An in-depth view of the way popular female stereotypes were reflected in—and were shaped by—the portrayal of women in Disney’s animated features. In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found. “A fascinating compilation of essays in which [Davis] examined the way Disney has treated female characters throughout its history.” —PopMatters

In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found.

From dwarves to princes, heroes to heartbreakers, the Disney treatment of male characters in the studio’s animated features. One of PopSugar’s Best Books for Women (2013) From the iconic Snow White and the Seven Dwarfs (1937) to Tangled, the 2010 retelling of Rapunzel, Handsome Heroes and Vile Villains looks at the portrayal of male characters in Disney films from the perspective of masculinity studies and feminist film theory. This companion volume to Good Girls and Wicked Witches places these depictions within the context of Hollywood and American popular culture at the time of each film’s release. “Within her idealism and love for the House of the Mouse, it seems Davis is on to something. Whether idealistic or delusional, the Disney she talks about seems to be a thing that’s waiting just around the corner.” —PopMatters

Bay Winchester is having a tough week. As the local editor of Hemlock Cove's only newspaper, she just happens to be present when a body is found in an area corn maze. To make matters worse, the police believe the murder may have something to do with the occult. This wouldn't be a problem for a normal reporter, but since Bay is descended from a well-known line of actual witches, the town is understandably on edge. Between the suspicious townspeople, the befuddled police presence, and that random hot biker guy who may or may not have something to do with the murder -- Bay has her hands full. When you add the typical family problems, multiplying ghosts -- and one monster of a zit that she's sure came from her aunt's curse -- Bay is just struggling to make it through the week. Of course, when the killer sets his sights on Bay, things could get a whole lot worse.

Romance, magic and an age-old prophecy - the first novel in a stunning new paranormal young adult series. Born Wicked is to witches what Twilight is to vampires! Our mother was a witch too, but she hid it better. I miss her. To me, the magic feels like a curse. According to the Brothers, it's devil-sent. Women who can do magic-they're either mad or wicked. So I will do everything in my power to protect myself and my sisters. Even if it means giving up my life - and my true love. Because if the Brothers discover our secret, we're destined for the asylum, or prison . . . or death. Praise for BORN WICKED: 'A tale so captivating, you don't want it to end' - Andrea Cremer, New York Times bestselling author of the Nightshade series Jessica Spotswood is a debut US author. She grew up in a tiny one-stoplight town in Pennsylvania. Now she lives in a gentrifying hipster neighbourhood in Washington, D.C. with her playwright husband and a cuddly cat named Monkey. She's never happier than when she's immersed in a good story, and swoony kissing scenes are her favourite. Born Wicked is her debut novel for teens. Check out the stunning trailer here www.youtube.com/watch?v=KZztqxA58iw @jessica_shea www.jessicaspotswood.com

From the acclaimed Printz Honor winner author Stephanie Hemphill comes this powerful fictionalized account of the Salem witch trials from the point of view of three of the real young women living in Salem in 1692. Ann Putnam Jr. is the queen bee. When her father suggests a spate of illnesses in the village is the result of witchcraft, she puts in motion a chain of events that will change Salem forever. Mercy Lewis is the beautiful servant in Ann's house who inspires adulation in some and envy in others. With her troubled past, she seizes her only chance at safety. Margaret Walcott, Ann's cousin, is desperately in love. She is torn between staying loyal to her friends and pursuing a life with her betrothed. With new accusations mounting against the men and women of the community, the girls will have to decide: Is it too late to tell the truth?

