Gender roles, also known as gender stereotypes, are defined as the "socially constructed roles, behaviors, activities, and attributes that a given society considers appropriate for men and women" ("What Do We Mean by 'Sex' and 'Gender?' 2014). Cultural gender roles in America have changed significantly overtime from when Disney animated movies were first released. For example, it used to be the norm for women to be housewives, to stay home and take care of the children, and for the husband to take care of the family economically; although there are still stay-at-home mothers, the majority of mothers in America today are employed to support the family as well. Many other traditional roles have transformed, too, particularly for women. Women are not expected to always depend on a man, and there has been a recent push for individual strength and independence in a woman's character and career.
Disney productions have noted these cultural transformations and altered their presentation of women slightly. However, the rhetoric on gender early Disney princess movies did nothing but highlight the many negative cultural stereotypes. Young girls are Disney's target audience with princess movies, yet they are being taught poor messages about ideal feminine characteristics when viewing old-time Disney classics. The producers of these movies were not necessarily intentionally offending women, and women's roles, but rather adhering to society's typical representations of gender. By displaying anything out of the ordinary from what society was used to, the company could risk losing money. For the sake of following cultural traditions and making a profit, early Disney princess movies made no effort to defy harsh feminine gender stereotypes.
Disney productions have noted these cultural transformations and altered their presentation of women slightly. However, the rhetoric on gender early Disney princess movies did nothing but highlight the many negative cultural stereotypes. Young girls are Disney's target audience with princess movies, yet they are being taught poor messages about ideal feminine characteristics when viewing old-time Disney classics. The producers of these movies were not necessarily intentionally offending women, and women's roles, but rather adhering to society's typical representations of gender. By displaying anything out of the ordinary from what society was used to, the company could risk losing money. For the sake of following cultural traditions and making a profit, early Disney princess movies made no effort to defy harsh feminine gender stereotypes.
In early Disney animations, the women's roles and goals in the film were mostly based on a man. Though the princesses are technically the protagonist, as the films are even named after them, they are very passive characters with little defined personal strengths. Without the men in the story, the princesses would have little purpose in the film, for they "are [presented\ as a commodity in a patriarchal society. They go from being the possession of their father, right into being the possession of their husband or another male" ("Gender Through Disney's Eyes 2014). The male characters, on the contrary, are portrayed as more independent, assertive, and important in society.The Bechdel Test, a criteria used to judge evaluate gender in movies, is based on three rules: 1. the movie has at least two named women in it, 2. these two women talk to each other, and 3. they talk to each other about something besides a man; many early Disney movies fail this test, which proves as strong evidence on Disney's commentary on gender roles.
The princess in Sleeping Beauty, Aurora, is kissed awake by a man, saved by a man, and falls in love with a man instantly. Almost the entire plot is based around Prince Phillip, and the struggles he faces to save Aurora from her curse.The princess has a very passive role in the storyline and movie; in fact, her first line is not for 19 minutes into the film, and her last is 39 minutes in. Aurora merely sleeps, and falls in love. The movie only passes the Bechdel Test, because of the three fairies which are female mythical creatures. They talk to each other about other things besides a man, but their conversation is still based on finding Aurora's true love and saving Prince Phillip. Aurora is not presented with any other traits besides her beauty, hence the title of the film. The audience knows little about her character, and the prince falls for her by simply seeing her in the woods. This rhetoric on the feminine gender encourages women viewers to rely on physical beauty, for other traits are not needed in life. It highlights the fact that strength and independence is stereotypically masculine.
The climax of the plot of Disney's Cinderella, is similarly based around the infamous Prince Charming. Disney presents Cinderella as a young girl essentially enslaved to a life a domestication - a very stereotypically female job. She has no individual power, as she is trapped in this lifestyle and constantly ordered around by her step-mother and sisters. Disney's commentary on women and domestic work is mostly positive as "Cinderella, [does\ domestic work as an act of submission. She [accepts\, without complaint the hard labor her step-mother assigned, and always [sings\ and [smiles\ pleasantly while working" (England 2011); the movie fails to showcase the assertiveness and other necessary traits women need to be successful in life. Cinderella is released by the end of the storyline, but only because the prince saves her. Cinderella has no strength as a woman until a man comes along and helps her. The film passes the Bechdel Test, simply because the step-sisters yell at each other and complain to Cinderella, which is no positive trait to be displaying in the female characters of the film. Disney's rhetoric regarding gender in Cinderella presents women as inferior, for they need a man, and little else, to be successful in life.
Ariel, in Disney's production The Little Mermaid, is known to be more independent and assertive than previous princesses, but the film still adheres to many stereotypical gender roles (England 2011). Ariel is curious about the human world, and she wants to have legs so she can explore. Most of her life the idea is just a dream, though, until Eric, a handsome prince comes along. She meets this man, and he is the turning point for her to decide to become human. She trades her singing voice for legs; she essentially gives up her best feature for a man. Ursula, the witch that gives her legs in return for her voice, sings to Ariel, "“You’ll have your looks, your pretty face. And don’t underestimate the importance of body language, ha! Come on they’re not all that impressed with conversation...It’s she who holds her tongue who get’s the man,” promoting to viewers the importance of physical attributes in a woman over her personality. In the words of Emily Lighezzolo, Artifice magazine writer, "Ariel alters her appearance to conform to a man's expectations" (Lighezzolo 2014). The Little Mermaid, furthermore, fails to pass the Bechdel Test. Disney presents the female gender to be always longing for a man, and demonstrates that a woman's only will and independent strength is based on her goal of a 'prince.'
