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Notes
1. “Stereotype,” Merriam-Webster.com Dictionary, accessed February 27, 2020, https://www.merriam-webster.com/dictionary/stereotype.
2. De Marco, Audiovisual Translation Through a Gender Lens, 75–76.
3. Dyer, The Matter of Images, 14.
4. “Gender Stereotyping,” The Office of the High Commissioner for Human Rights (UN Human Rights), accessed February 27, 2020 www.ohchr.org/en/issues/women/wrgs/pages/genderstereotypes.aspx.
5. González-Vera, “The Translation of Linguistic Stereotypes,” 104.
6. Mills, Language and Sexism, 154.
7. Heydt, “Cinematic Essentialism,” 149.
8. De Marco, Audiovisual Translation Through a Gender Lens, 75.
9. See Witman-Linsen, 1992, chapters I–VII; and Chaume, 2012, chapter 4. The Latin American version will not be analyzed in this article.
10. Maui’s corpulence has received harsh criticism because it perpetuates the stereotype of Polynesian male obesity. A summary of these opinions is given in Ito, “How (and Why) Maui.”
11. Martín, “Vaiana, la Princesa Disney feminista,” 1.
12. Read-Domínguez, “Artist Reimagines what Disney,” 1.
13. Director’s interview http://time.com/4473277/moana-disney-princess-directors-interview.
14. Dunsmore, “Disney’s Moana,” 1.
15. See Streiff and Dundes, “Gender Stereotypes in Disney’s Moana,” 1–2.
16. TCR: 01:16:52.
17. Dundes, From Game to War, 25.
18. See Santos, Unbecoming Female Monsters, 91, to the relation between infertility and cruelty.
19. Streiff and Dundes, “Gender Stereotypes in Disney’s Moana,” 6.
20. TCR: 00:52:07.
21. TCR: 00:36:09.
22. https://www.imdb.com/title/tt3521164/(Last accessed 14 April 2019).
23. Toury, Descriptive Translation Studies, 70–87.
24. Ortega, “Imágenes y Representaciones de Género,” 9–20.
25. Mills, Feminist Stylistics; and Language and Sexism.
26. De Marco, Audiovisual Translation Through a Gender Lens; and “The ‘Engendering’ Approach.”
27. Mills, Language and Sexism, 10.
28. Franzon, “Choices in Song Translation.”
29. Streiff and Dundes, “Gender Stereotypes in Disney’s Moana,” 8.
30. See Crenshaw, “Demarginalizing the Intersection,” 139–167, who coined the concept of “intersectionality” in 1989.
31. Díaz Cintas, “Clearing the Smoke,” 284.
32. See note 9 above.
33. The relation between ideology and Audiovisual Translation has been dealt with in Cronin, 2009; Ranzato, 2011; Díaz Cintas, 2012; Ferrari, 2012; Pérez L. de Heredia, 2016; and Ranzato and Zanotti, 2018. For the implications of ideology in the translation of children’s literature see Lorenzo, 2014; Lathey, 2016; Di Giovanni, 2016; and De los Reyes, 2017.
34. González Vera, “El Nuevo Giro de Disney,” 21; Pascua, Traducción y género.
35. Streiff and Dundes, “Gender Stereotypes in Disney’s Moana,” 9.
Additional information
Notes on contributors
Cristina García de Toro
Cristina García de Toro is a Senior Lecturer in the Department of Translation and Communication of the Universitat Jaume I, Spain.
Her lectures and research focus on the special characteristics of translation between Spanish and Catalan and on the translation for children’s and youth audience. She is author of La traducción entre lenguas en contacto: catalán y español (Peter Lang, 2009), Teories actuals de la Traductologia (Bromera, 2010), and several articles published in journals such as Babel, Meta, Sendebar, Quaderns or TRANS.
She is a member of the TRAMA Research Group (Traducción y Comunicación en los Medios Audiovisuales www.trama.es), she is also a member of the publishing board of the journal AILIJ, and she has translated youth literature between Catalan and Spanish.