Over the years, Disney has presented many movies to their audience—most having a Princess as the protagonist. These movies became a babysitter for most parents in the early stages of their child’s life. Most people found these movies as relatively harmless. The obvious assumption about the Disney Princesses is that they only desire true love since almost every movie ends in romance. Parents just viewed these movies as romantic movies on a child’s level. However, these movies were not solely intended for an audience of an age that can be counted on both hands. They were intended to speak to “an intelligent and active audience” (Sumera 40). However, there are many people who disagree with the ways of the Disney Princess movies. The disagreements lie within the portrayal of women gender roles in these movies. It is argued that Disney portrays women as a being nurturing individuals without any control over their identity. The women are unable to think for themselves, because they are uneducated, and they are quick to fall in love with the first man that pays them any attention. However, this is not completely true. The people that are against the portrayal of women in the Disney movies are failing to recognize the underlying concepts in these movies. For example, Belle, in Beauty and the Beast, was well educated, Mulan went to war despite the consequences, and Merida, in Brave, stood up to her mother in refusal to marry. The Disney Princesses desired intelligence, bravery, strength, and independence—not true love’s kiss.
The Walt Disney Company is a pillar of American culture, and has had an immense impact on society as a whole, for decades. The films created are filled with beautiful messages, catchy songs, and colorful characters. When discussing Disney films, critiques, and viewers in general, tend to focus the conversation around the portrayal of women and the influence it has on young women. There has been an unavoidable debate concerning the ideologies promoted by the Disney films, and in particular its princesses, since Snow White came out in 1937. The princesses were in fact often represented as passive characters with tiny waists, who are constantly in need of rescuing. These concepts in creating female characters contribute to societal standards of
Feminism Inc. Coming of Age in Girl Power Media Culture by Emilie Zaslow discusses the birth of the 1990s “Girl Power” movement and subsequent social science data, which uncovers the gender bias in the American schooling system as well as at home. More importantly, Zaslow highlights in her research that parents have been “encouraged to select movies with strong female role models for their daughters” and that much of the poisoning of the girl culture is derivative from such a lack of role models for adolescent girls (Zaslow, 19). While Zaslow strongly emphasizes the need for strong female role models she also encounters a dichotomy between the potential positives of media use on young women and also the negative effects, which ultimately “links the crisis in girl’s development to ‘the pressure’ (that) comes from
Orenstein explores the rise of Girl Power in the 1990s and the differences that are in today’s society. The rise and fast spreading message that girls receive from the Disney Princesses is one of her biggest issues. Not only does she disagree, but other mothers from Daisy’s preschool do as well. In the second chapter Orenstein invites all the mothers with daughters that are obsessed with Princesses to discuss the subject, one mother states that she sees no problem with encouraging being feminine and then states, “On the other hand, I a...
Disney movies, which can be seen as very strong influences on impressionable children, seem to unequivocally present the romantic lives of princesses. In every film, the audience watches a beautiful princess almost fall into a moment of danger, if not for the charming prince, quick to rescue her. Yet, at a deeper level, we see that Disney Films are vehicles of powerful gender ideologies creating. Disney, through its movies, has the power to create a generational time frame of attitudes and beliefs in future gender definitions and gender roles for billions of young girls and female adolescents around the
A number of popular television shows and films filling mainstream media today have taken a spin to promote women to main character roles of power and command. The traits of these female characters, however, become illusionary as plots thicken to reveal their status to be subordinate to leading male character roles; of which are typically controlling or manipulative over gender stereotypic female traits within the script. While media is being blindly applauded for their newfound glorification of women in power, there remains an underlying message of male supremacy in more than many broadcasted portrayals. Today’s mainstream television media delivers a notion that only a man can pave way for the merit of a woman.
Is there a difference between a Carl’s Jr. Hamburger commercial featuring a scantily clad Paris Hilton and a Disney movie? Many would argue “Well, of course there is a difference!” Those looking through the lenses of feminism would see that both are highly sexualized and send a negative message to children. They teach young girls that they are only valued for what their beauty sells. In this age of technology, children are spending more and more time in front of their television. Whether it is an episode of an edgy situation comedy like Two and a Half Men or a serious, heart-to-heart episode of The Oprah Winfrey Show, there is a very high chance that a child is learning about their gender role and what that entails. The trend of damaging stereotypical portrayal of women in animated films has not lessened and perpetuates poor role models for children.
In conclusion, stigmatizations about sexuality and gender-roles in film do not get enough spot light. Most films in some sense reflect representations of social life to a point where women are less dominant than men even when they take on strong roles.
