In the opinion piece, the Disney label came under fire for alleged subliminal sexism. It was argued that the classic Disney movies of the last 70 years have been inherently sexist; I couldn’t disagree more.
In the 20th century, Disney was called a revolutionary entertainer; in the 21st century, Disney is called sexist, up high in its ivory tower of misogyny. The great irony is how people seem to be missing the greater point: All of the classic Disney movies that we all grew up on, like Snow White, Sleeping Beauty and Cinderella, are character-driven stories. And more than that, they are uniquely female character-driven. With the exception of The Lion King, all of the highest grossing classic Disney movies are about women, and generally women who are significantly disadvantaged. The women of these stories are clever, and somehow manage to overcome great odds, sometimes with a little help from friends, and often with their own cunning. Therefore Disney is not a suppressive tool for women but it enables them to succeed in society which is said to be the main focus of the films.
In Disney’s Pocahontas, is it not Princess Pocahontas who saves John Smith and truly brings the term “roughing it” to new light? In Cinderella, the eponymous heroine has everything working against her: Her only ally is deceased, her step-mother and step-sisters are cruel and domineering, and she has no visible hope of ever raising herself up in society. And yet, her unflappable optimism and refusal to give in to cynicism (and a little help from her fairy godmother) are ultimately the keys that allow her to end up with everything she had ever dreamt of, and more. And don’t forget: Cinderella wanted a wonderful prince of a man (like every girl dreams of), but she wasn’t the one chasing the prince out of the ball, and she sure wasn’t the one making every woman in the kingdom try on a slipper made out of possibly the very worst material with which to construct a slipper, glass! Snow White is a very interesting story, as the drama entirely revolves around the beautiful, young Snow White and the beautiful (but crazy) Queen. Really, the prince of this story is little more than an afterthought; his only role is giving Snow White a kiss – yup, that’s about all. Of course, the message of love is celebrated, but the Prince has no direct impact on Snow White, as Snow White’s character is forged by her own life experiences, and her decisions to think positively, regardless of the fact that her only remaining family member wants nothing more than to see her dead.
Clearly, these stories never really happened, and there was never a Snow White to eat a poisoned apple. Such fables were constructed long ago to pass on a positive message of the endurance of the human (and perhaps specifically female) spirit, and the ability to change the playing field, even when the game appears set. In summary: The Disney women faced terrible odds, and through their positive character traits, intelligence, deep sense of humanity, understanding and innate cleverness and cunning, they triumphed. Even Peter Pan was not much of a hero until his contact with Wendy. Overall, the main message of Disney films is that men depend on women to succeed, without a female touch the men would be failures.
Monday, 24 November 2008
Ali Wachutka, The Transition From Individual to Sex Object
Jack Zipe a leading expert on fairy tales and German professor at the University of Minnesota, the movies have “a type of gender stereotyping . . . that has an adverse effect on children, in contrast to what parents think ... Parents think they’re essentially harmless – they are not harmless” (Giroux, “Roared” 103).
Maria Tatar, Harvard folklorist, also sees harm in the movies since “[Disney] capitalizes on the worst part of fairytales”. Maria clearly believes that the Disney films profit from unrealistic portrayals of characters i.e. the harmful gender roles being taught to young children. Moreover, they are placing the focus on the material world and removing the cunning and intelligent roles that the females once played (Healy). Female roles do not differ from one another but are all dulled down to glamorise the male position.
“People always talk about the ‘magic of Disney.’ Well, that’s the magic of Disney: it’s addictive. It’s like crack for 5-year-olds”(Healy). Disney ignores the pain and corruption of reality which they hide behind the innocent images. It acts as a false release for children and they become somewhat dependent on the films, they take away the troubles of life. Often when children come home from a long day at school they watch Disney films and this leads to comfort for them (similar to drugs) because it is so familiar.
Research done by Arthur Applebee has conclusively shown that “story characters become part of a child’s ‘real world’ and form part of their cultural heritage” (Zipes, “Preface” xii). Children become familiar with characters and begin to emulate their patterns of behaviour, girls want to be princesses and boys want to be price charming. Mean that according to uses and gratification theory young audiences use Disney films to form personal relationships but this can be rather damaging as the message being taught to children teaches racism, sexism and encourages capitalism.
Tatar also worries about the message the Disney movies present to young girls especially since they change the folk tales to express “the importance of beautiful dress and gorgeous good looks. Again society has become obsessed with image and this is further mirrored in Disney films. Possibly this could correlate to the rise in anorexia and low self body image amongst young people.
Disney opened their princess line in 2000 and in just one year they reached $300 million in sales, after three years their sales reached $2.5 billion (Healy). There is no doubt that they are reaching their target audience and their message is being made available to young children around the world. To Disney profit is vital and parents continue to purchase, as the corrupt ideals being put forward are very subtle and concealed by the cheerful tone. The corporation achieve their purpose to pass their values across by expanding the line through introducing dolls, clothes and other merchandise, literally there is no escaping temptation.
Snow White (1937) is one of the first recognised sexist films; her only emphasised qualities throughout the entire movie are her appearance and housekeeping skills. The evil queen is jealous of her because Snow White is the “fairest one of all” and the only reason the hunter, who was supposed to kill her, spares her life is because she is too pretty to kill. These scenes present the message that the greatest quality a woman can possess is beauty. It loses touch with females real assisted and implies that looks are the key to success, to an extent it is true and must be presentable to do well but beauty is not a necessity.
The filth and disorder of the cottage makes it apparent to Snow White that whoever lives in the house does not have a mother (Maio), because, after all, if they did, it would be the mother’s role to keep the house in order as that is a female’s one true calling in life. Women are domestic goddess in contrast to the incapable men. Disney’s version does so to a greater extent because they suggest that domestic chores are part of female nature.
Maria Tatar, Harvard folklorist, also sees harm in the movies since “[Disney] capitalizes on the worst part of fairytales”. Maria clearly believes that the Disney films profit from unrealistic portrayals of characters i.e. the harmful gender roles being taught to young children. Moreover, they are placing the focus on the material world and removing the cunning and intelligent roles that the females once played (Healy). Female roles do not differ from one another but are all dulled down to glamorise the male position.
“People always talk about the ‘magic of Disney.’ Well, that’s the magic of Disney: it’s addictive. It’s like crack for 5-year-olds”(Healy). Disney ignores the pain and corruption of reality which they hide behind the innocent images. It acts as a false release for children and they become somewhat dependent on the films, they take away the troubles of life. Often when children come home from a long day at school they watch Disney films and this leads to comfort for them (similar to drugs) because it is so familiar.
Research done by Arthur Applebee has conclusively shown that “story characters become part of a child’s ‘real world’ and form part of their cultural heritage” (Zipes, “Preface” xii). Children become familiar with characters and begin to emulate their patterns of behaviour, girls want to be princesses and boys want to be price charming. Mean that according to uses and gratification theory young audiences use Disney films to form personal relationships but this can be rather damaging as the message being taught to children teaches racism, sexism and encourages capitalism.
Tatar also worries about the message the Disney movies present to young girls especially since they change the folk tales to express “the importance of beautiful dress and gorgeous good looks. Again society has become obsessed with image and this is further mirrored in Disney films. Possibly this could correlate to the rise in anorexia and low self body image amongst young people.
Disney opened their princess line in 2000 and in just one year they reached $300 million in sales, after three years their sales reached $2.5 billion (Healy). There is no doubt that they are reaching their target audience and their message is being made available to young children around the world. To Disney profit is vital and parents continue to purchase, as the corrupt ideals being put forward are very subtle and concealed by the cheerful tone. The corporation achieve their purpose to pass their values across by expanding the line through introducing dolls, clothes and other merchandise, literally there is no escaping temptation.
Snow White (1937) is one of the first recognised sexist films; her only emphasised qualities throughout the entire movie are her appearance and housekeeping skills. The evil queen is jealous of her because Snow White is the “fairest one of all” and the only reason the hunter, who was supposed to kill her, spares her life is because she is too pretty to kill. These scenes present the message that the greatest quality a woman can possess is beauty. It loses touch with females real assisted and implies that looks are the key to success, to an extent it is true and must be presentable to do well but beauty is not a necessity.
The filth and disorder of the cottage makes it apparent to Snow White that whoever lives in the house does not have a mother (Maio), because, after all, if they did, it would be the mother’s role to keep the house in order as that is a female’s one true calling in life. Women are domestic goddess in contrast to the incapable men. Disney’s version does so to a greater extent because they suggest that domestic chores are part of female nature.
Background Knowledge of Henry A Giroux
Unfortunately, the credibility of Henry A Giroux work can be questioned as he is widely known as a American cultural critic. Therefore he is overtly negative about his view towards America and American institutions. It has been argued that Disney has such a great influence over people as it shapes their mind from a young age and that the power is so great that they have emerged to become part of American culture. The preppy overtly happy clean innocent images being projected are supposed to represent American culture and foreign audiences believe this a true portrayal of Americanism. However, this is not the case but it teaches audience America is a promise land (American dream), Giroux is attacking this distort of reality.
