. Rothenberg, Race, Class and Gender in the United States, 8th edition,
New York: Worth Publishers, 2010 [OC], ―Feminine Empowerment in Disney‘s Beauty and the Beast,‖
Sharon Downey, Women’s Studies in Communication, 19, 2, 185-212, 1996. [OC]

Wk 6 Othered Masculinities / Reading Ethnography

(top) Screening: Aladdin (1992, 90 min.)
 ―Notes from the Aladdin industry: or, Middle eastern folklore in the era of multinational capitalism,‖ by
Christopher Wise [EOG]
 ―The politics of vision: Disney, Aladdin, and the Gulf war,‖ by Dianne Sachko Macleod [EOG]
Recommended: ―Aladdin: Animated Racism,‖ by Jack Shaheen, Cineaste; Jul93, Vol. 20 Issue 1, p49, 2/3p,
2 cartoons [OC, 3 pgs], Lila Abu-Lughod, ―Do Muslim Women Really Need Saving? Anthropological
Reflections on Cultural Relativism and Its Others,‖ American Anthropologist, Vol. 104, No. 3 • September
2002 [OC]
Wk 7 Racism and Early Childhood Development
(top) Screening: The Lion King (1994, 90 min.)
 ―Shakespeare and company: the Lion King and the Disneyfication of Hamlet,‖ by Stephen M. Buhler
[EOG]
 ―The Lion King: A Short History of Disney-Fascism,‖ Matt Roth in Jump Cut v.40 (1992): 9 pages[OC]
 ―The Lion King’s Mythic Narrative,‖ by Annalee Ward, Journal of Popular Film & Television, 23 (4), 171-
178. 1996 [OC]
 ―‘You Can‘t Lionise the Lion: Racing Disney,‖ by Eleanor Byrne and Martin McQuillan in Deconstructing
Disney, Pluto Press, 1999, pg 94-110 [OC]
Recommended: ―Teaching Children how to Discriminate: what we learn from the Big Bad Wolf,‖ Rosina
Lippi-Green in English with an Accent: Language, ideology, and discrimination in the United States.
Routledge: New York. pp. 79-103, [OC]
Wk 8 Indian Princesses and Representations of Colonization
(top) Screening: Pocahontas (1995, 84 min.)
 ―Disney‘s ‗Politically Correct‘ Pocahontas,‖ by Jacquelyn Kilpatrick, (Race in Contemporary American
Cinema: Part 5), Cineaste 21.4 (1995): 7 pages. [OC]
 ―Reflecting on Pocahontas,‖ by Gail Tremblay, Frontiers: A Journal of Women Studies, Vol. 23, No. 2,
Indigenous Women (2002), pp.121-126 [OC]
 Derek Buescher & Kent Ono, ―Civilized Colonialism: Pocahontas as Necolonial Rhetoric,‖ Women’s
Studies in Communication, 19, 2, 1996: 127-153 [OC]
 Pocahontas: the Disney imaginary,‖ by Sheng-mei Ma [EOG]
Recommended: Sexual Violence as a Tool of Genocide,‖ (p. 7-54) in Conquest: Sexual Violence and
American Indian Genocide. Cambridge, MA: South End Press, 2005. [OC], Rosemary Weatherston, ―When
Sleeping Dictionaries Awaken: The Re/turn of the Native Woman Informant,‖ in POST IDENTITY, (Oct.
1997): 113-144. [OC]
Wk 9 Orientalism and the “Other-ed” Woman
(top) Screening: Mulan (1998, 88 min.)
 ―Mulan Disney, It‘s Like, Re-Orients: Consuming China and Animating Teen Dreams‖ by Sheng-Mei Ma
[EOG]
 ―Writing Chinese America into Words and Images: Storytelling and Retelling of The Song of Mu Lan,‖ by
Lan Dong in The Lion and the Unicorn - Volume 30, Number 2, April 2006, pp. 218-233 [OC]
 ―White Tigers,‖ by Maxine Hong Kingston in The Woman Warrior: Memoirs of a Girlhood Among
Ghosts, Vintage; Vintage International Edition, 1989: 17-54 [OC]
Wk 10 Shoring up Borders: Aliens and Natives
(top) Screening: Lilo and Stitch (2002, 85 min.)
 Laura E. Lyons, ―Dole, Hawaii, and the Question of Land under Globalization,‖ in (ed.) Purnima Bose
and Laura E. Lyons, Cultural Critique and the Global Corporation. Bloomington: Indiana University
Press, 2010 [OC]
 ―‘Lovely Hula Hands‘ Corporate Tourism and the Prostitution of Hawaiian Culture,‖ by Haunani-Kay
Trask, from Part II in From A Native Daughter: Colonialism & Sovereignty in Hawai‘i, Honolulu :