This story of two girls trying to banish a witch is “full of wonderful fun, excitement, and humor” (Library Journal). Old Witch likes nothing better than to fly around on her broomstick, crying “Heh-heh!” and casting abracadabras. But now she has been sent away . . . by two young girls. Amy and Clarissa have decided that Old Witch is just too mean and wicked. So, drawing a rickety old house upon a barren glass hill, they exile Old Witch there with a warning: She better be good, or else no Halloween! But to give Old Witch some company, they draw her a Little Witch Girl and a Weeny Witch Baby . . . Old Witch tries to be good, but anyone would get up to no good in a place as lonely as the glass hill. And Amy and Clarissa are about to find that out, when Old Witch magics them into her world of make-believe-made-real, in “a very special book that is certain to give boundless pleasure—at any time of the year” (The Horn Book). “A classic for Halloween.” —Library Journal

Discussing Disney has grown out of a conference of the same name, is a collection of 12 papers on topics which, though diverse in scope, all relate back to one another through their connection to Disney. As the field of Disney Studies continues to grow and evolve, those working within and contributing to it come from a range of backgrounds, including History, Myth Studies, Film Studies, Gender Studies, and Musicology (to name just a few), and therefore examine the outputs of the Disney company - and the company itself – in diverse ways. Discussing Disney seeks to continue the evolution of Disney Studies as an academic field that has now evolved beyond a discourse that merely, to quote Eric Smoodin (1994), "...[sought} to complicate the notions and uses of Disney discourse that currently make their way to the general public through the popular media". Though this was an important early step in Disney Studies, as it found it necessary to justify its legitimacy within the academy, in the intervening quarter-century, Disney Studies has established itself as a field of Animation Studies (which, simultaneously, has established itself as a branch of Film and Television Studies, as well as Cultural Studies), and is now recognized widely as a valid subject of academic enquiry in its own right. Film Studies as a whole - and Disney Studies as part of that - has also evolved in such a way that it has moved forward from insisting upon an overtly political (and therefore inherently biased) stance, and has taken up a more historically-based and/or cultural studies-based, politically-neutral approach that seeks to contextualize its subject in terms of the conditions in which the company's various outputs - animated shorts and films, theme park attractions, television shows, books, music, merchandising, and the like - have been produced, as well as understanding the audience for whom these were made initially. This is not to say that the field ignores politics - far from it - but rather that it uses political history and political theory as academic basis, rather than as a position from which to debate and opine. By looking at Disney from some of its many angles - the history and the persona of its founder, a selection of its films (from the blockbuster successes to the less than successful), its approaches to animation, its branding and fandom, and the ways that it has been understood and reinterpreted within popular culture - it is hoped that Discussing Disney offers its readers (and the field of Disney Studies) a more holistic understanding of a company that is arguably one of the most important forces within culture - popular or otherwise - within (so far) the Twentieth and Twenty-First Centuries.

The Chilling Adventures of Sabrina meets The Craft when modern witches must save teens stolen by an ancient demon in this YA fantasy-thriller debut. Dan and Liss are witches. The Black Book granted them that power. Harnessing that power feels good, especially when everything in their lives makes them feel powerless. During a spell gone wrong, Liss's boyfriend is snatched away by an evil entity and presumed dead. Dan and Liss's friendship dies that night, too. How can they practice magic after the darkness that they conjured? Months later, Liss discovers that her boyfriend is alive, trapped underground in the grips of an ancient force. She must save him, and she needs Dan and the power of The Black Book to do so. Dan is quickly sucked back into Liss's orbit and pushes away her best friend, Alexa. But Alexa has some big secrets she's hiding and her own unique magical disaster to deal with. When another teenager disappears, the girls know it's no coincidence. What greedy magic have they awakened? And what does it want with these teens it has stolen? Set in the atmospheric wilds of California's northern coast, Sasha Laurens's thrilling debut novel is about the complications of friendship, how to take back power, and how to embrace the darkness that lives within us all.

This book examines the relationship that exists between fantasy cinema and the medium of animation. Animation has played a key role in defining our collective expectations and experiences of fantasy cinema, just as fantasy storytelling has often served as inspiration for our most popular animated film and television. Bringing together contributions from world-renowned film and media scholars, Fantasy/Animation considers the various historical, theoretical, and cultural ramifications of the animated fantasy film. This collection provides a range of chapters on subjects including Disney, Pixar, and Studio Ghibli, filmmakers such as Ralph Bakshi and James Cameron, and on film and television franchises such as Dreamworks’ How To Train Your Dragon (2010–) and HBO’s Game of Thrones (2011–).