Giroux has published more than 35 books and 300 academic articles, and is published widely throughout education and cultural studies literature. Thus, Giroux negative theory is due to his public anti- American culture beliefs.
Giroux has published more than 35 books and 300 academic articles, and is published widely throughout education and cultural studies literature. Thus, Giroux negative theory is due to his public anti- American culture beliefs.
Thursday, 20 November 2008
Racism in Disney
Racism is also prevalent in Disney films with racial generalisations being put forward in them. It is disguised through the use of animal characters such as the cats in Lady and the Tramp as they embody characteristics associated with Chinese people like slanted eyes. Yet it is so careful constructed that often it goes unnoticed, subtle racial stereotypes empower the white man like Tarzan who is the white heroic saviour whereas ethnic minorities are portrayed as strange or unpleasant. Automatically children learn that non-white citizens are corrupt individuals which is an outdated perception as it embraces the white saviours.
Disney somewhat celebrates Imperialism as the white man seems to dominate and tame other people i.e. Pocahontas. Interestingly, the original story of Pocahontas represented the historical mass assassination of Native Americans but Disney decided to distort the real story and make the white man the saviour whilst the Native Americans were depicted as the violent party. Their explanation for the alteration in the story is that they made its suitable for children by cutting out the violence. However, Disney never actually address the criticism implying that the films are rest and it is swept under the rug. Despite many complaining about the offence lyrics of the Aladdin song claiming it was discriminatory Disney kept them in but lowered the music.
As these powerful messages are exposed to many from a young age in effect Disney are responsible for the way a lot of people are socialised to behave. Thus, they maintain the ideology that white people are superior to other races and maintain their dominance.
Monday, 17 November 2008
Sexism in Disney
The documentary ‘Mickey Mouse Monopoly’ is based around Henry .A. Giroux‘s book The Mouse that Roared: Disney and the End of Innocence. (1999) and explores the way Disney is constructed to corrupt young minds. It does these through its racism, sexism and capitalist ideology that is being feed to young children. They get away with its dark messages through sugar coating it with its overtly innocent messages. Thus, it people do not question the motives or the norms and values being passed on to young generations of children Disney because it’s considered harmless wholesome family viewing.
Yet, Disney still portray women as the weaker sex although over time women have rebelled against male authoritative figures in the end they succumb to their commands. Females are often large busted, small waisted curvaceous, white with long waist length hair and these stereotypical images have been prevalent in early Disney films. Again the idea of ‘perfection’ is being inflicted upon young minds with children feeling they have to conform to the concept of beauty. Disturbingly, the beast in beauty in the beast physically and mentally abuses Belle but she sees his rage ads merely a bad temper with out addressing the seriousness of his violence. It is simply suggesting that domestic violence is acceptable and encouraging girl to stay with violent partner because inside the monster is a ‘prince’.
Children cannot escape Disney’s influence (especially in America) as Disney cooperation owns a large sector of the media, ranging from television channels to magazines. Therefore the only messages being shown to children are from an old white male’s perspective which is the reason Disney film paint an incomplete picture of reality.
•"The equation of female sexuality with glamour is a major public theme in our own culture. It's there in our fairy stories, the little girl's first lessons in romance: a kitchen girl, she learns, can only win a prince if she has a comprehensive make-over and some glamorous new clothes" (Leroy 262). This links to the subliminal way Disney passes their negative messages to children.
GHD advert analysis
How does the advert reinforce stereotypes?
The advert stereotypes women and generalises them into groups rather than representing intellectual attributes. The woman at the start of the advert is depicted as the virgin innocent character which is symbolised through the white dress connoting purity. Historically women were either seen as pure or corrupt, the virgin/whore dichotomy. Similarly as the innocent girl fall from grace she becomes a fallen women (whore), thus exemplified through her parted leg position. The camera seems to focus on her private area in contrast to the previous close up of her innocent face. Her anatomy is the main focus of the advert.
Yet, the woman with the voodoo doll portrays the evil side of women as shown through her sadistic laugh. As she pushes the nail in the voodoo doll it proves her violent nature, the phallic symbol (nail) makes the virginal character falls from grace. Therefore, like Freud’s notion of 'penis envy' and the fact that women envy the power the penis gives men. Ultimately suggesting that women must embody male characteristics to demonstrate their power.
Moreover, the voodoo doll event is proceeded by a cat fight presenting the animalistic nature of women. As the 'sister' chuck each other down in an almost pornographic manner is made even more suggestive through the lingerie and the slightly parted dressing grown. Again there is a Binary opposition between the good sister in white and the corrupt sister in black, highlights the simplistic stereotypes of women. But as the sister in white is chucked down she too has a fall from grace. Therefore showing her naughty side and corresponding to Mulvey’s male gaze as she serves to arouse the male audience. Additionally, the advert suggests they are fighting over the hair straighteners which are also a phallic symbol. Despite the fact that a male is unseen his presences is felt throughout the commercial.
However, a male then enters the scene but he is on top of woman and seems to be pushing her down implying that men have the ultimate control. Although she is seductive in her expression he is superior. She is cheating with her best friend's boyfriend portraying women as sexual predictors with little self-control, characteristics associated with men.Lastly, the woman at the end is represented as evil with her glasses giving the audience little insight into her facial expression. In addition, the glasses create a demonical facade, but her stern expression during the emotional funeral indicates that she is cold hearted.
All these representations of women are overtly negative and the sole purpose of women in this narrative is to entertain men. In every scene a women falls down for a man highlighting their passive nature. it can also be interpreted as being blasphemes as looks override religion. All the women are money grabbing and consumerism is vital (post-modern idea). However, the use of female voice over could suggest that the film conforms to matriarchal ideologies and women control the advert.
Theories
Laura Mulvey- 'male gaze' women are eye cand; to some extent Giselle is simply in the film to serve as a beautifil symbol but she is more of an aspiration for young audiences.
Feminism- it explores females postions throughout history; it can relate to Enchanted and discover if the female representation is relavent.
Barthes- narrative enigma; the storyliner remains conventional but her shocking choice for her prince is ambigious throughout the film.
Levi- Strauss- Binary opposition between good and evil.
Uses and gratification theory- the protagonist is an aspiration tool to young audiences.
This reflects Enchanted (2007) because the females are assigned certain roles and they cannot change these positions. It classifies women as having the certain personality traits but ignores female diversity and their intellectual capacity. Although Enchanted (2007) is not sexualised like the GHD advert women still serve as the man’s ‘eye candy’. Giselle may control who she ends up with but men’s beliefs are ultimately forced upon her. However, Giselle’s main focus in life is not based on her appearance because Giselle naturally looks ‘perfect’ whereas the girls in the GHD advert are extremely self-centred. Additionally, the women in the GHD ad embody nasty characteristics such as jealousy whereas Giselle appears to be kind with no evil agenda.
The advert stereotypes women and generalises them into groups rather than representing intellectual attributes. The woman at the start of the advert is depicted as the virgin innocent character which is symbolised through the white dress connoting purity. Historically women were either seen as pure or corrupt, the virgin/whore dichotomy. Similarly as the innocent girl fall from grace she becomes a fallen women (whore), thus exemplified through her parted leg position. The camera seems to focus on her private area in contrast to the previous close up of her innocent face. Her anatomy is the main focus of the advert.
Yet, the woman with the voodoo doll portrays the evil side of women as shown through her sadistic laugh. As she pushes the nail in the voodoo doll it proves her violent nature, the phallic symbol (nail) makes the virginal character falls from grace. Therefore, like Freud’s notion of 'penis envy' and the fact that women envy the power the penis gives men. Ultimately suggesting that women must embody male characteristics to demonstrate their power.
Moreover, the voodoo doll event is proceeded by a cat fight presenting the animalistic nature of women. As the 'sister' chuck each other down in an almost pornographic manner is made even more suggestive through the lingerie and the slightly parted dressing grown. Again there is a Binary opposition between the good sister in white and the corrupt sister in black, highlights the simplistic stereotypes of women. But as the sister in white is chucked down she too has a fall from grace. Therefore showing her naughty side and corresponding to Mulvey’s male gaze as she serves to arouse the male audience. Additionally, the advert suggests they are fighting over the hair straighteners which are also a phallic symbol. Despite the fact that a male is unseen his presences is felt throughout the commercial.
However, a male then enters the scene but he is on top of woman and seems to be pushing her down implying that men have the ultimate control. Although she is seductive in her expression he is superior. She is cheating with her best friend's boyfriend portraying women as sexual predictors with little self-control, characteristics associated with men.Lastly, the woman at the end is represented as evil with her glasses giving the audience little insight into her facial expression. In addition, the glasses create a demonical facade, but her stern expression during the emotional funeral indicates that she is cold hearted.
