Individualism and National Identity in Disney's Early British Films
Bibliographic Data
| ID | 11352984 |
|---|---|
| Authors | Noel Brown (0000-0002-2172-8821, Newcastle University, corresponding author) |
| Year | 2015 |
| Volume | 43 |
| Issue | 4 |
| Pages | 188-200 |
| Publication date | 2015-10-02 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Popular Film and Television (JOURNAL) |
| Journal identifiers | ISSN: 0195-6051 • E-ISSN: 1930-6458 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/01956051.2015.1069726 |
| OpenAlex | W2215448425 |
| Language | EN |
| Citations received | 1 |
| References cited | 13 |
This article centers on a series of live-action Disney movies filmed and set in Britain, and released between the early-1950s and late-1960s: The Story of Robin Hood and His Merrie Men (1952), The Sword and the Rose (1953) “The Sword and the Rose.” The Times, 2 September 1953: 2. Print. [Google Scholar], Rob Roy, The Highland Rogue (1953), Kidnapped (1960), and The Fighting Prince of Donegal (1966). Through close analysis of this group of films, it examines the extent to which these Anglo-American productions successfully negotiate a mid-Atlantic path between British and North American customs and ideologies, arguing that, while derived from British historical, literary, and folktale narratives, ultimately they reflect and embody complex and characteristically American values of freedom and individualism
Aesthetics · Ancient history · Art · Art history · Cult · HERO · Identity (music · Ideology · Individualism · Literature · Media studies · Narrative · Negotiation · Political science · Politics · Social science · Sociology · SWORD · Cinema and Media Studies · Gender Studies · Gender, Feminism, and Media · History · Law · Media, Gender, and Advertising
| Citations per year | 0.5 |
|---|---|
| Citation span | 2024 - 2024 (1) |
| Highly cited | No |