Hello there!

I'll try and answer your questions...
1.Do you think the portrayal of the Disney Princess is considered to be the stereotype of the 'ideal' woman?
Of course they are.

Looks aside (they almost always have good looks, by the way), whether they are domestic goddesses or feisty girls, they pretty much embody female beauty. It could easily be said that the Disney women embody a popular image of female beauty of the respective era; the Blue Fairy from
Pinocchio looks like a Hollywood diva circa 1939/40, Tinker Bell looks like a Marilyn Monroe figure and Ariel has spunky traits of a brat-pack teenage.
2. Would you perceive the Disney Princess's to be Heroines? And why?
Well, I think the question should be "why does Disney call all their heroines princesses?", in all honesty. I don't remember Alice being the queen of anywhere, nor Mulan, nor Tinker Bell.
Joking aside, I'd call them heroines. Of course, some of the earlier princesses are extremely passive (Snow White, Aurora etc), but they have enough winning traits to be classed as heroines; essentially, they're kind, perfect characters with whom one can sympathise. The 90s heroines are generally more pragmatic; Belle is most certainly a heroine, since she ends up saving the Beast. Pocahontas is also a strong heroine, as she helps to ease the racial tensions between the English settlers and the natives, and Mulan goes to war and saves the whole of China. At the very least, the princesses of any area are protagonists (Jasmine aside, since she's a supporting character in
Aladdin's movie).
3. Do you think women are represented truthfully in Disney's feature animation?
I think it truly depends. Obviously, the stories of the Disney films are relatively simple, especially the ones based on old fairy-tales and fantasy stories, so whilst women may not be truthfully presented, neither are the men. The villains, both male and female ones, rarely show
any sign of realism, as they are almost always larger than life characters. The post-Walt era female characters (well, characters in films from
The Little Mermaid onwards) do tend to be more realistic than the Walt era characters to modern audiences as they are more strong willed. It must be said that that probably has more to do with updating traditional values and stories in the light of feminism and the social upheaval of the 1960s; I'm sure the passive, stay-at-home nature of Cinderella and Snow White would have seemed less out of touch when they were originally released.
4. Who is your favourite Disney Princess? And Why?
Hmm...I'm not quite sure. I'd go with a three way tie with Cinderella, Ariel and Mulan. Ariel is brimming with innocence and fresh youth, whilst Mulan is essentially an imperfect, underdog character who ends up doing something better due to not quite fitting in. And Cinderella is perhaps the easiest character to emphasize and sympathise with, and is just generally beautiful and elegant.
5. Do you think the Princesses would be idolised so much if they weren't beautiful?
I think that, by nature, people are attracted to the more beautiful things in life, so the fact that they are stunners to begin with is to their vantage point...
6. Do you think the representation of Step Mothers sets a good example to children watching Cinderella?
You've got to remember the origins of the film.
Cinderella is a fairy-tale, which were originally folk-tales circulated by word of mouth from generation to generation and location to location, somewhat tweaked here and there depending on where you were to go. Yet through it all, the stories had messages, which were intended to speak to both the young and old listener. Obviously, the messages were metaphorical; a wolf can't dress up as a grandmother and there isn't such a thing as a magic mirror. Yet deep down inside, they have real messages that really speak to the soul. For example, with
Little Red Riding Hood, the message isn't really "don't stop to have conversations with wolves" but rather "think what the consequences of speaking with strangers might just have" and/or "be weary of the smooth talkers in this world". There have been many psycho-analytical studies on fairy-tales (the most famous being Bruno Bettelheim's
The Uses of Enchantment, which is okay were it not for overly Freudian analysis and use of comparing everything to genitalia and sex

), which seem to support the idea that fairy-tales are good for children in that they can help prepare children for the dangers and perils of life (from dangerous suitors to the tax man) in a light-hearted and fantastical way. Essentially, a lot of the greatest fairy-tale characters are caricatures of real-life figures.
Naturally,
Cinderella poses a problem as the villains are figures that one could easily meet in reality. Whilst this could cause distrust of general parental figures, I view the evil stepmother as a representation of a person who enters people's lives suddenly and is cruel to no end - just like all the bullies in the playground, the obnoxious colleague or boss at work or the heartless authority figure. The stepmother is one of the most powerful Disney villains, as she retains this nasty quality. The stepsisters aren't as well portrayed, however, and probably help contribute to the dislike of the film from various people. They are truly victims of the stepmother, as they too are manipulated by their mother (just watch the scene when they rip the dress). It's a shame Disney didn't really focus a tiny bit more on them (as cute as the mice are, they do seem like padding material after a while). I think that a more realistic character design and a short scene involving the stepsisters saying something nasty about themselves based on a comment by their mother (thus giving them a more sympathetic angle, implying that they hate themselves due to the pressure and opinions of their overbearing mother) would have been a worthy inclusion. But of course, the film is pushing 60 years old now, and I don't think that anybody would be willing for that much revisionism.
To conclude, the most powerful Disney villains are the ones who truly have a hint of reality in them, even if they are fantasy characters. How many people have you met who put on an honest front yet are really nasty characters like all the characters Pinocchio meets? Or how often have you seen people (or yourself) being bullied by others due to them being slightly different like how the whole of the circus was to Dumbo? Whilst the stepsisters aren't too well portrayed and could give the wrong impression that ugly people are bad and step-families are evil (many of the original versions of
Cinderella forget to mention the level of the stepsisters' looks), the evil stepmother is a realistic character stuck in a fantasy film, as like so many nasty people, she can manipulate and upset people, including her own daughters, with such ease and lack of consideration.
7. Do you think that Disney is a world of escapism or realism?
Escapism, by all means. Walt Disney quoted at various times praising escapism (here's a sample of quotes, which sum up his philosophy:
http://www.brainyquote.com/quotes/autho ... isney.html ), and the Disney theme parks are essentially a three-dimensional way of escaping the pressures of daily life that even a typical city break or beach holiday might entail. Nearly of the films, live-action and animated, end happily and good nearly always triumphs over evil. Even the more serious stories adapted by Disney (
Pocahontas, The Hunchback of Notre Dame) ended up being rather light-hearted, at least compared to other adaptations.
8. In your opinion, does the film Enchanted offer a realistic view of New York?
I've never been to New York, so I can't truthfully answer. However, judging from what I do know about New York, as well as other metropolises, I would say that it's a somewhat rose-tinted view of the city. There are hints at the crime (Giselle's tiara being stolen, for example), the pollution (the vermin whom Giselle calls for) and the rude people ("Grumpy, is that you?"), but it's overall all used for comic or artistic effect. Essentially,
Enchanted is a romantic comedy with a fantasy aspect intertwined for originality, and like nearly all rom-coms set in big cities, it's light-hearted and hasn't any intention on being a kitchen sink drama; mention of things like 9/11 and social problems in the Bronx would have seemed out of place.
Oliver and Company probably showed a grittier New York.