All these representations of women are overtly negative and the sole purpose of women in this narrative is to entertain men. In every scene a women falls down for a man highlighting their passive nature. it can also be interpreted as being blasphemes as looks override religion. All the women are money grabbing and consumerism is vital (post-modern idea). However, the use of female voice over could suggest that the film conforms to matriarchal ideologies and women control the advert.
Theories
Laura Mulvey- 'male gaze' women are eye cand; to some extent Giselle is simply in the film to serve as a beautifil symbol but she is more of an aspiration for young audiences.
Feminism- it explores females postions throughout history; it can relate to Enchanted and discover if the female representation is relavent.
Barthes- narrative enigma; the storyliner remains conventional but her shocking choice for her prince is ambigious throughout the film.
Levi- Strauss- Binary opposition between good and evil.
Uses and gratification theory- the protagonist is an aspiration tool to young audiences.
This reflects Enchanted (2007) because the females are assigned certain roles and they cannot change these positions. It classifies women as having the certain personality traits but ignores female diversity and their intellectual capacity. Although Enchanted (2007) is not sexualised like the GHD advert women still serve as the man’s ‘eye candy’. Giselle may control who she ends up with but men’s beliefs are ultimately forced upon her. However, Giselle’s main focus in life is not based on her appearance because Giselle naturally looks ‘perfect’ whereas the girls in the GHD advert are extremely self-centred. Additionally, the women in the GHD ad embody nasty characteristics such as jealousy whereas Giselle appears to be kind with no evil agenda.
Postmodernist theory
- Postmodernists feel that the media creates gender roles rather than reflects them.
- Through consumption we now construct our identities
Postmodernism is a relatively new way of viewing society but is widely accepted within the media. Enchanted can be considered very much postmodern as it pokes fun at the genre of film and could also be mocking gender stereotypes rather than encouraging them. Possibly the Binary opposition between modern trouser wearing Nancy and traditional dress wearing Giselle could be further ridiculing the concept of gender roles in postmodern society.
Disney often depicts a simplistic view of life and ignores the complexity of life such as money. Money struggles are not addressed once in Enchanted (2007) instead characters purchase objects without considering the cost. Thus relating to the idea of consumerism, it teaches children that to be successful or to get the Prince or Princess you must be wealthy. In addition to this children are taught that to gain status they must be better than their counterparts which creates competition. Corresponding the idea of keeping up with the Jones, from a young age we are aware that material wealth equals high status.
Feminist theory
Feminists argue that women in the media are perceived as passive because they tend to play subordinate roles in society. Therefore Giselle in Enchanted (2007) conforms to this tradition as she is the damsel in distress that needs to be rescued by her Prince. The representations can also be challenged to some extent which can be exemplified through the wicked witch as she is dominating and ultimately has control over Prince Edward (her stepson).
According to other feminists the media creates female roles and justifies them through the way these positions are glamorised. Women then feel that it is their duty to conform to these roles rather than a natural instinct. But because these roles are so often reinforced by the media women believe it is a nature way to behave without questioning it. 'A woman is made, not born' (Simone De Beauvoir) therefore women are made to feel they have a certain role but in reality women can behave as they wish. Enchanted (2007) enforce the old cliché of the tradition motherly nurturing position, as well as not question not her standing Giselle also embraces it. Thus women are moulded to fit in with patriarchal ideology and serve men’s needs.
Gaye Tuchmann created the phrase 'symbolic annihilation of women' which simply refers to the way women are ignored, marginalised, excluded and trivialised in the media. Stereotypes of women include housewives and sexual attractiveness which are patriarchal notions of the sexual division of labour. Not only is Giselle conventionally beautiful but she is also a domestic Goddess suggesting that women only serve to meet men’s needs. Her ditzy persona simply highlights the way women are classified as beneath men and with their help can succeed. In these types of films women usually do not embody intelligence which means they can be suppressed or controlled by somebody else.
However, Wilmott and Young suggested that this is in fact ridiculous and both men and women now share the domestic labour. They argued that a new symmetrical family has come into play and men now participate in household chores. This has given rise to a 'new man' who takes on roles that were once consider the women’s jobs such as clean. Yet, if this is the case why does Enchanted (2007) portray clearly gender divided roles. Either Wilmott and Young theory is irrelevant in Western society or Enchanted (2007) depict an outdated view of the way society is constructed.
'The media act as socialization agents...teaching children in particular their appropriate sex roles...It is thought the media perpetuate sex role stereotypes because they reflect dominant social values' Van Zoonen, quoted in D. Strinati, An Introduction to the Theories of Popular Culture. Enchanted (2007) evidently appears to be reinforcing this notion as Giselle is type casted as thee less object. Despite appearing to have control over her fate through choosing her unexpected true love it is he that shows interest first by initiating the first kiss when Giselle is asleep.
On the other hand Gamman and Marshment feel that patriarch can be challenged sometimes and a female gaze can be possible. They describe the media 'as a site where meanings are contested and dominant ideologies can be disturbed’. Therefore, it is not necessarily true that all media are created through the male gaze nor is it fair to suggest that audiences are so passive that they are incapable if understanding that certain texts prompt the maker's ideologies whether they are capitalist ideology or patriarchal ideals etc.
According to other feminists the media creates female roles and justifies them through the way these positions are glamorised. Women then feel that it is their duty to conform to these roles rather than a natural instinct. But because these roles are so often reinforced by the media women believe it is a nature way to behave without questioning it. 'A woman is made, not born' (Simone De Beauvoir) therefore women are made to feel they have a certain role but in reality women can behave as they wish. Enchanted (2007) enforce the old cliché of the tradition motherly nurturing position, as well as not question not her standing Giselle also embraces it. Thus women are moulded to fit in with patriarchal ideology and serve men’s needs.
Gaye Tuchmann created the phrase 'symbolic annihilation of women' which simply refers to the way women are ignored, marginalised, excluded and trivialised in the media. Stereotypes of women include housewives and sexual attractiveness which are patriarchal notions of the sexual division of labour. Not only is Giselle conventionally beautiful but she is also a domestic Goddess suggesting that women only serve to meet men’s needs. Her ditzy persona simply highlights the way women are classified as beneath men and with their help can succeed. In these types of films women usually do not embody intelligence which means they can be suppressed or controlled by somebody else.
However, Wilmott and Young suggested that this is in fact ridiculous and both men and women now share the domestic labour. They argued that a new symmetrical family has come into play and men now participate in household chores. This has given rise to a 'new man' who takes on roles that were once consider the women’s jobs such as clean. Yet, if this is the case why does Enchanted (2007) portray clearly gender divided roles. Either Wilmott and Young theory is irrelevant in Western society or Enchanted (2007) depict an outdated view of the way society is constructed.
'The media act as socialization agents...teaching children in particular their appropriate sex roles...It is thought the media perpetuate sex role stereotypes because they reflect dominant social values' Van Zoonen, quoted in D. Strinati, An Introduction to the Theories of Popular Culture. Enchanted (2007) evidently appears to be reinforcing this notion as Giselle is type casted as thee less object. Despite appearing to have control over her fate through choosing her unexpected true love it is he that shows interest first by initiating the first kiss when Giselle is asleep.
On the other hand Gamman and Marshment feel that patriarch can be challenged sometimes and a female gaze can be possible. They describe the media 'as a site where meanings are contested and dominant ideologies can be disturbed’. Therefore, it is not necessarily true that all media are created through the male gaze nor is it fair to suggest that audiences are so passive that they are incapable if understanding that certain texts prompt the maker's ideologies whether they are capitalist ideology or patriarchal ideals etc.
Thursday, 6 November 2008
Jean Baudrillard is a philosphier who criticszed the hidden corporate nature of the company in his book America:
"The whole Walt Disney philosophy eats out of your hand with these pretty little sentimental creatures in grey fur coats. For my own part, I believe that behind these smiling eyes there lurks a cold, ferocious beast fearfully stalking us."
"The whole Walt Disney philosophy eats out of your hand with these pretty little sentimental creatures in grey fur coats. For my own part, I believe that behind these smiling eyes there lurks a cold, ferocious beast fearfully stalking us."
Wednesday, 5 November 2008
Narrative theories
Todorov is a Bulgarian intellectual of the Russian formalist school.
- He is particularly known for his work on ‘narratology’, or the structuring of narrative. His approach is founded on his belief in a common basis of human experience and the underlying narrative behind all human activity.
- Todorov’s sequence is made up of five propositions outlining a basic state of narration, which is disturbed and then re-established:
· A state of equilibrium where everything is in order
· A disruption of the order by an event
· A recognition that a disruption has taken place
· An attempt to repair the damage of the disruption
· A return to some kind of equilibrium
Propp, Vladimir
His research refers to the types of character in folk tales and the events that involve them. He found that folk tales begin with an initial situation where the characters are introduced. This is followed up with 31 functions, not always occurring in the same order.
