The study focuses on the historical process of evolution of princesses from literature to animated films by proposing the Princess Disney brand, its characters and stories as an object of study. She evaluates the role of the film company as an author and compares it in her creative process with Charles Perrault, the brothers Grimm and Hans Christian Andersen. Later, the essay follows the character of the princess and her story from the perspective of the actants in search of the narratological changes in which the reception, the tradition itself and the bad reading of the original stories play key roles in the transformation of the representation of women and love. In the reading of recent Disney films, the analysis goes further by reviewing the relationships between the public and the second feminist wave, seeking to provide a comprehensive and comprehensive approach to mediation in which the public takes part in the creative process that ends in each version of the film fairy tales. Thus, the study offers a look through a period of eighty years of cinema, through a tradition of folkloric tales and oral and written fairies of three hundred years guided by a conceptual framework that imbricates different authors such as Jack Zipes, Amy M. Davis, Jesus Martin-Barbero, Joan Wallach Scott, Algirdas Julien Greimas, Roland Barthes and Harold Bloom, among others.