Schweizer, P., & Schweizer, R. (1998). Disney's Pedophile Problem. In Disney : The Mouse betrayed : Greed, corruption, and children at risk (pp. 75-94). Washington DC, British Columbia: Regnery Publishing. The Schweizers evaluates Disney’s contribution within the pornography industry, their obscene sexual infatuation with children, and their multiple violations of child labor laws within their beloved amusement parks, along with problematic incidents that involved their employees and other youthful consumers. They more specifically are interested in the ways in which Disney perpetuates sexist, racist, classist, and homophobic ideas which thus is further behaviorally reciprocated within society by its viewers. Somehow they also manipulates I will use this specific source to identify a differing belief, however I will also need to address the ways in which the opposite claim is in fact troublesome, along with Disney’s problematizes. More particularly, he argues that feminism along with their bodies is simply a matter of politics, and rejects to acknowledge that it is also extremely influential and detrimental in the lives of victimized women, and devaluing this could become offensive to these group of people. This is proven when Ariel was encouraged by her comrades to abandon her biology as a mermaid to become a more attractive, and ‘better’ being as a human, setting the standards for what is beautiful and what is right in relations to women’s While the motives in this film may have thoughtfully considered feminist ideals, these intentions were counteracted when the filmmakers chose to encompass these ideas with other misogynistic ones that simply evaporated any chance of being a constructive and reliable film piece. When the main female character in this movie seeks conformity to achieve overall happiness and value, then the message sent is that every women must suffer this ordeal in order to authenticate her womanhood. This article can also be used to challenge the politically enriched content of these children films and the dangerous messages they are sending, by ultimately questioning the originating source of these ideas and how this effects the company’s style. One of the main points in the research paper is how exploiting these controversies has created billions of dollars in revenue for Disney, and Ross also evaluates this phenomenon when she used ‘Uncle Walt’s’ own words against him in which he undermines in his movies. This information then can be additionally used to exploit feminist issues as a profit margin, because this is a prime example of how conservatism frames and marginalizes feminism, along with an array of other social topics. The
Many characters have hopes and dreams which they wish to accomplish. Of Mice and Men has two main characters that go through obstacles to get what they want. In the beginning it is George and Lennie running away trying to get a job. Once both George and Lennie have a job they try to accomplish their dreams. Unfortunately they both can't get their dreams to come true since lennie does the worst and George has to shoot Lennie. Steinbeck uses characterization, foreshadowing, and symbol as rhetorical strategies to make George's actions justified.
For several years now, Disney seems to be determined not to offend anyone in order to keep its audience; indeed we are confronted with animation films full of compromises; they are not as degrading for women as Snow-White and the Seven Dwarves (1937), but they are nonetheless still filled with clichés. Films such as The Princess and The Frog (2009), Tangled (2010), Wreck-it Ralph (2012), have in common the sense of being progressive and however we can notice the resurgence of harmful gendered stereotypes on the subjects of the social scale, women’s role in society, or the status quo. Frozen comes in and turns out to be no exception. Though it includes several encouraging and gratifying elements, it contributes insidiously to spread numerous
Disney owns multiple television networks, is a large producer of box office hits, owns multiple theme parks and resorts across the world, and is a major supplier of children’s toys (Junn, 1997). For these reasons, and because of Disney universality, meaning its popularity worldwide, it has the ability to be globally influential on society’s youth. The potential for gender stereotypes in Disney movies was the reason for this study as it could have significant ramifications in the future (Thompson & Zerbinos, 1997). In an attempt to analyze the potential gender differences in Disney movies, we watched and coded five popular Disney movies, noting the character’s name, gender, and the occurrence of four predetermined behaviors, giving order, aggressive behaviors, performing domestic duties, and primping. Therefore, in the current study on the occurrence of gender stereotypical behavior in Disney tales and based on previous studies by Thompson and Zerbinos (1997), (Junn,1997), and Leaper et al (2002), first, we predicted that male characters would exhibit masculine stereotypical behaviors such as giving orders and being aggressive, more often than feminine stereotypical behaviors and women would display feminine stereotypical behaviors such as performing domestic duties and primping, more often than masculine stereotypical behaviors in Disney movies. Second, we hypothesized that women would have more fluidity in these
In a time ravaged by war and depression, the great Walt Disney created a fairy tale world in which Americans could escape the disheartening truth. What started out as a mouse frolicking across a screen, has become a corporate giant steamrolling across America, consuming children’s imaginations and belief systems along the way. In the movie Mickey Mouse Monopoly (2001), it is stated that Disney controls a majority of America’s media, and because of this, the public suffers because they are presented with an extremely limited worldview. On the surface, Disney appears to be a wonderful, innocent form of entertainment appropriate for the entire family. Disney’s simp...