His work emphasises the role of character in structuring narrative and is useful in helping to understand generic conventions, but it is rigid and of limited use in deconstructing complex contemporary narrative. Propp’s character types include:
· The villain
· The hero
· The donor, provides an object with magic property
· The dispatcher, who sends the hero on his way with a message
· The false her
· The helper, aids the hero
· The princess
· Her father
Tuesday, 4 November 2008
Key concepts
Disneyfication is a term used by critics of the Disney style to describe the way in which a story is sanitised by the removal of controversial sexual, morally ambivalent, or violence content in order to make it suitable for family viewing. Disneyfication also involves the neutralising of cultural differences and variations, either through the creation of safe ethnic stereotypes or their elimination from the narrative.
- For example Pocahontas (Mike Gabriel and Eric Goldberg, 1995), a pro-colonial; narrative with stereotyped ethnicity and patriarchal values. The genocidal behaviour of early white settlers in their conduct towards Native Americans is conveniently sanitised.
This term originates from the word 'Disney' and is allegedly applicable to all Disney films as well as other films targeting young children. It links to my study as it is the counter argument to my hypothesis. It suggests that Disney edits its stories to create child friendly tone by removing morally corrupt events. However, it ignores the deep underlying tone which can be interpreted as subconsciously teaching children that patriarchy is acceptable.
Moreover, it neglects the economical influences a film has; Disney alters a story in order to profit from them. Therefore they are concerned with the money rather than the storyline. Capitalist ideologies and values are also placed upon children as they learn that to live happily ever after and get the princes you have to be a princess in a castle. Thus, you have to be affluent which is further exemplified through the princesses’ extravagant attire (dresses).
Lastly, traditional images such as girls wearing dresses and boys wearing trousers are still very much evident in Disney film and are possibly classified as outdated. Additionally, Disney also paints a distorted reality as these stereotypes no-longer holds relevance in modern socity. Again the Disneyfication censorship is possibly harming children through the dark message rather than preserving their innocence.
A parody is the imitation of one media text by another for comical effect.
For example Blazing saddles (Mel Brooks 1974) parodies all the iconographic, narrative and character features of the Western genre; Scary Movie (Keenan Ivory Wayans, 2000) parodies the horror genre.
In relation to Enchanted (2007), it certainly is a parody as it makes constant reference to previous Disney films by mocking them. For example when Giselle (Amy Adams) sings in a Snow White fashion as the animal flourish in the apartment it ridicules the impracticalities of animal, in particular vermin, in the home. Fairytale references include Snow White and the seven Dwarfs, Sleeping Beauty and Cinderella. Interestingly parallel to old previous Disney films instead of producing three dimensional (3D) computer graphically enhanced animation for the first thirteen minutes Enchanted uses traditional cel animation. Through the conventional techniques and through the plot lines Enchanted emulate its Disney predecessors in a humorous fashion.
According to director Kevin Lima, "thousands" of references are made to past and future works of Disney in Enchanted, which serve as both a parody of and a "giant love letter to Disney classics". (Wikipedia)
Disney Corporation (the Walt Disney Company): a vertically integrated, diversified, international media corporation founded by Walt Disney.
- The company has wide holdings across media industries including publishing, broadcasting, film, multimedia, music, theatre, sports and theme parks.
- Disney companies include ABC television (USA) and US regional television holdings, the History channel, the Disney Channel (worldwide), Buena Vista Television, Touchstone Television, Walt Disney Pictures, Miramax, and Buena Vista International together with internet, music, sports and Disneyland theme parks.
In relations to my research this highlights the extent of control that Disney have over children’s viewings. Therefore, like Rupert Murdoch, Disney has a significant influence over the messages they send out and can selectively choose the portrayal of the sexes. Thus, subconsciously from a young age children are taught the way in which they ought to behave according to their sex (gender roles). Children are unable to escape Disney’s messages as they have immense control over the media that targets young children. Often they represent princess as feeble which teaches girls to be passive and the prince/hero is depicts as brave and that encourages boys to behave in a dominate manner.
Pixar is a digital animation company, maker of Toy Story (John Lasseter, 1995), Monsters, Inc (Peter Docter, 2001) and Finding Nemo (Andrew Stanton and Lee Unkrich, 2003).
- Pixar was involved in a distribution deal with Disney, which ended in 2004 to allow the company greater independence.
- Toy Story (John Lasseter, 1995) was a landmark production breaking new ground in the use of computer-generated imagery technology.
Pixar has the same young target audience as Disney. However, Pixar appeal more to boys than Disney. Despite this difference Pixar like Disney has remained conventional in its portrayal of girls and boys. I will be exploring the different approaches and representation of females by both institutions.
Hypodermic needle theory: early attempt in the 1930s and 1940s to explain the effects media texts have on audiences.
- Based on the assumed ‘passive’ nature of a mass audience, the theory argues that consumption of media texts is like the injection of a drug and that the audiences’ behaviour and opinions are opinions are therefore directly affected.
The hypodermic needle theory is applicable to my analysis of Enchanted (2007) as the primary target audience are children and are considered to be a passive audience. Due to children’s innocence and lack of knowledge, in particular under 7 year olds, they are unable to challenge a text because they are not media literate. Therefore the images they have seen are taken at face value (absorbed) as their perspectives are so simplistic they being to emulate the behaviour they have seen. For example young girls watch children cleaning like Cinderella so they mimic this behaviour. Cleverly, institutes use children’s naivety to pass on dark underlying messages onto children. Feminist may argue that these subtle messages help to maintain patriarchy as they allocate positions to both sexes and educate them into accepting these responsibilities.
Controversially, it has been suggested that Disney injects youngsters with rubbish, through the unrealistic view of life that the creators depict. However, it can be argued that the influence that Disney has over its viewers is overestimated. Nowadays, Disney films (like Enchanted, 2007) target older audiences as well as children through the satire and the purpose of Disney is fun family viewing not corrupt young minds.
Stimulus response theory: the theory is associated with passive audience theory which views a media message as a drug administrated to a passive audience with immediate behavioural effects.
Possibly Enchanted (2007) could psychologically affect the audience and cause them to behave like the character whether it’s costume, attitudes or image that the audience are copying. So whatever passive audiences watch it impacts their interaction or opinions.
Levi- Strauss (1908-90): French structuralist anthropologist whose analysis of human culture and myth argued for a common origin of all narratives, based on shared human life experiences fears expectations.
- Using the techniques developed by Saussure, Levi Strauss identified the underlying structures of all myths as being the same. His narrative theory of Binary opposition is based on the essential difference between such concepts as culture and nature, the raw and the cooked, good and evil. Narratives are based on oppositional forces and the resolution of conflict. Audiences are positioned on the side that justifies their own cultural values and resolution reduces underlying anxiety about threats to their way of life.
Enchanted (2007) similar to all fairytales crates a Binary opposition between good and but all there are also character Binary oppositions. Giselle’s purity is contrasted with the tainted witch’s evil intentions. Robert's (hero) generosity is opposed with Prince Edward (false hero) self-love. Although the Binary oppositions basic nevertheless they generalise women either they are good (beautiful) or bad (ugly) which is a harmful assumption. It shows children they have to conform to what is ‘beautiful’ and teaches them the false notion of ‘perfection’.
Musical: a film genre that incorporate songs as part of the films narrative.
- The genre has provided versatile, adapting to different musical tastes and changes in expectations.
- For example, Classical musicals through the decade include: Top Hat (Mark Sandrich, 1935), The Wizard of Oz (Victor Fleming, 1939), The King and I (Walter Lang, 1956), Moulin Rouge (Baz Luhrmann, 2001) and Chicago (Rob Marshall, 2002).
Enchanted has a hybrid genre and uses a variety of conventions. Often Giselle randomly burst into song to express feelings and emotions. This encourages audience interaction and becomes a form of escapism for the audience. Her random singing reflects unpredictable personality. Stereotypically, in the main song Giselle is singing about love which portrays women as romantic as well as being obsessed with love.
Feminism is a political movement to advance the status of women by challenging values, social construction and socioeconomic practices which disadvantaged women and favour men.
- The movement emerged from liberation culture of the 1960s, although individual feminist argued for women’s rights from much earlier in time.
- Feminists have provided an important perspective for the critique of the media products, especially from the standpoint of representation, and have sought to challenge dominant ideologies which reinforce patriarchal values.
- Feminism encompasses various perspectives e.g.: black feminism, liberal feminism, Marxist feminism, radical feminism and post-feminism.
Feminist might argue that Enchanted (2007) maintains a patriarchal meaning through the constant stereotypes. The stereotypes exemplified through the traditional attire. The predictable narrative can be interpreted as promoting sexist ideals e.g. Giselle is rescued by Robert.
Stereotype: the social classification of a group of people by identifying common characteristics and universally applying them in an often oversimplified and generalised way, such that the classification represents value judgements and assumption about the group concerned.
