Introduction Disney Waltz Company is a well-known brand in the entertainment industry which focuses on young girls mainly. Its princess franchise has become world phenomenal and influential among the girls due to the exhilarating line story depicted in every movies. In 2009, Disney managed to raise 4 billion of profits through its products sold from the princess franchise (Johnson 2015), proving itself as the leading brand among kids. The insertion of moral values has gained the acceptance of parents towards Disney movies as their kids’ main entertainment (Nussbaum 2016). Despite the tremendous response from society, Disney movies are commented to affect the level of confidence of young girls by some sides. The princesses are stereotyped with …show more content…
Majority of the company’s staffs were conquered by male in the early productions and said to create movies based on society without considering the gender biasness inside the films (The rhetoric of Disney). As time passes, many women are employed into the company and manage to vocalise the importance of gender portrayal which then lead to the breaking of princesses’ stereotype in their new movies. In Brave, Princess Merida is designed with a more normal body size. Saladino (2014) observes that Merida is characterized with more abilities and intellectual traits rather than beauty and lifting female character into a higher standard than the previous movies. For example, Merida shows some rebellion towards her mother who are stressing her the definition of …show more content…
Subverting the princesses’ norm clearly shows that Disney is listening to the remarks from parents. Despite this push forward, in Frozen, Anna and Elsa’s wrists are still smaller than their eyes which is unconsciously promoting the definition of beauty among young girls. Disney also has caused a major disappointment among parents through the changes made on princess Merida look in a toy form. In the online website, Disney has sold Princess Merida products with an alteration in her body image with curvy waist and big eyes. Sperling (2013) states that the changes are aligned with the idealization of beauty in most of previous princesses. Brenda Chapman, the co-director and writer for Brave has publicly commented on the controversial makeover of princess Merida and labelled Disney action as atrocious. In twitter, many people critics that the makeover has changed the positive traits demonstrated in Merida. An online petition is created to protest against the image and manage to have 200000 of signatures in effort to convince Disney redesign the product. Following the complaints, Disney finally removed the new Merida image from their
Cinderella Article titled “What’s Wrong with Cinderella” written by Peggy Orenstein, covered five areas about the “Princess” trend in the 21st Century. Orenstein states facts, feminist views and third party, reasoning to support and oppose her views on the princess craze. The opposing data does not prove there are long or short term health or well-being effects or damages from the data collected. Orenstein gives an inter-dialogue with the pros and cons of marketing to young girls on its health effects and its well-being damages to young girls that experience the princess craze. Orenstein agrees young girls are not allowed to be themselves.
He begins to say, “You give your daughter legos and soccer balls, not barbies” (323). Poniewozik proceeds to argue his point by explaining how Hollywood finally discovered that it is pointless to fight the urge of the astonishing pink princess epidemic, while producing many more princess themed items because it is what girls seem to want. Similarly, Peggy Orenstein opens with a story about a mother who is simply appalled by anything and everything princess based on how her daughter gets treated by other adults. However, Orenstein tried to keep a consistent theme of not accepting the whole idea of being picture perfect throughout the article, but while making an argument, she would then come up with a contrasting argument. The question of, “Does every little girl really have to be a princess?”(Orenstein 326), arises when thinking about all of the times how even strangers assume little girls always want pink.
Through engaging storytelling, authentic representations, and relatable characters, Disney offers an opportunity for children to appreciate and embrace different cultures, promoting inclusivity and empathy. While it is crucial to acknowledge Disney's past missteps in cultural representation, their present emphasis on producing movies that celebrate and respect specific cultures marks a
There are a variety of facts used in Hollandsworth’s article; however there are a select few that he makes good use of for his argument. Hollandsworth states that $4 billion is annually spent on Disney Princess retail; he uses this fact to claim that girls who wanted to be like princesses did beauty
As one of the most influential entertainment producers, Disney dominates the global market for ages attracting the countless audience around the world. However, Disney’s most famous “‘princess’ fairy tale stories” (Barker, 2010, p. 492) are criticized for racism and sexism. In 2007, Disney confirmed production of the film, The Princess and the Frog, featuring the first African-American Disney princess, Tiana. For Disney this film was the response to the accusation of racism and sexism represented in its animation. Also, it was filled with African American parents’ anticipation and excitement who longed for a non-stereotypical black woman on the screen (Breaux, 2010, p. 399).
Rhetorical Analysis Cinderella, Snow White, Sleeping Beauty and many other Disney movies all have one thing in common, they feature a female lead who need a male figure to save them. However, things started to change after the release of Mulan 1988. It changed from only having those female leads who always needed to rely on someone, to females who were able to show off their more masculine side. In the article “Post-Princess Models of Gender: The New Man in Pixar/Disney,” Ken Gillam and Shannon R. Wooden explored the idea that Pixar movies were starting to show male characters who weren 't afraid to show their emotions and feminine attributes, to promote the “New Man” model.