... theorists, including historians and scientists, started to analyse women in terms of their appearance and how concepts of femininity had changed over the years. Prior to this era, trends towards contemporary femininity appeared to embody cultural attitudes concerning adult females. It could be argued that as viewpoints in society were changing about women and they were gaining independence and trying to increase equality, that in Sleeping Beauty, Disney were attempting to ‘retain traditional ideals of femininity whilst speaking to a changing generation’ (Stover, C, 2013, p.2). There is a thirty year gap between the release of Sleeping Beauty in 1959 and the next princess film The Little Mermaid in 1989. Thus, there appears to be a correlation of passive princesses during a time of society upheaval and changes for women’s equality and the absence of princess films.
This article discusses the third generation of Disney princesses (The Princess and the Frog’s Tiana, Tangled’s Rapunzel, and Brave’s Merida) and how their roles and characteristics change the archetype of the stereotypical female. Stephens begins by providing a summary of The Princess and the Frog. Discussing Tiana’s mindset of working hard, she introduces the main goal of Tiana: to own a restaurant. The entire movie is based around Tiana’s motive of “obtain[ing] her restaurant” and not about her finding true love, even though she eventually does (Stephens 96). Stephens leads into mentioning how “her goal determines every path she chooses” in the movie, unlike previous Disney princesses whose dreams were there but not acknowledged (97). She
The princess culture has become a major uproar in the feminism world. Mothers strive to teach their daughter that they do not need a prince charming to save them. They do not need to be so self-conscious about their body weight, or house chores are strictly for women, nor do women have to grow up to take care of their husbands on hand and foot. Mothers worry that the craze and unavoidable force from the media, will turn their daughters into a mindset that life should be a fairy tale, as seen in just about all Disney movies. Movies produced by Disney stereotype women more so than anything. Disney puts out a silent message to the viewers, who tend to be young women in the making, that appearance is more valuable than a woman with brains, women are helpless and need
Wilson now leads The Women’s Media Center, which trains women and girls to be “media savvy,” promotes media content by female writers and monitors and exposes “media sexism. ”Another organization, The Women’s Media Center, trains women and girls to be“media savvy,” promotes media content by women writers and monitors and exposes“media sexism. Has the way women are being represented in media (movies, television shows, advertisements, newscasts, and talk shows) improved in the last decade. The film reveals and attacks the negative and limiting images of girls and women, particularly in media. Society should worry more about the impact on all women and girls of the negative media images of them. The fact there are still popular shows that portray
England, D. E., Descartes, L., & Collier-meek, M. (2011). Proquest. “Gender role portrayal and the disney princesses”. Sex Roles, 64(7-8), 555-567.
Women have made progress in the film industry in terms of the type of role they play in action films, although they are still portrayed as sex objects. The beginning of “a new type of female character” (Hirschman, 1993, pg. 41-47) in the world of action films began in 1976 with Sigourney Weaver, who played the leading role in the blockbuster film ‘Aliens’ as Lt. Ellen Ripley. She was the captain of her own spaceship, plus she was the one who gave out all the orders. Until then, men had always been the ones giving the orders; to see a woman in that type of role was outlandish. This was an astonishing change for the American industry of film. Sometime later, in 1984, Linda Hamilton starred in ‘The Terminator’, a film where she was not the leading character, but a strong female character as Sarah Connor. She had a combination of masculine and feminine qualities as “an androgynous superwoman, resourceful, competent and courageous, while at the same time caring, sensitive and intuitive” (Hirschman, 1993, pg. 41-47). These changes made in action films for female’s roles stirred up a lot of excitement in the “Western society” (Starlet, 2007). The demand for strong female characters in action films grew to a new high when Angelina Jolie starred in ‘Tomb Raider’ in 2001 and then in the sequel, ‘Tomb Raider II: The Cradle of Life’ in 2003 as Lara Croft. Her strong female character was not only masculine, but was also portrayed as a sex object. Most often, strong women in these types of films tend to fight without even gaining a mark. At the end of each fight, her hair and makeup would always be perfect. The female characters in these action films, whether their role was as the lead character or a supporting character, had similar aspects. I...
When it comes to class and character, not many women can exceed Audrey Hepburn, one of the most iconic and successful stars of her era. Her name is synonymous with an ethereal combination of 1950s and 1960s retro fashion, supreme elegance, and childlike innocence. She stood among stars like Marilyn Monroe and Elizabeth Taylor as the epitome of female glamour. As a decorated and award-winning actress, Audrey was known for the powerful yet, classy female roles she played in some of today’s greatest classic movies. While her work in the film industry has brought her world-renowned success, it is her captivating charisma and sophisticated style that has been regarded for nearly half a century. What seems to appeal about Audrey to girls today is not at all different from what women liked about her then. She was the link between three distant subjects back in her day:--femininity, strength, and ideology. She represented a figure all girls not only wanted to be, but could be. In other words, Audrey Hepburn was possible.