This analysis examines musical contrasts to reveal intersectional themes in Disney animations, suggesting critical insights into race and species.
This article analyzes how Disney's The Jungle Book (1967) and The Little Mermaid (1989) use contrasting musical styles to sonically construct the human-animal divide. I argue that by juxtaposing musical styles historically racialized as Black or white, this sonic human-animal distinction intersects with (neo)colonial discourses on racial difference.
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Wouter Capitain (2026) studied this question.
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