- For example ‘dumb’ blonde, the ‘mean’ Yorkshire man
Stereotypes are prevalent throughout Enchanted from gender stereotypes to class stereotypes. The poor builder is not well articulated compared to the affluent well spoken Giselle.
Sexism: representations that discriminate on the basis of sex, especially against women, which is seen to derive from and sustain patriarchy.
- Some feminists would see any media representation of women that confirmed a stereotype as sexist, for example, the display of women’s bodies as sex objects in lads mags for the entertainment of men.
Enchanted (2007) demonstrates its sexist nature through the stereotypes. However, the Disney representations may have remained constant as audiences expect it or that it still reflects society.
Fantasy – a genre built around an artificially constructed reality which can never exist in real life, often involving classical mythology at all fairy tale.
- Fantasy films generally set real human characters against mythological or supernatural creatures in an imaginary world.
- Computer generated images have made possible a dramatic extension of the fantasy universe.
- For example, the seventh voyage of Sinbad (Nathan Juran 1958), Jason and the Argonauts (Don Chaffey1963), Willow Ron Howard 1988, the Lord of the Rings Trilogy Peter Jackson 2001-2003.
Corresponding to my research, the fantasy life that Giselle leads links to the way certain men view women. Some men feel that women are living in a fantasy world and her deluded nature symbolises her innocence. For a woman to be attractive she must pose a pure virtue.
Men’s and women’s magazines reinforce stereotypical representations of women as sexual objects.
From being portrayed as domestic goddesses to being depicted as sexual beasts the representation of women has altered immensely within the past fifty years. Years ago the archetypical representation of women was a housewife or they were absent from the media whereas nowadays they are profoundly recognised within the public domain. However, men and women are represented in stark contrast to one another, whilst men are strong heroes women are the weaker sex. It has been argued that these segregated roles are outdated but Haralambos and Holborn (2004) implies that these portrayals will never disappear because old programmes are recycled on satellite and cable. Even nowadays men and women have separate representations in the media and many feel that magazines as well as other media reinforce stereotypical depictions of them.
Well endowed semi-nude women have been thrust upon front covers of numerous magazines from ‘lad mags’ to women’s magazines and has become socially acceptable. It is now considered normality for magazines to depict explicit images of the female anatomy. Corresponding to Mulvey’s male gaze theory women are objectified, becoming somewhat a fetish for the audience. Therefore females are being projected as the male fantasy through the male gaze rather than showing a realistic portrayal of women.
Recently ‘lads mags’ (magazines targeting 15-25 year old males) have developed, usually the magazines are pornographic or semi-pornographic but deal with other aspects of interest such as gadgets and jokes. FHM is the epitome of a ‘lad’s mag’, as exemplified through January 2007 addition front cover. Conventionally Tamara Ecclestone (the model) is outstandingly beautiful; she is flawless and creates a false notion of ‘perfection’. In addition to this she is extremely sexualised demonstrated through her hand caressing her slightly parted legs pose, which is extremely suggestive to a young male audience. Tamara has been captured wearing sexy black lingerie which symbolises corruption and indicative of her ‘dark side’. Often tainted black is sported by models on pornographic magazines, similarly Hayden Panetire, Olga Kurylenko have posed on FHM in black.
However, women magazines like Ok! , More! and Heat! portray semi-nude women as an aspiration tool rather than titillation. Unusually despite being aimed at a slightly older audience on the OK! magazine front cover (the October 2008 issue) Melanie Brown is photographed wearing lingerie but unlike ‘lads mags’ this is not the central focus. Her new appearance appeals to the audience but the ideal representation creates negative competition amongst females, low self esteem and low self-image. Debates have arisen that put forward that women magazines with their scrutinising of ‘fat’ celebrities have led to the drastic increase in anorexia especially amongst young girls. Hannah Whittaker essay ‘Glamour models made me sick’ comments that the airbrushed ‘perfect’ images of models cause damaging psychological affects:
‘it teaches women such as myself that they’re ugly and imperfect when really there’s absolutely nothing wrong with them’.
More! has a younger audience appeal which is reflected through the central focus (teenage actress). Representing the teen soap star ‘Helen Flanagan’ on the front cover intrigues young readers to respond to her appearance as it creates personal relationship. Instead The young actress embodies features associated with conventional beauty for example her white pearly teeth, radiant flawless skin and glowing blue eyes further reinforce the notion of ‘perfection.’ This can be a prompting tool as the readership may aspire to the star. But rather than being domineering, like on ‘lads mags’, the actress looks approachable. In addition, the curvaceous actress is represented parallel to her curvy acting predecessor Marilyn Munroe she is depicted in a fan blown pose. Yet, with debates such as size 0, unusually More! embraces the fuller figured woman.
Similar to FHM’s Tamara Ecclestone, Jessica Simpson on Maxim (July 2006) is wearing black although Jessica’s cleavage is slightly on display; however, it is far more tasteful than Tamara on FHM. Whilst Tamara’s top is slipping down, it is invites readers to undress her with their mind therefore leaving little to the imagination whereas Jessica less provocative. Both Maxim and FHM’s typography is red; red connotes passion as it’s a fiery fierce colour which mirrors their facial expressions their glares are wild and mysterious. It has been argued rather than degrading women ‘lads mags’ empower them as it is the female luring the male audience. But Rosie Boycott believes ‘lads mags’ purely fulfils one purpose:
‘Every month, magazines such as FHM, and now Zoo and Nuts, serve up page after page of breasts, bottoms and sexual titillation’
Moreover, Loaded directly exemplifies patriarchy on the October 2007 cover 50 cent is dominantly standing in the middle of two barely dressed women. One model’s hand is placed upon her knickers insinuating sex whilst the other places her bottom so that it is touch his thigh. Even though he is receiving this female attention, he has a stern expression implying that it is normality for 50. Parallel to other ‘lads mags’ the women appear unblemished and ‘anyone with any sense will realise that women in magazines...have all been airbrushed’ (Simon Guirao, editor of Loaded). Yet, women still feel they have to live up to this great image. Capitalist ideology is also promoted highlighted through 50 cents hand positioning over his pocket, the emphasis of the word ‘money’ and the headline ‘The man who made $410 million dollars in a day’. The list of three bold typography Guns! , Girl! and Money! uses the Hip Hop culture stereotype to encourages violence, the objectification of women and an irrational love for money. Thus, loaded is justifying the exploitation of women suggesting that it is acceptable as it is part of Hip Hop culture.
Additionally, females in women’s magazines can be presented as dutiful mother and devoted wives. Jade Goody is pictured hugging he two sons whilst they are all giggling on OK! magazines cover October 14 2008. Despite her cancer ordeal Jade manages to maintain a jovial facial expression stereotypical women have to be emotional strong. Dunscombe and Marsden found alongside their career and housework, they have to emotional support the family. Motherhood is considered by most women as undoubtedly the most rewarding moment in life but is argued that the media over-exaggerate women’s roles with family.
Finally, ‘lads mags’ often uses clichés when referring to women as honeys on FHM (January 2007) again degrading women as Mulvey suggest just viewing women as ‘eye candy’. Stereotyping women are sweet like honey ignores women multiple personalities and generalises them as passive. As well as referring to her a princess as they are considered dependent on men (the prince). Similarly, Loaded refers to them as girls which group them and girls refers to the child-like innocence of women like ‘honey’. Additionally, Maxim describes women as ‘hotties’ again objectifying them.
Well endowed semi-nude women have been thrust upon front covers of numerous magazines from ‘lad mags’ to women’s magazines and has become socially acceptable. It is now considered normality for magazines to depict explicit images of the female anatomy. Corresponding to Mulvey’s male gaze theory women are objectified, becoming somewhat a fetish for the audience. Therefore females are being projected as the male fantasy through the male gaze rather than showing a realistic portrayal of women.
Recently ‘lads mags’ (magazines targeting 15-25 year old males) have developed, usually the magazines are pornographic or semi-pornographic but deal with other aspects of interest such as gadgets and jokes. FHM is the epitome of a ‘lad’s mag’, as exemplified through January 2007 addition front cover. Conventionally Tamara Ecclestone (the model) is outstandingly beautiful; she is flawless and creates a false notion of ‘perfection’. In addition to this she is extremely sexualised demonstrated through her hand caressing her slightly parted legs pose, which is extremely suggestive to a young male audience. Tamara has been captured wearing sexy black lingerie which symbolises corruption and indicative of her ‘dark side’. Often tainted black is sported by models on pornographic magazines, similarly Hayden Panetire, Olga Kurylenko have posed on FHM in black.
However, women magazines like Ok! , More! and Heat! portray semi-nude women as an aspiration tool rather than titillation. Unusually despite being aimed at a slightly older audience on the OK! magazine front cover (the October 2008 issue) Melanie Brown is photographed wearing lingerie but unlike ‘lads mags’ this is not the central focus. Her new appearance appeals to the audience but the ideal representation creates negative competition amongst females, low self esteem and low self-image. Debates have arisen that put forward that women magazines with their scrutinising of ‘fat’ celebrities have led to the drastic increase in anorexia especially amongst young girls. Hannah Whittaker essay ‘Glamour models made me sick’ comments that the airbrushed ‘perfect’ images of models cause damaging psychological affects:
‘it teaches women such as myself that they’re ugly and imperfect when really there’s absolutely nothing wrong with them’.