The Little Mermaid: Hegemonic Femininity The transition from a girl to a woman is created by the socially constructed ideals of femininity often depicted in commercials, books, and mainly films. One of the famous animated princess Disney films, The Little Mermaid can be easily added to yet another Disney film portraying hegemonic femininity. In the 1989 film The Little Mermaid, (Ron Clements, John Musker) a beautiful, young mermaid is willing to make a risky deal with an evil sea-witch because she yearns to walk on land and fall in love with a Prince, while secretly the sea-witch wishes for the mermaid to lose the deal. Ultimately, mermaid ends up achieving her dream of marrying the Prince, although the evil sea-witch tries to destroy the plan.
However, the later Disney films have gradually attempted to break away from this stereotype resulting in stronger female characters like Ariel, Mulan, and Elsa among others. Keeping this transition in mind, this paper uses semiotic analysis of four popular Disney films, namely, Snow White and the Seven Dwarfs (1937), The Little Mermaid (1989) and Mulan (1998) to depict the influence of societies ' changing perceptions of women on the portrayal of Disney princesses. These films taking into account the earliest film and certain popular characters that have represented a shift from being the coy damsel in distress to a woman who plays an active role in determining her own destiny. The portrayal of the Disney princess has changed in accordance with the development of women in society over time (1937 to 2013) from demure and traditional to
Walt Disney has been making girls think that in order to be beautiful you have to be the perfect shape and size. (Shortridge). Some people believe that the Disney Princesses are great role models for children because Mulan teaches us to never give up on the strengths we have just because we are girls, Belle teaches us to never judge a book by its cover, and Pocahontas shows us real princesses are strong leaders. On the other hand, some individuals feel that Disney Princesses are bad role models because of their unrealistic body appearance, telling girls every marriage ends with a happily ever after when you get married at a young age, and saying every girl needs a man in order to be happy. Both sides have valid points but in reality everyone
Princesses’ in Disney movies are tied down to a recurring theme: the princess that must be saved from the evil woman by the charming prince. A significant contrast to the usually weak and easily persuaded figure of the father. Even though the women are portrayed as weak, nobody stops to think how strong they have to be to carry the responsibility of an entire household on her shoulder, while the men always seem to be traveling or ill. Fairytales are based on a patriarchal way of thinking and as time passes by, it’s proven to be detrimental to society Women and men are constantly being bound to a series of stereotypes.
The Little Mermaid which was produced in 1989, was the first Disney movie to challenge the traditional gender roles, for the fact that Ariel wanted to explore, and was more independent and assertive in her desires than the earlier princesses of the 1930’s and 50s films. Also the prince in The Little Mermaid went against traditional gender roles as well, simply because he was more affectionate and loving than his prince counterparts in other Disney films. “Both the male and female roles have changed over time, but overall the male characters evinced less change then the female characters and were more androgynous throughout.” (Descartes & England, pg.566). Disney movies have been for a long time a strong media target for children, and can serve as a way to address stereotypical gender roles (Leaper, 2000).
The Disney movie Little Mermaid is an unsuitable movie for the children due to its negative gender representation which overemphasizes physical appearance and stereotypical gender roles through the characters in the film. In the Disney film Little Mermaid, they over-emphasize physical appearance and stereotypical gender roles throughout the movie, which causes negative effects on children for it could discourage them their own self-image, on how they look and may despise their body appearance. Throughout the film, the vast majority of the human-like characters were depicted stereotypically. Many of
The characters in The Little Mermaid are stragetically designed in a way that conveniently adheres to stereotypical ideas of how males and females should behave, value, and appear according to their gender roles in a patriarchal society that demeans women. In order to do this, the main male characters, including King Triton and Prince Eric, must depict hypermasculinity to dramatically contrast from the creation of their fragile and inferior female counterparts. This is to also exhibit the men’s hypothetical ownership over these women, and using their displayed incompetence as justification of their assumed possession of Ariel. Ariel, the central female character, is depicted as beautiful, because she meets stereotypical standards of beauty
Before she is able to meet with the Matchmaker, she must dress up and apply makeup on herself to make herself look beautiful and strong-willed. Critic, Nandini Maity, states in her article, Damsels in Distress: A Textual Analysis of Gender roles in Disney Princess Films, that Disney uses the princesses or heroines in each princess movie to demonstrate how women should act, dignified and beautiful. By doing so, it portrays how Disney has a set purpose to make society understand that women should always act this way in society, that they should be helped out by men. While Mulan is being washed and dressed, the women helping her “sing to Mulan a song called Honour us all, a song that imposes the traditional roles onto Mulan. They say that women should have tiny waists, be calm, and obedient.
Similarly, Disney’s Cinderella presents a cruel and ambitious stepmother who attempts to arrange marriages for her ugly, foolish, and somewhat comical daughters. In the film, we see their miserable attempt to sing opera, (supposedly in order to appear more feminine) as the mother proudly oversees. In one of the last scenes, she desperately urges them to make the glass slipper fit, and while she doesn’t downright tell them to cut off their toes or heels as in the original (Grimm 119), the comic scene in itself seems to have a subtle layer of tragedy. While these examples prove that female ugliness in fairy tales and their adaptations corresponds to wickedness, and the latter is equivalent to ill-temper, the question of female independence still