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.
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