Media is a powerful agent in entertaining children. It also influences and teaches the youth of society the suitable and appropriate gender roles that they inevitably try to make sense of. The power of media is very influential especially in the minds of the youth. Disney movies target the youth and plant certain ideas and concepts about social culture into the vulnerable minds of children. Media uses gender to its advantage, just like Disney productions. Humorous caricatures reveal some harsh realities about the portrayal of Disney Princesses in many movies made by the Walt Disney Company. Disney mixes innocence with the ultimate form of fantasy to capture an audience. Predominantly, Disney helps highlight the gender roles by showing the audience simply what they want to see. In the attempt to stick to the norm and portray stereotypical female characters, Disney created Princesses. Presented as damsels in distress and inferior beings to men, Disney Princesses give children an inaccurate portrayal of gender roles at a young age. Through Disney’s social success and intriguing films, such as The Little Mermaid, Snow White, Aladdin, Sleeping Beauty, Cinderella, and Beauty and the Beast, Disney Princess movies portray stereotypical representation of gender roles through the denigration of the female image, targeting and ruining the perception of youth today.
Society cements certain roles for children based on gender, and these roles, recognized during infancy with the assistance of consumerism, rarely allow for openness of definition. A study conducted by Witt (1997) observed that parents often expect certain behaviors based on gender as soon as twenty-four hours after the birth of a child. The gender socialization of infants appears most noticeably by the age of eighteen months, when children display sex-stereotyped toy preferences (Caldera, Huston, & O’Brian 1989). This socialization proves extremely influential on later notions and conceptions of gender. Children understand gender in very simple ways, one way being the notion of gender permanence—if one is born a girl or a boy, they will stay that way for life (Kohlberg 1966). “According to theories of gender constancy, until they’re about 6 or 7, children don’t realize that the sex they were born with is immutable” (Orenstein 2006). The Walt Disney Corporation creates childhood for children worldwide. “Because Disney are such a large media corporation and their products are so ubiquitous and wide spread globally, Disney’s stories, the stories that Disney tell, will be the stories that will form and help form a child’s imaginary world, all over the world, and that’s an incredible amount of power, enormous amount of power” (Sun). Because of the portrayal of women in Disney films, specifically the Disney Princess films, associations of homemaker, innocence, and dependence are emphasized as feminine qualities for young children. Thus, children begin to consider such qualities normal and proceed to form conceptions of gender identity based off of the movies that portray the very specific and limiting views of women (...
The commercial concludes with a boy catching fireflies in a mason jar then when he arrives at Disney the fireflies transform into fireworks within the jar then up into the sky (Disney 47-56). This symbolizes that what is a small accomplishment at home will turn into an even bigger feeling of pride at the parks. Just as pictured multiple times throughout the commercial, Disney is the last step children need to establish their dreams and push their limits further than ever before. The author successfully visualizes for the audience how much of a helping hand Disney is for
For nearly seven decades Corporate Disney has dazzled its audiences; generation after generation have been entertained through avenues ranging from movies to elaborate theme parks. While many find this massive establishment to be a significant part of American culture and welcome the Disney spirit with open arms, one man in particular looks past the hype and into his own theory of the Disney Corporation. Carl Hiaasen, a journalist for the Miami Herald, paints a witty and sarcastic portrait in this nonfiction account of a company. Hiaasen critizises the company for manifesting evil, enveloping perfection to a sickening extent, and who’s sole purpose is to inhale as much money as feasibly possible.