More! has a younger audience appeal which is reflected through the central focus (teenage actress). Representing the teen soap star ‘Helen Flanagan’ on the front cover intrigues young readers to respond to her appearance as it creates personal relationship. Instead The young actress embodies features associated with conventional beauty for example her white pearly teeth, radiant flawless skin and glowing blue eyes further reinforce the notion of ‘perfection.’ This can be a prompting tool as the readership may aspire to the star. But rather than being domineering, like on ‘lads mags’, the actress looks approachable. In addition, the curvaceous actress is represented parallel to her curvy acting predecessor Marilyn Munroe she is depicted in a fan blown pose. Yet, with debates such as size 0, unusually More! embraces the fuller figured woman.
Similar to FHM’s Tamara Ecclestone, Jessica Simpson on Maxim (July 2006) is wearing black although Jessica’s cleavage is slightly on display; however, it is far more tasteful than Tamara on FHM. Whilst Tamara’s top is slipping down, it is invites readers to undress her with their mind therefore leaving little to the imagination whereas Jessica less provocative. Both Maxim and FHM’s typography is red; red connotes passion as it’s a fiery fierce colour which mirrors their facial expressions their glares are wild and mysterious. It has been argued rather than degrading women ‘lads mags’ empower them as it is the female luring the male audience. But Rosie Boycott believes ‘lads mags’ purely fulfils one purpose:
‘Every month, magazines such as FHM, and now Zoo and Nuts, serve up page after page of breasts, bottoms and sexual titillation’
Moreover, Loaded directly exemplifies patriarchy on the October 2007 cover 50 cent is dominantly standing in the middle of two barely dressed women. One model’s hand is placed upon her knickers insinuating sex whilst the other places her bottom so that it is touch his thigh. Even though he is receiving this female attention, he has a stern expression implying that it is normality for 50. Parallel to other ‘lads mags’ the women appear unblemished and ‘anyone with any sense will realise that women in magazines...have all been airbrushed’ (Simon Guirao, editor of Loaded). Yet, women still feel they have to live up to this great image. Capitalist ideology is also promoted highlighted through 50 cents hand positioning over his pocket, the emphasis of the word ‘money’ and the headline ‘The man who made $410 million dollars in a day’. The list of three bold typography Guns! , Girl! and Money! uses the Hip Hop culture stereotype to encourages violence, the objectification of women and an irrational love for money. Thus, loaded is justifying the exploitation of women suggesting that it is acceptable as it is part of Hip Hop culture.
Additionally, females in women’s magazines can be presented as dutiful mother and devoted wives. Jade Goody is pictured hugging he two sons whilst they are all giggling on OK! magazines cover October 14 2008. Despite her cancer ordeal Jade manages to maintain a jovial facial expression stereotypical women have to be emotional strong. Dunscombe and Marsden found alongside their career and housework, they have to emotional support the family. Motherhood is considered by most women as undoubtedly the most rewarding moment in life but is argued that the media over-exaggerate women’s roles with family.
Finally, ‘lads mags’ often uses clichés when referring to women as honeys on FHM (January 2007) again degrading women as Mulvey suggest just viewing women as ‘eye candy’. Stereotyping women are sweet like honey ignores women multiple personalities and generalises them as passive. As well as referring to her a princess as they are considered dependent on men (the prince). Similarly, Loaded refers to them as girls which group them and girls refers to the child-like innocence of women like ‘honey’. Additionally, Maxim describes women as ‘hotties’ again objectifying them.
Sunday, 2 November 2008
Synopsis
Enchanted (2007) is a Romantic Comedy created by Bill Kelly and directed by Kevin Lima. This no ordinary Disney film cleverly it combines Classical Disney animation with modern chaotic urban society. The naive Princess Giselle is banished from the animated land by the wicked witch to New York City. Giselle (Amy Adams) blissfully lives in Andalsia (Cartoon world), where magical beings frolic freely and musical interludes punctuate every interaction. At this point Giselle is engaged to be married to handsome Prince Edward (James Marsden), her fate is altered as the villainous Queen Narissa (Susan Sarandon) banishes her to the hectic merciless streets of New York City. As she begins to warm to her new surroundings and the fairy-tale exterior of the once-carefree princess Giselle soon finds herself falling for a friendly but flawed divorce lawyer (Patrick Dempsey). His kind compassionate nature helps her to survive in the big bad world.
Source: www.moviefone.com
Originally written by Jason Buchanan, All Movie Guide reworded by ME
Source: www.moviefone.com
Originally written by Jason Buchanan, All Movie Guide reworded by ME
Reviews
Times - 4 stars
I haven’t been as delighted and surprised by an old-fashioned Disney tale since I was a child. Enchanted begins between the covers of a book. A fairytale princess warbles about discovering true love’s kiss to a ghastly chorus of twittering forest animals. The evil queen pushes Giselle down a wishing well before she can marry Prince Charming. And all of them, for one greedy reason or another, pop out of a pothole in Times Square, Manhattan. This is bliss.
Amy Adams, the confused princess, can’t understand why people want to rob or rape her. Her naivety about cars, traffic lights, and strangers at 4am in the pouring rain is not just fabulously naive, it’s totally precarious. She is plucked off the mean streets by a hunky divorce lawyer (Patrick Dempsey), who has a six-year-old daughter and a fiendishly needy girlfriend. Being a Disney princess with good manners, Adams can still muster the local wildlife to do her bidding when she sings. Sewer rats, cockroaches, flies, and pigeons clean up Dempsey’s Fifth Avenue flat and make breakfast the next morning.
At this point I realised that the film could do no wrong. I started crying when Adams waltzed through Central Park with a perfectly stressed Dempsey, who had no inkling why total strangers should start assembling a musical number around him. That kind of magic never knowingly touches real lives. Kevin Lima’s film does just that. Susan Sarandon is terrific as the Evil Queen; Timothy Spall pops up like a well-used wart; and James Marsden is the terrifically thick and handsome Prince.
PG, 107mins
James Christopher
Heart Radio 10/10
It’s absolutely brilliant and like nothing you'll have ever seen before. Both hilarious and heartwarming, it’s a modern Disney classic but the traditional feel of the films like Sleeping Beauty and Snow White are heavy influences. It’s not often that family films are laugh out loud funny but it’s packed with genuine deep belly laughs for both kids and adults. It’s the perfect family film for the festive season.
Simon Thompson
Time Out New York- 2 stars
We’ve seen this before: A lovely cartoon maiden, straight from Don Bluth’s sketch pads, sings while friendly animals scurry about. A dashing prince appears on the scene (“We shall be married in the morning!”), then the film’s villainess transports the lass to a place “where there are no happily-ever-afters.” Any Middle American will tell you that means New York, and our formerly animated young lady (Adams) is plunged into a live-action Horror City. When she calls for furry friends to help clean an apartment, it’s CGI rats and roaches that whistle while they work. For a split second, you wonder if someone slipped a Mickey into the House of Mouse’s water supply and made some joyously subversive gem while the brass was asleep.
No such luck. Despite the benign No-Tomorrowland Gotham our goody-two-shoes heroine has been thrust into, it’s still just Disney business as usual. Her pure, romantic demeanor wins over a cynical McDreamy lawyer (Dempsey). The clueless prince (Marsden) attacks midtown buses. Naturally, the movie’s evil stepmom (Sarandon)—apparently auditioning for a Broadway adaptation of Aelita: Queen of Mars—comes brandishing the requisite poison apples. And while no one expects the studio to slaughter its own cash cows by actually deconstructing fairy-tale mythology, this bland bedtime story doesn’t even offer an entertaining post-Shrek take on the original. Even Adams, gamely attacking her archetypal role with glee, can’t fight back the saccharine tide. For a movie filled with magical occurences, Enchanted commits a cardinal sin: It forgets to cast a spell on the audience.
Simon Fear
Rolling stone magazine- 3 stars
You might want to remember the name Amy Adams. It's star-is-born time for the Colorado Mormon, who won a supporting-actress Oscar nomination for 2005's Junebug, which few saw (dumb move). Enchanted has the makings of a supersize sugarcoated hit, and Adams is just the spicy princess you want to take home and PG-love. Not since Julie Andrews rode an umbrella to glory in Mary Poppins has Disney given us such a real-life doll.