In the early twentieth century, it was common for women to do domestic work on rely on their husband for economic support. The male producers of the Disney company, adopted this stereotype and glorified it into princes and princesses. The company's commentary on gender reflected the tradition of society, but it was greatly exaggerated. The early princess movies project an extreme negative outlook on women's roles and characteristics.
The princess in Sleeping Beauty, Aurora, is kissed awake by a man, saved by a man, and falls in love with a man instantly. Almost the entire plot is based around Prince Phillip, and the struggles he faces to save Aurora from her curse.The princess has a very passive role in the storyline and movie; in fact, her first line is not for 19 minutes into the film, and her last is 39 minutes in. Aurora merely sleeps, and falls in love. The movie only passes the Bechdel Test, because of the three fairies which are female mythical creatures. They talk to each other about other things besides a man, but their conversation is still based on finding Aurora's true love and saving Prince Phillip. Aurora is not presented with any other traits besides her beauty, hence the title of the film. The audience knows little about her character, and the prince falls for her by simply seeing her in the woods. This rhetoric on the feminine gender encourages women viewers to rely on physical beauty, for other traits are not needed in life. It highlights the fact that strength and independence is stereotypically masculine.
The climax of the plot of Disney's Cinderella, is similarly based around the infamous Prince Charming. Disney presents Cinderella as a young girl essentially enslaved to a life a domestication - a very stereotypically female job. She has no individual power, as she is trapped in this lifestyle and constantly ordered around by her step-mother and sisters. Disney's commentary on women and domestic work is mostly positive as "Cinderella, [does\ domestic work as an act of submission. She [accepts\, without complaint the hard labor her step-mother assigned, and always [sings\ and [smiles\ pleasantly while working" (England 2011); the movie fails to showcase the assertiveness and other necessary traits women need to be successful in life. Cinderella is released by the end of the storyline, but only because the prince saves her. Cinderella has no strength as a woman until a man comes along and helps her. The film passes the Bechdel Test, simply because the step-sisters yell at each other and complain to Cinderella, which is no positive trait to be displaying in the female characters of the film. Disney's rhetoric regarding gender in Cinderella presents women as inferior, for they need a man, and little else, to be successful in life.
Ariel, in Disney's production The Little Mermaid, is known to be more independent and assertive than previous princesses, but the film still adheres to many stereotypical gender roles (England 2011). Ariel is curious about the human world, and she wants to have legs so she can explore. Most of her life the idea is just a dream, though, until Eric, a handsome prince comes along. She meets this man, and he is the turning point for her to decide to become human. She trades her singing voice for legs; she essentially gives up her best feature for a man. Ursula, the witch that gives her legs in return for her voice, sings to Ariel, "“You’ll have your looks, your pretty face. And don’t underestimate the importance of body language, ha! Come on they’re not all that impressed with conversation...It’s she who holds her tongue who get’s the man,” promoting to viewers the importance of physical attributes in a woman over her personality. In the words of Emily Lighezzolo, Artifice magazine writer, "Ariel alters her appearance to conform to a man's expectations" (Lighezzolo 2014). The Little Mermaid, furthermore, fails to pass the Bechdel Test. Disney presents the female gender to be always longing for a man, and demonstrates that a woman's only will and independent strength is based on her goal of a 'prince.'
In the early twentieth century, it was common for women to do domestic work on rely on their husband for economic support. The male producers of the Disney company, adopted this stereotype and glorified it into princes and princesses. The company's commentary on gender reflected the tradition of society, but it was greatly exaggerated. The early princess movies project an extreme negative outlook on women's roles and characteristics.
During the time of production of these early movies, essentially the entire Walt Disney Company staff was male. These men created movies based on society and did not recognize the overarching gender issues that needed to be addressed in Disney's rhetoric. As time progressed, many more women were employed to the Disney company, and the female voice in society became more prominent. The female employees, as well as the mothers in society, called for a change over time in Disney's rhetoric on gender. More women have a voice now in the production of Disney animations, and mothers continue to voice their opinions against Disney's gender portrayal for the sake of their daughters. American society's view on gender roles and characteristics have changed and people feel strongly that the media should reflect that. Partly from the influence of the female production staff, Disney has greatly altered its rhetoric on the female gender over time to appeal to its audience who recognized the need for change in our culture.
Disney's 1998 film, Mulan, as well as the 2013 production, Brave, present two princesses who defy many traditional gender roles. Both Mulan and Merida, are strong young women, characterized by their physical abilities and intellectual traits rather than than just their beauty. Further, neither of these movies even contain a prince. Mulan adopts a stereotypically masculine role of her family to defend her father and country in a time of war. Merida refuses to follow the typical standards of a princess, and acts as her true self throughout the film; she also ends up using her strength and wit to save her mother from a threatening curse.