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 The ―Disney-fication‖ of Gender, Race, and Place Fall 2011

University of Hawai`i Press, 1999. [OC and available online at:

http://paradiseishell.wordpress.com/2010/06/27/lovely-hula-hands-corporate-tourism-and-the-
prostitution-of-hawaiian-culture-by-haunani-kay-trask/]
Wk 11 Black Feminist Film Criticism and Finally a Black Princesses
(top) Screening: The Princess and the Frog (2009, 97 minutes)
 ―The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney Princess,‖ by
Rebecca-Anne C Do Rozario, Women's Studies in Communication; Spring 2004; 27, 1- 34 [OC]
 Dorothy Hurley, ―Seeing White: Children of Color and the Disney Fairy Tale Princesses‖ The Journal of
Negro Education, Vol. 74, No. 3 (Summer, 2005), pp. 221-232 [OC]
Pick one of two, the other is recommended:
 ―The Oppositional Gaze: Black Female Spectators.‖ by hooks, bell, Black Looks: Race and
Representation. New York: Routledge, 1992. Pp 115-131
 Tiya Miles, ―Mirror, Mirror‖ in ed. Natasha Tarpley, Testimony: young African-Americans on self-
discovery and Black identity, Boston: Beacon press Books, 1995, pgs. 93-97. [OC]
Wk 12 Feminism and Post-feminism
(top) Screening: The North Avenue Irregulars (1979, 100 min.) or film of your choice (class will vote on a Disney
film)
 Stripping beauty: Disney's "feminist" seduction,‖ by Kellie Bean in Ed. Brenda Ayres, The Emperor's Old
Groove: Decolonizing Disney's Magic Kingdom, Ayres, 2003 [EOG]
 ―Tots to Tanks: Walt Disney Presents Feminism for the Family,‖ by Christine Holmlund, Social Text, No.
2 (Summer, 1979), pp. 122-132, Duke University Press. [OC]
 ―Post-Princess Models of Gender: The New Man in Disney/Pixar,‖ Gillam, Ken; Wooden, Shannon
R.; Journal of Popular Film & Television; Spring 2008, Vol. 36 Issue 1, p2-8, 7p, [OC]
Recommended: ―Ladies Love Your Box: The Rhetoric of Pleasure and Danger in Feminist Television
Studies,‖ in ed. Johnson, Merri Lisa. Third Wave Feminism and Television: Jane Puts it in a Box. New York:
I.B. Tauris, 2007. [OC]
Wk 13 Queering the Subject/Normalization and the Population
(top) Screening: Walt and El Grupo, (2010, 1hr 47 min.)
 Jonathan Katz. ―‗Heterosexual‘ and ‗Homosexual‘: Questioning the Terms.‖ A Queer World: The Center
for Lesbian and Gay Studies Reader. Edited by Martin Duberman. New York and London: NYU Press,
1997, 177-180. [OC]
 Foucault, Michel. ―17 March, 1976,‖ (p.239-263). Society Must Be Defended: lectures at the College de
France 1975-1976. New York: Picador Press, 1997, [OC]
 Butler, Judith. ―Gender Regulations,‖ in Undoing Gender. New York: Routledge, 2004, p. 40-56., [OC]
Wk 14 Queering Disney
(top) Screening: Toy Story 3 (2010, ~120 min.)
 ―‘Mickey Mouse—Always Gay!‘‖: Reading Disney Queerly during Walt‘s Reign,‖ pg. 48 – 92. [TB]
Recommended : Introduction and Mickey‘s Monastery: Sexuality and the ―Disney Mystique,‖ ix-47 [TB]
Wk 15 Screening: your choice (class will vote on a Disney film) or voluntary final project presentations (invite
(top) Collins residents?)
 ―Finding a Place in the Kingdom: Homosexuality at Disney during the Eisner Era,‖ pg. 93-132. [TB]
 ―Part of Your World‖: Reading Disney Queerly in the Eisner Era,‖ pg. 133-181, [TB]
Wk 16 Screening: your choice (class will vote on a Disney film) or voluntary final project presentations (invite
(top) Collins residents?)
 ―You‘ve Never Had a Friend Like Me‖: Target Marketing Disney to a Gay Community,‖ pg. 182-230,
[TB]

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Instructor: Cierra Olivia Thomas-Williams 7