Actually, Adams' Giselle starts off as a cartoon, a princess who finds her prince (James Marsden), only to have his bitch-queen mother (Susan Sarandon) banish her to hell. That would be Times Square, where the characters take on flesh and blood. OK, it's corny. Script contrivance, thy name is having Giselle take refuge in the Manhattan apartment of a McDreamy divorce lawyer (Patrick Dempsey) and his young daughter (Rachel Covey), which really irks — they don't say "pisses off" in family films — his girlfriend (Idina Menzel). But Enchanted makes magic when Giselle, who also looks yummy in just a towel, redecorates his digs with the help of rats, pigeons and roaches. The terrific score is from Alan Menken and Stephen Schwartz. And X-Man Marsden (so good in Hairspray) is a hoot as the song-and-dance-man prince. Yet Adams is the wish your heart makes when you want a storybook princess for the ages. She's wicked good.
Peter Travers
Enchanted (2007) recieved 93% positive feedback on Rotten tomatoes.
I haven’t been as delighted and surprised by an old-fashioned Disney tale since I was a child. Enchanted begins between the covers of a book. A fairytale princess warbles about discovering true love’s kiss to a ghastly chorus of twittering forest animals. The evil queen pushes Giselle down a wishing well before she can marry Prince Charming. And all of them, for one greedy reason or another, pop out of a pothole in Times Square, Manhattan. This is bliss.
Amy Adams, the confused princess, can’t understand why people want to rob or rape her. Her naivety about cars, traffic lights, and strangers at 4am in the pouring rain is not just fabulously naive, it’s totally precarious. She is plucked off the mean streets by a hunky divorce lawyer (Patrick Dempsey), who has a six-year-old daughter and a fiendishly needy girlfriend. Being a Disney princess with good manners, Adams can still muster the local wildlife to do her bidding when she sings. Sewer rats, cockroaches, flies, and pigeons clean up Dempsey’s Fifth Avenue flat and make breakfast the next morning.
At this point I realised that the film could do no wrong. I started crying when Adams waltzed through Central Park with a perfectly stressed Dempsey, who had no inkling why total strangers should start assembling a musical number around him. That kind of magic never knowingly touches real lives. Kevin Lima’s film does just that. Susan Sarandon is terrific as the Evil Queen; Timothy Spall pops up like a well-used wart; and James Marsden is the terrifically thick and handsome Prince.
PG, 107mins
James Christopher
Heart Radio 10/10
It’s absolutely brilliant and like nothing you'll have ever seen before. Both hilarious and heartwarming, it’s a modern Disney classic but the traditional feel of the films like Sleeping Beauty and Snow White are heavy influences. It’s not often that family films are laugh out loud funny but it’s packed with genuine deep belly laughs for both kids and adults. It’s the perfect family film for the festive season.
Simon Thompson
Time Out New York- 2 stars
We’ve seen this before: A lovely cartoon maiden, straight from Don Bluth’s sketch pads, sings while friendly animals scurry about. A dashing prince appears on the scene (“We shall be married in the morning!”), then the film’s villainess transports the lass to a place “where there are no happily-ever-afters.” Any Middle American will tell you that means New York, and our formerly animated young lady (Adams) is plunged into a live-action Horror City. When she calls for furry friends to help clean an apartment, it’s CGI rats and roaches that whistle while they work. For a split second, you wonder if someone slipped a Mickey into the House of Mouse’s water supply and made some joyously subversive gem while the brass was asleep.
No such luck. Despite the benign No-Tomorrowland Gotham our goody-two-shoes heroine has been thrust into, it’s still just Disney business as usual. Her pure, romantic demeanor wins over a cynical McDreamy lawyer (Dempsey). The clueless prince (Marsden) attacks midtown buses. Naturally, the movie’s evil stepmom (Sarandon)—apparently auditioning for a Broadway adaptation of Aelita: Queen of Mars—comes brandishing the requisite poison apples. And while no one expects the studio to slaughter its own cash cows by actually deconstructing fairy-tale mythology, this bland bedtime story doesn’t even offer an entertaining post-Shrek take on the original. Even Adams, gamely attacking her archetypal role with glee, can’t fight back the saccharine tide. For a movie filled with magical occurences, Enchanted commits a cardinal sin: It forgets to cast a spell on the audience.
Simon Fear
Rolling stone magazine- 3 stars
You might want to remember the name Amy Adams. It's star-is-born time for the Colorado Mormon, who won a supporting-actress Oscar nomination for 2005's Junebug, which few saw (dumb move). Enchanted has the makings of a supersize sugarcoated hit, and Adams is just the spicy princess you want to take home and PG-love. Not since Julie Andrews rode an umbrella to glory in Mary Poppins has Disney given us such a real-life doll.
Actually, Adams' Giselle starts off as a cartoon, a princess who finds her prince (James Marsden), only to have his bitch-queen mother (Susan Sarandon) banish her to hell. That would be Times Square, where the characters take on flesh and blood. OK, it's corny. Script contrivance, thy name is having Giselle take refuge in the Manhattan apartment of a McDreamy divorce lawyer (Patrick Dempsey) and his young daughter (Rachel Covey), which really irks — they don't say "pisses off" in family films — his girlfriend (Idina Menzel). But Enchanted makes magic when Giselle, who also looks yummy in just a towel, redecorates his digs with the help of rats, pigeons and roaches. The terrific score is from Alan Menken and Stephen Schwartz. And X-Man Marsden (so good in Hairspray) is a hoot as the song-and-dance-man prince. Yet Adams is the wish your heart makes when you want a storybook princess for the ages. She's wicked good.
Peter Travers
Enchanted (2007) recieved 93% positive feedback on Rotten tomatoes.
SHEP analysis
S- Disney’s Enchanted (2007) hardly addresses social issues social issues as the film is based upon fantasy rather than actuality. However, it briefly explores love and the complexity of relationships. Giselle his torn between the prince Edward and Robert but Robert is confused about whether he should pursue a relationship with Giselle or Nancy. It is a realistic portrayal of the difficulty of love; they both have to decide to follow their heart or their head. Indirectly, it also tackles social status with Giselle being rich is opposed with Roberts average status. Their attire reflects their social standing Edward’s and Giselle’s flamboyant clothing is contrasted with Robert’s normal jeans or suit. Firstly Giselle frown upon Robert and says ‘you’re not my prince’ clearly she feels she is socially superior. However, as the film progresses the segregated statuses are no longer prevalent and conflicting love paths are solved.
H- Historically this film corresponds to other Disney films sending out similar messages. The film is a parody of previous Disney film so the message being put forward is identical. However, Enchanted has a twist rather than predictably falling in love with the prince Giselle shockingly ends up with Robert. Yet similar to its Disney predecessors Enchanted depicts separate traditional roles; the woman is the domestic Goddess and beautiful whereas the man is not conventionally attractive and is the labourer. This can be considered as outdated as Dunscombe and Marsden suggested that women face the ‘trifle shift’ which entails housework, a job and emotional burdens.
E- It can be interpreted as the film reinforcing capitalistic ideology shown through glamorised image of New York City. In addition, money problems are not addressed and Robert’s house appeared to be extravagant. On the other hand the film portrays builders and a poor tramp so it includes a variety of people from various backgrounds.
P- The film is not political but does convey nationalism and the American dream. It embraces American ideals which presents America a land of opportunities and ignores the negative aspects of American society.
H- Historically this film corresponds to other Disney films sending out similar messages. The film is a parody of previous Disney film so the message being put forward is identical. However, Enchanted has a twist rather than predictably falling in love with the prince Giselle shockingly ends up with Robert. Yet similar to its Disney predecessors Enchanted depicts separate traditional roles; the woman is the domestic Goddess and beautiful whereas the man is not conventionally attractive and is the labourer. This can be considered as outdated as Dunscombe and Marsden suggested that women face the ‘trifle shift’ which entails housework, a job and emotional burdens.
E- It can be interpreted as the film reinforcing capitalistic ideology shown through glamorised image of New York City. In addition, money problems are not addressed and Robert’s house appeared to be extravagant. On the other hand the film portrays builders and a poor tramp so it includes a variety of people from various backgrounds.
P- The film is not political but does convey nationalism and the American dream. It embraces American ideals which presents America a land of opportunities and ignores the negative aspects of American society.
Continuation of Mulvey's theory
Mulvey points out that cinema had changed during the course of the 1960s and early 1970s in a way which afforded opportunities for other filmmakers outside of the mainstream because of technological developments in filming and also exhibition. It is worth noting that this is even more pertinent now because of the rise of relatively cheap digital video cameras (DV), relatively cheap software and with the growth of the internet the possibility of distributing to a global marketplace. YouTube is the perfect example of that.
Perhaps it is here that Mulvey's arguments will need to be played out all over again in terms of the representation of women. But Mulvey was writing in a pre-digital era:
'The magic of the Hollywood style at its best...arose, not exclusively but in one important aspect from its skilled and satisfying manipulation of visual pleasure. Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order'. (Mulvey in Movies & Methods Vol II, p 306)
It is because this pleasure is already ideologically encoded upon patriarchal society that Mulvey wishes to use analysis to start to destroy that pleasure creating mechanism. This she hope will allow a new language of desire to emerge for humanity.
