Development[ edit ] Conception and writing[ edit ] Jasmine is based on the princess who appears in the Middle Eastern folk tale collection One Thousand and One Nights ,  specifically the story " Aladdin and the Magical Lamp ".
Directors and writers Ron Clements and John Musker eventually disregarded Woolverton's script in favor of developing something more similar to Ashman's version albeit making several changes to his treatment, among them approaching the character of Jasmine "a little differently"  while maintaining Woolverton's vision of "a princess that Aladdin could woo.
In the form of an extensive series of callbacks, Larkin returned to the studio on several different occasions over the next few months. Before discovering Larkin, Disney had been insisting on auditioning exclusively performers who were capable of singing as well as they could act.
Having originally been hired to animate Aladdin's mother, the removal of the character from the film ultimately provided Henn with the opportunity to animate Jasmine instead. Having just recently animated two previous Disney heroines — Ariel from The Little Mermaid and Belle from Beauty and the Beast, respectively —  Henn initially suffered from a severe case of " artist's block " while attempting to design his third heroine, Jasmine.
Preaching and Popular Movies author Timothy B. Cargal as a member of Disney's "continued efforts to reshape their heroines for a more feminist age",  in addition to providing young girls with strong female role models with whom they can identify. Changing Patterns in the Construction of Otherness author Isabel Santaolalla wrote that Jasmine appears to have inherited "the legacy bequeathed by the s Women's Movement.
She actively sought change and made it happen. Theories of the Great Psychoanalysts Applied to Film author William Indick observed that Jasmine represents "the rejection of the father-king's domination and control over his daughter's life", resembling "a strong and assertive heroine who rebels against her father's tyranny rather than passively accepting his will. Her mother wasn't nearly so picky", indicating that Jasmine's mother "belonged to a generation of docile pre-feminist Frustrated with constantly having decisions made for her and being pressured into marrying a prince by law , Jasmine disguises herself as a peasant and escapes the palace.
In the nearby marketplace, Jasmine befriends street thief Aladdin after he rescues her from an angry vendor. Escaping to Aladdin's hideout, the pair bonds over the realization that they both feel trapped in their own environments and long for better lives.
When Aladdin is soon arrested by the palace guards, Jasmine demands his immediate release only to find her orders overruled by Jafar, the Sultan's scheming grand vizier. When the princess confronts Jafar, he lies and tells her that Aladdin has already been executed, leaving Jasmine distraught and blaming herself for his death; in reality, Jafar is using Aladdin to retrieve a magical lamp containing a genie.
When the Genie, who saves and befriends Aladdin, grants his wish to be transformed into a prince to better his chances of wooing Jasmine, Aladdin introduces himself to her as "Prince Ali". Although initially unimpressed, Jasmine is charmed after joining him on a magic carpet ride, at the end of which she discovers that the prince is, in fact, the same peasant she met in the marketplace.
However, Aladdin convinces Jasmine that he truly is a prince who, much like her, only occasionally disguises himself as a commoner. When Jafar learns the truth about Aladdin, he steals the lamp and becomes the Genie's master, banishing Aladdin and forcing the Genie to make him Sultan, while enslaving both Jasmine and her father.
After refusing to marry him, Jasmine kisses Jafar to distract him while Aladdin returns in time to trick Jafar into wishing himself into a genie and thus trapping himself within the lamp. Jasmine and the Sultan are finally freed, and she and Aladdin become engaged after the Sultan abolishes the law so that Jasmine can legally marry whomever she chooses.
Following the success of Aladdin, Jasmine appears in the film's two direct-to-video sequels, in both of which Larkin reprises her role as the character, with Liz Callaway replacing Salonga as her singing voice. The first, The Return of Jafar , features Jasmine as she begins to question her trust in Aladdin after he defends Jafar's former pet parrot, Iago , who escapes Jafar's lamp and rescues Aladdin from bandits, hoping to make amends with the royal family.
However, Iago manages to convince the princess that she still very much trusts Aladdin. Jasmine eventually befriends Iago after he helps mend her and Aladdin's relationship, frees the Genie, and ultimately risks his life to defeat Jafar, who has returned seeking vengeance.
The Oracle, which the thieves are attempting to steal, reveals that Aladdin's father Cassim is still alive and their leader. Encouraging Aladdin to pursue his father, Jasmine agrees to postpone the wedding but can't help but worry for him during his absence. When Aladdin finally returns to Agrabah with Cassim and introduces him, Jasmine and the Sultan take an immediate liking to him. However, Cassim is soon imprisoned by the Sultan after he attempts to steal the Oracle again.
Aladdin frees Cassim and accepts punishment for his actions until Jasmine convinces her father that he was only helping is father out of love. Iago returns to inform them that Cassim has been captured by Sa'luk and the remaining Thieves. Jasmine goes with Aladdin to rescue his father, and afterward they return for their wedding, which Cassim attends from the shadows. They go for a ride on Carpet, waving good-bye to the Merchant from the first film and Iago and Cassim as they ride off.
Jasmine appears in the animated television series based on the film , which originally aired from to Wreck-It Ralph 2 , as was announced at the D23 Expo. So I thought, 'Wow, I can be like her'",  while the others tend to have blond hair and blue eyes. Having grown weary of her usual princess duties, Jasmine demands more responsibility from the Sultan, who assigns her the position of Royal Assistant Educator at the Royal Academy, a job she actually finds quite difficult due to its rowdy pupils until she learns to exercise patience and perseverance.
The character is also challenged with retrieving the Sultan's horse Sahara after he goes missing from the stables in order to save the stable boy's job. In print, Jasmine appears in the manga Kilala Princess among several other Disney Princesses,  although they never interact with each other. Enchanted Journey , which players taking on the role of their own customizable princess can explore via portals to solve various minigames and puzzles,  equipped with a magic wand.
Marvel Super Heroes Seven Original Stories of Aladdin and Jasmine , a collection of stores written by author Katherine Applegate that details the lives of the two main characters prior to the events of the film, including how Jasmine came to meet pet tiger Rajah. She's perceptive, and fast thinking, but this isn't her movie, and in the end, although she does get to choose her own husband, she doesn't really get a chance, like Ariel and Belle, to move out of her world.
She can be shown the world, but she stays in her palace. Additionally, Ebert wrote that the characters "look unformed, as if even the filmmakers didn't see them as real individuals. Giroux dismissed Jasmine as little more than "an object of [Aladdin]'s immediate desire" and a "stepping stone to social mobility.
The Truth about Pop Culture's Influence on Children author Karen Sternheimer strongly disagreed with this sentiment, writing that despite being "strong-willed and almost given feminist qualities", Jasmine nonetheless "resembles heroines of old, waiting for her 'prince' to come and rescue her and using traditional feminine wiles to get her out of trouble.
Bustle included Jasmine's first encounter with Aladdin on the website's ranking of the most feminist Disney Princess moments, with author Samantha Rullo crediting the scene with demonstrating "how strong-willed and independent she truly is. Schuster, author of Speculations: Readings in Culture, Identity, and Values, agreed that the character offers very little feminism apart from her "defiance of an arbitrary law".