Disney has portrayed women in movies by the use of animation characters for over a century since the 1900s. There has been a very big change since the early 1900’s to modern day in Disney’s depiction of the personalities of the women, their attitudes and ideologies towards men, and the way they are portrayed in the movies. This progression has had a distinct development, from passive damsels in distress in need of the help of men, to being superheroes. Therefore, the evolution of women in Disney movies will be analyzed through the use of university level feminist essays, as well as a research paper written about gender roles in Disney animation. The evolution will also be analyzed through examination of the clips of the movies themselves.
Once upon a time, there was a 16 year old mermaid princess named Ariel who gave up her voice, an important part of her identity, in order to be with a man who she became infatuated with at just one glance. Ariel has a very traditional gender-stereotypical role in the film, as the helpless, clueless, naive, physically weak, submissive, and attractive female protagonist that Disney films, especially the classics, portray so often (England). There is a lot of controversy surrounding this film in regards to its patriarchal ideals. The Little Mermaid, like most media, is build for the ‘male gaze’, a term coined by Laura Mulvey that suggests that visual entertainment, such as movies, are structured to be viewed by a masculine consumer. I will argue that the male gaze perpetuates harmful gender-stereotypes in The Little Mermaid.
The point of many films is to convey a message to its viewers, such as morals and ethics. Consequently, films intended for adults convey messages suitable for adults; while children’s films do likewise for their target age groups, as one might expect. These children’s films, directed towards particularly younger audiences, prove useful when they contain beneficial maxims. Although at times, these films elicit less than healthy social views. Disney’s Aladdin is a prime example of a children’s film that immerses the audience in unhealthy views towards women. This film is an irresponsible in its portrayal of women - it sexually objectifies the female protagonist and enforces sexist ideologies, which directly affects the female characters within the story’s patriarchal system. The idea of sexism towards women is rampant throughout the movie Aladdin by making the following three claims: a woman’s worth is defined by men, women are incapable of making their own choices, and that women are inadequate and thus require saving by a man.
of influence in both the characters and gender roles of people in our society. The films have brought about the shaping of morals, behaviors and characters of not only children, but also adults in todays society, through engaging them in a constant series of unthinking consumption. In addition, most of the films in Disney bring out many different gender roles and people who grew up watching them have been influenced greatly by the content in the films (Blum 13). This paper will involve the various roles played by the characters in the films and how their roles have influenced the society at large.
For decades Disney has been the source of happy endings, fairytales, and family friendly stories for children of all ages. These stories range from realistic and familiar, to the eye-catching magical fairytale. The key to each of these stories are the happy endings brought about by each of the characters unique personalities and dreams. Disney’s films are attempted to provide children with the basic understanding of wrong versus right, but instead influences our society’s beliefs and awareness. Although Disney’s efforts to provide the basic morals to our children are misleading and affect our society strongly, they also contain the use of racism in a form which shows the major differences between characters. The once admired and well-known characters are seemed to be recognized by their species, ethnicity and even their social class. Disney films have taken out of context and have persuaded their viewers understanding of racial stereotyping, which is thoroughly explained in Henry Giroux and Grace Pollock’s novel, The Mouse that Roared. They bring awareness to the underlying racial stereotyping in Disney films, which deeply affect our societies understanding today. Giroux and Pollock bring into perception these admired and regularly watched films through precise examples and racist rendering of the specific characters species and ethnicities which strongly influence our society and lead children to intake these negative influences.
Critics have warned the public audience about Disney programming’s affect on the “invasion and control of children’s imagination” (Ross 5). These movies express the typical gender roles “such as males being physically strong, assertive, and athletic, and females being prone to overt emotion, inc...
The purpose of this essay is to apply the feminist framework to the film The Little Mermaid (1989) in order to deconstruct Disney. First, I will provide a textual description of The Little Mermaid (1989), explaining the film's plot line. Then, I will describe my analytical framework, the feminist framework, using Ott and Mack (2010) and additional media related studies. Next, I will give an in depth analysis of The Little Mermaid (1989), using the feminist framework and several additional sources. Finally, I will give a brief conclusion, providing an...