Abstract

This study examined how gender representation changed in Disney’s live-action adaptations of Peter Pan, Alice in Wonderland, and Lilo & Stitch, focusing on the shifts that appeared when animated characters are reinterpreted for contemporary audiences. The research question addressed two questions: the resexualization types and gender transformations in animated versus live-action adaptations. The study used a qualitative description design by comparing both versions of each movie. The analysis examined visual redesign, character behavior and dialogue context to identify changes in gender expression and gender characterization. This method was used to observe how each adaptation reshaped the psychological and symbolic dimension of the characters. Finding indicated two resexualization types: RT1 Gender Alteration and RT2 De-objectification. In Peter Pan, the live-action adaptation reshaped Peter from a dominant, cheeky, and impulsive boy to a more introspective and emotionally expressive character, reflected in his behavior, dialogue, and visual expressions. This RT1: Gender Alteration also signaled stronger anima side, seen in his empathy and emotional awareness. In Alice in Wonderland, Alice evolved from a passive, dependent girl to an active, confident leader, reflecting RT1: Gender Alteration and greater animus expression. Her appearance was updated to a mature style, demonstrating RT2: De-objectification. In Lilo & Stitch, Pleakley’s character shifted from feminine to neutral men’s clothing, reflecting RT2: De-objectification and increased animus side, making his characterization more balanced. The study concluded that these adaptations reshaped not only visuals but also the internal logic of character identity. Disney’s reinterpretation responded to modern cultural expectations by emotional literacy and gender expression. This shift showed characters redesign across media forms can reshape gender identity for new generation viewers.

There is no Figure or data content available for this article

References

• Andres Saputra, W., Izzatul Karimah, A., Bin Zaidi, A., Tahfiz Al-Qur, M., & al Hidayah Kelantan, an. (2023). Transmutations Of Plot and Characters: The Animated Film The Lion King (1994) to the Live-Action The Lion King (2019). CrossOver Journal of Adaptation Studies, 3. https://doi.org/10.22515/crossov
• Burton, T. (2010). Alice in Wonderland [Movie]. Walt Disney Pictures.
• Camp, D. F. (2025). Lilo & Stitch [Movie]. Walt Disney Pictures.
• Garabedian, J. (2014). Animating Gender Roles: How Disney is Redefining the Modern Princess. James Madison Undergraduate Research Journal, 2, 22–25. http://commons.lib.jmu.edu/jmurj/vol2/iss1/4/
• Geronimi, C., Jakson, W., & Luske, H. (1951). Alice in Wonderland [Animated Movie]. Walt Disney Pictures.
• Geronimi, C., Jakson, W., & Luske, H. (1953). Peter Pan [Animated Movie]. Walt Disney Pictures.
• Gill, R. (2007). Gender and the Media. Polity Press.
• Jung, C. G. (1959). The Archetypes and the Collective Unconscious. Princeton University Press.
• Lowery, D. (2023). Peter Pan & Wendy [Movie]. Walt Disney Pictures.
• Prakoso, J. W. (2021). Anima and Animus Personality of the Main Characters in C. J. Redwine’s Defiance. http://etheses.uin-malang.ac.id/id/eprint/41901
• Prysthon, A. (2016). Stuart Hall, film studies and the cinema Stuart Hall, os estudos fílmicos e o cinema. Matrizes, 10, 77–88. https://doi.org/https://doi.org/10.11606/ISSN.1982-8160.V10I3P77-88
• Purnomo, L. A., Suyudi, I., Wibowo, A. P., & Khatib, A. J. (2025). Revealing the differences: Resexualization in the textual pluralities of video games. Plaridel. https://doi.org/10.52518/2025-09pusuwikh
• Romani, N. (2025, May 9). Lilo & Stitch director unpacks key animation-to-live-action changes — including Jumba and Pleakley (exclusive). Entertainment Weekly.
• Sanders, C., & DeBlois, D. (2002). Lilo & Stitch [Animated Movie]. Walt Disney Pictures.
• Spradley, J. P. . (1980). Participant observation. Waveland Press.
• Storey, J. (2018). Cultural Theory and Popular Culture An Introduction by John Storey. An Introduction (8th ed.) Routledge.
• Turner, G. (2006). Film as social practice (fourth). Routledge.

How to Cite This

Article Metrics

Download Statistics

Other Statistics

Copyright and Permissions

This work is licensed under a Creative Commons Attribution 4.0 International License.

Authors who publish with this journal agree to the following terms:

Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.

Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.

Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).

LEKSIKA is licensed under a Creative Commons Attribution 4.0 International License.

Data Availability