Abstract 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.
Wouter Capitain (Thu,) studied this question.
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