Source: Laura Mulvey and the Male gaze
http://blogs.warwick.ac.uk/michaelwalford/entry/laura_mulvey_and/
Perhaps it is here that Mulvey's arguments will need to be played out all over again in terms of the representation of women. But Mulvey was writing in a pre-digital era:
'The magic of the Hollywood style at its best...arose, not exclusively but in one important aspect from its skilled and satisfying manipulation of visual pleasure. Unchallenged, mainstream film coded the erotic into the language of the dominant patriarchal order'. (Mulvey in Movies & Methods Vol II, p 306)
It is because this pleasure is already ideologically encoded upon patriarchal society that Mulvey wishes to use analysis to start to destroy that pleasure creating mechanism. This she hope will allow a new language of desire to emerge for humanity.
Source: Laura Mulvey and the Male gaze
http://blogs.warwick.ac.uk/michaelwalford/entry/laura_mulvey_and/
Laura Mulvey's Male Gaze theory
The gaze is a Feminist theory developed to highlight the power imbalance between men and women analysing the way men see women, the way women view themselves and other women. The theory suggests that an audience are forced to view the text from the perspective a heterosexual male, films constantly focus on women’s curves and events that happen to them are portrayed at a male angle. The male gaze denies women human agency, relegating them to the status of objects. Therefore the female viewers experience the text narrative secondarily, by identifying with a man’s perspective (male gaze). In addition she argues that sexism can also occur in the way the text is presented. Moreover, people are encouraged to gaze at women in advertising that sexualizes a woman's body even when the woman's body is unrelated to the advertised product.
Mulvey suggests that the audience view the films in two ways: voyeuristically and fetishistically. As audiences watch films without being watched by the characters they become onlookers of their lives. Therefore they become voyeurs of the people on screen. This can lead to two effects: objectification and narcissistic identification. Voyeurism involves turning the represented figure into a fetish so it becomes increasingly beautiful but more objectified.
It has been contended filmmakers such as Alfred Hitchcock objectified his female subjects, positioning them to merely arouse the audience.
source: http://en.wikipedia.org/wiki/Gaze
Mulvey suggests that the audience view the films in two ways: voyeuristically and fetishistically. As audiences watch films without being watched by the characters they become onlookers of their lives. Therefore they become voyeurs of the people on screen. This can lead to two effects: objectification and narcissistic identification. Voyeurism involves turning the represented figure into a fetish so it becomes increasingly beautiful but more objectified.
It has been contended filmmakers such as Alfred Hitchcock objectified his female subjects, positioning them to merely arouse the audience.
source: http://en.wikipedia.org/wiki/Gaze
Theories/Theorists
An increase in opportunities has created more involvement for women in all aspects of the spectrum from work environment to the filming industry. However, women still appear to have little self-esteem and self image. Today women largely focus on their physical appearance, which they are told by the media is vital. Magazines such as Glamour, Heat and Ok overtly portray the message that beauty is an important aspect of being through their scrutinising of celebrities that look less than ‘perfect’. However, institutions like Disney and Pixar covertly emphasise the idea of ‘perfection’ as the films always represent outstandingly beautiful princesses, maintaining the false idealistic view. The Proppian witch is also conventionally ‘ugly’ usually with a point nose and protruding mole so children associate good with beauty and bad with ugly. Furthermore, the simplistic message being put across carries a deeper meaning subconsciously from a young age we are being taught that beauty equals success.
"The equation of female sexuality with glamour is a major public theme in our own culture. It's there in our fairy stories, the little girl's first lessons in romance: a kitchen girl, she learns, can only win a prince if she has a comprehensive make-over and some glamorous new clothes" (Leroy 262).
Princess Diaries is an ideal example of Leroy’s suggestion. Before Amelia can become a Princess and recognised within the public domain she has to have a drastic make-over; which entailed shaping her eyebrows, wearing make-up and straightening her unruly curly mane. This vigorous beauty regime was simply to correspond to society’s idea of what’s hot and what’s not. It is as though women’s attributes are insignificant if they are inadequate ‘eye-candy’ whereas the majority of leading male roles in film the man are usual not conventionally attractive yet this is acceptable. Clearly in the media there are double standards with the portrayal of men and women.
In a survey conducted by Glamour magazine; three-quarters of women aged 18-35 reported feeling too fat, while only one quarter of them could be so described, and 45% of the underweight women felt they were too fat. Not too be fat has become a life goal for countless women: the Glamour survey also found that nearly half the women, rather than achieving a career ambition or meeting the love of their life, would choose to lose ten pounds (Leroy 64).
With constant reminders of how to look evidently women have lost track of things such as home life and their families, image is their main focus. Whether overt or covert the clear message of beauty being extremely important has lead to a new epidemic of females dissatisfied about their body image. A new breed generation of women now have no confidence as they are being told they are not worthy.
Source: Women's issue Then and Now- A Feminist overview of the past two centuries
http://www.cwrl.utexas.edu
"The equation of female sexuality with glamour is a major public theme in our own culture. It's there in our fairy stories, the little girl's first lessons in romance: a kitchen girl, she learns, can only win a prince if she has a comprehensive make-over and some glamorous new clothes" (Leroy 262).
Princess Diaries is an ideal example of Leroy’s suggestion. Before Amelia can become a Princess and recognised within the public domain she has to have a drastic make-over; which entailed shaping her eyebrows, wearing make-up and straightening her unruly curly mane. This vigorous beauty regime was simply to correspond to society’s idea of what’s hot and what’s not. It is as though women’s attributes are insignificant if they are inadequate ‘eye-candy’ whereas the majority of leading male roles in film the man are usual not conventionally attractive yet this is acceptable. Clearly in the media there are double standards with the portrayal of men and women.
In a survey conducted by Glamour magazine; three-quarters of women aged 18-35 reported feeling too fat, while only one quarter of them could be so described, and 45% of the underweight women felt they were too fat. Not too be fat has become a life goal for countless women: the Glamour survey also found that nearly half the women, rather than achieving a career ambition or meeting the love of their life, would choose to lose ten pounds (Leroy 64).
With constant reminders of how to look evidently women have lost track of things such as home life and their families, image is their main focus. Whether overt or covert the clear message of beauty being extremely important has lead to a new epidemic of females dissatisfied about their body image. A new breed generation of women now have no confidence as they are being told they are not worthy.
Source: Women's issue Then and Now- A Feminist overview of the past two centuries
http://www.cwrl.utexas.edu
Women in the media
Women have been allocated a range of roles in recent years from being simply housewives and sexual objects to now being headstrong business women. Despite the alteration in roles women are far less visible in the media than men with only eighteen women actual being in the Media Guardian 100. Women have been presented as ideals that appeal to men. Usually men are seen as aggressors whereas women are depicted as victims.
Men play a range of social and occupational roles whereas women are usually housewives, content mothers, eager consumers etc. Tuchman et al (1978) adds that they also play sexual and romantic roles. However, there have been recently stronger female roles within the media i.e. Buffy the vampire slayer, sex and the city and soap operas’. All these women have attributes associated with male characteristics.
In the 1990’s 89% of television voiceovers for television advertisements were males- probably because males represented ‘authority’. However, it clearly shows that patriarchy is covertly still existent as women are simply ignores.
Shockingly, during the 1990’s only 14% of women were main stars of mid- evening programmes on TV. Women may have been considered unsuitable for leading roles as women should not be shown as strong or as the main target audience were women so they might have wanted to watch strong hunky men rather than a beautiful woman.
Haralambos and Holborn (2004) point out, earlier forms of gender representations do not go away. Old programmes are always going to be recycled on cable and satellite TV.
Tuchman implied that women are being marginalised. Newspapers have ‘women’s pages’- they concentrate on beauty and slimming. He uses the term ‘symbolic annihilation’ to refer to women in the media being absent, condemned or trivialised.
Men play a range of social and occupational roles whereas women are usually housewives, content mothers, eager consumers etc. Tuchman et al (1978) adds that they also play sexual and romantic roles. However, there have been recently stronger female roles within the media i.e. Buffy the vampire slayer, sex and the city and soap operas’. All these women have attributes associated with male characteristics.
In the 1990’s 89% of television voiceovers for television advertisements were males- probably because males represented ‘authority’. However, it clearly shows that patriarchy is covertly still existent as women are simply ignores.
Shockingly, during the 1990’s only 14% of women were main stars of mid- evening programmes on TV. Women may have been considered unsuitable for leading roles as women should not be shown as strong or as the main target audience were women so they might have wanted to watch strong hunky men rather than a beautiful woman.
Haralambos and Holborn (2004) point out, earlier forms of gender representations do not go away. Old programmes are always going to be recycled on cable and satellite TV.
Tuchman implied that women are being marginalised. Newspapers have ‘women’s pages’- they concentrate on beauty and slimming. He uses the term ‘symbolic annihilation’ to refer to women in the media being absent, condemned or trivialised.
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