Disney's latest princess film, Frozen, features two young women, Elsa and Anna, who are presented as strong female characters. The director of the film was the first woman to direct a Disney princess movie and her influence is very apparent in the gender roles in the film. Elsa is the queen of her land without the need of a king, and Anna is her smart, adventurous younger sister. Anna does have a romantic interest in the film, but their relationship is neither the highlight of the film nor Anna's main interest. Anna is attempting to bring her sister back to their home village and form a stronger relationship with her. During the final scene of the film, Anna is fighting to stay alive and not be frozen to solid ice for she was struck by Elsa's magic ice powers; in order to defeat the curse, Anna needs an act of true love to save her. Its seems as though Anna will be saved by a man, similar to early Disney films, but instead Anna sacrifices herself for her sister, and then Elsa's true love for Anna eventually saves her. Lighezzolo noted, "It centralizes around sisterly love and not idolatry infatuation with a man, like its predecessors" (Lighezzolo 2014). Rather than being saved by a man, the women in this film save each other. The film abundantly demonstrates the extent of their strength and abilities, and they possess assertive, independent traits, instead of playing a passive role. Anna even punches out the antagonist to conclude the storyline.
Disney's 1998 film, Mulan, as well as the 2013 production, Brave, present two princesses who defy many traditional gender roles. Both Mulan and Merida, are strong young women, characterized by their physical abilities and intellectual traits rather than than just their beauty. Further, neither of these movies even contain a prince. Mulan adopts a stereotypically masculine role of her family to defend her father and country in a time of war. Merida refuses to follow the typical standards of a princess, and acts as her true self throughout the film; she also ends up using her strength and wit to save her mother from a threatening curse.
Disney's latest princess film, Frozen, features two young women, Elsa and Anna, who are presented as strong female characters. The director of the film was the first woman to direct a Disney princess movie and her influence is very apparent in the gender roles in the film. Elsa is the queen of her land without the need of a king, and Anna is her smart, adventurous younger sister. Anna does have a romantic interest in the film, but their relationship is neither the highlight of the film nor Anna's main interest. Anna is attempting to bring her sister back to their home village and form a stronger relationship with her. During the final scene of the film, Anna is fighting to stay alive and not be frozen to solid ice for she was struck by Elsa's magic ice powers; in order to defeat the curse, Anna needs an act of true love to save her. Its seems as though Anna will be saved by a man, similar to early Disney films, but instead Anna sacrifices herself for her sister, and then Elsa's true love for Anna eventually saves her. Lighezzolo noted, "It centralizes around sisterly love and not idolatry infatuation with a man, like its predecessors" (Lighezzolo 2014). Rather than being saved by a man, the women in this film save each other. The film abundantly demonstrates the extent of their strength and abilities, and they possess assertive, independent traits, instead of playing a passive role. Anna even punches out the antagonist to conclude the storyline.
It is apparent that society called for a change in the portrayal of gender by the 21st century. To maintain popularity and satisfy the public, Disney promoted strong, independent women in their latest films. The new princesses portray a more positive representation of the female gender, particularly compared to Disney's earliest films.
On the other hand, let us not forget how young boys are affected viewing Disney movies and the harsh stereotypes of men. The image of "manliness" has remained relatively constant throughout the decades of Disney movies. It is less prevalent an issue than the feminine gender stereotypes, and often less regarded by society. Without a societal push for change, as there has been with women's roles in Disney, the company has made little attempts to change their portrayal of a man. Furthermore, the traits often promoted, including strength, and confidence, are blown out of proportion by the male creators and appear like pugilism and arrogance to viewers.
Gaston from Beauty and the Beast is the epitome of negative 'manly' stereotypes presented by Disney. He is the most handsome, desirable bachelor in town, and his strength and popularity make him the envy of other men. This reputation, however, lends Gaston a huge ego, rouses his disrespect towards women, and discourages him from showing emotion in order to stay tough and 'be a man.' Gaston takes advantage of the women that swoon over him and expects Belle to fall for him instantly.When she rejects him, instead of coping and dealing with emotions, he responds with anger and sets back out to try and win her over to be his own.
Gaston from Beauty and the Beast is the epitome of negative 'manly' stereotypes presented by Disney. He is the most handsome, desirable bachelor in town, and his strength and popularity make him the envy of other men. This reputation, however, lends Gaston a huge ego, rouses his disrespect towards women, and discourages him from showing emotion in order to stay tough and 'be a man.' Gaston takes advantage of the women that swoon over him and expects Belle to fall for him instantly.When she rejects him, instead of coping and dealing with emotions, he responds with anger and sets back out to try and win her over to be his own.
Men are portrayed in this specific manner in the majority of Disney's animated films. Male viewers, particularly young boys whom these movies influence greatly, are encouraged, not to strive for their dreams, but instead to fight violently for exactly what they want -- usually money, power, or a woman. This rhetoric on the male gender that Disney presents is a negative influence on boys and what they view as manliness. The men creating these Disney films, however, view their male characters as strong and mighty, and stick to the standard of what societal stereotypes have always thought a man or a prince should be like.