In the early to mid twentieth century, America's culture was clearly very contrasting to the way it is today. Throughout the 1930s and 1940s, when the majority of Disney's earliest movies were released, racism was prevalent in society; discrimination was much more commonplace compared to today. It was more acceptable, and less likely to be refuted, for Disney movies to contain a full white cast, or even make subliminal racist remarks. Additionally, a mass of the diverse population was living in poverty, particularly due to the effects of the Great Depression. African Americans were the first to be laid off from their jobs, and over fifty percent had lost their jobs by 1932 ("Race During the Great Depression" 2012). Disney's production and marketing methods distinctly reflected this trend; if consumers are unemployed, or living an impoverished life, they are much less likely to go to the movies or purchase merchandise. Thus, Disney targeted a specific audience with its movies: the majority, Caucasian race, its greatest consumers who were more likely to spend money on entertainment.
Disney's 1941 production, Dumbo, seems to be a sweet, innocent movie based on an elephant embracing a unique feature. Though the majority of the cast is animals, Disney makes its target market apparent with racist commentary through the crows. The crows are all black in color and talk and act in offensive, stereotypically African-American ways. The lead crow's name is 'Jim Crow,' the name of a racial caste system of the late 1800s to the 1960s. Ben Joseph, of Cracked magazine, described the crows to be "depicted as poor and uneducated" and noted that they are "constantly smoking," wearing 'pimp' hats, and are "experts on all things 'fly.'" Furthermore, the actor voicing Jim Crow is not even African-American, but rather he's a "white guy [hired\ to do his best 'black voice.'" (Joseph 2008). This racial rhetoric of Disney is specifically appealing to its mainly white audience. The company knew that this racial discrimination would not be largely refuted or viewed in disapproval by the majority of its audience; in fact, during the time period some of the white audience may even be amused or entertained by these racial "jokes."
Disney's 1941 production, Dumbo, seems to be a sweet, innocent movie based on an elephant embracing a unique feature. Though the majority of the cast is animals, Disney makes its target market apparent with racist commentary through the crows. The crows are all black in color and talk and act in offensive, stereotypically African-American ways. The lead crow's name is 'Jim Crow,' the name of a racial caste system of the late 1800s to the 1960s. Ben Joseph, of Cracked magazine, described the crows to be "depicted as poor and uneducated" and noted that they are "constantly smoking," wearing 'pimp' hats, and are "experts on all things 'fly.'" Furthermore, the actor voicing Jim Crow is not even African-American, but rather he's a "white guy [hired\ to do his best 'black voice.'" (Joseph 2008). This racial rhetoric of Disney is specifically appealing to its mainly white audience. The company knew that this racial discrimination would not be largely refuted or viewed in disapproval by the majority of its audience; in fact, during the time period some of the white audience may even be amused or entertained by these racial "jokes."
Over time, as the economic stance of minority races improved, and equality was more sought after in American society, Disney began to alter its production techniques regarding race. It was a very slow process, as Disney did not begin to make an effort towards changing its commentary on race for decades after the Civil Rights Movement, and even with the inclusion of African-American characters, their status did not meet up to that of white ones. The core Disney princesses, (Snow White, Cinderella, Aurora, Ariel, and Belle) who are most marketed and recognized by viewers, are all Caucasian. Jasmine is Arabic, yet she is the only princess that is not the protagonist of her film ("Jasmine" 2014); Mulan is Asian and Pocahontas is Native American, but they are both often considered Disney heroines, rather than official princesses (Lester 2010).
In 2009, Disney released The Princess and the Frog, and within it their first African-American princess, Tiana. Tiana's character was a monumental move in Disney's rhetoric on race; the fact that she exists is telling of Disney's effort to expand the company's racial barriers. Neal A. Lester explained in his journal article "Disney’s The Princess and the Frog: The Pride, the Pressure, and the Politics of Being a First," that "some are just grateful to have an African-American princess representative among the Disney princesses; for them, that very presence is enough." Yet, others view Disney's representation of an African-American identity to continue to be discriminatory (Lester 2010). Though Tiana is an official princess, along with the classic Snow White or Cinderella, her life is nothing similar to theirs. She was not born into a high societal status, and neither do her dreams come true with little to no effort. Lester commented, "Many noted that the first and only African- American princess, unlike other Disney princesses, is not a princess by birth but rather becomes a princess through marriage to a prince. As well, Tiana aspires for a career in the service industry while other princesses remain 'happily ever after' in the ivory tower of fairyland bliss profession-less and career-less." She must fight through tremendous obstacles to achieve her dream of owning a restaurant, including taking out loans from white, male bankers (Lester 2010).
Further, Disney missed the opportunity to present an African-American couple; the prince Tiana marries isn't necessarily Caucasian, as he is voiced by a Brazilian actor and said just to be European, but he certainly is not African-American either (Lester 2010). Tiana is significant progress for Disney's commentary on race. The film gives viewers the message that who you are or where you come from does not matter in the quest to achieve your dreams. However, there are underlying messages that question Disney's commitment to altering its rhetoric and commentary on race.
In 2009, Disney released The Princess and the Frog, and within it their first African-American princess, Tiana. Tiana's character was a monumental move in Disney's rhetoric on race; the fact that she exists is telling of Disney's effort to expand the company's racial barriers. Neal A. Lester explained in his journal article "Disney’s The Princess and the Frog: The Pride, the Pressure, and the Politics of Being a First," that "some are just grateful to have an African-American princess representative among the Disney princesses; for them, that very presence is enough." Yet, others view Disney's representation of an African-American identity to continue to be discriminatory (Lester 2010). Though Tiana is an official princess, along with the classic Snow White or Cinderella, her life is nothing similar to theirs. She was not born into a high societal status, and neither do her dreams come true with little to no effort. Lester commented, "Many noted that the first and only African- American princess, unlike other Disney princesses, is not a princess by birth but rather becomes a princess through marriage to a prince. As well, Tiana aspires for a career in the service industry while other princesses remain 'happily ever after' in the ivory tower of fairyland bliss profession-less and career-less." She must fight through tremendous obstacles to achieve her dream of owning a restaurant, including taking out loans from white, male bankers (Lester 2010).
Further, Disney missed the opportunity to present an African-American couple; the prince Tiana marries isn't necessarily Caucasian, as he is voiced by a Brazilian actor and said just to be European, but he certainly is not African-American either (Lester 2010). Tiana is significant progress for Disney's commentary on race. The film gives viewers the message that who you are or where you come from does not matter in the quest to achieve your dreams. However, there are underlying messages that question Disney's commitment to altering its rhetoric and commentary on race.
Four years later, Disney produced Frozen, a film on the journey of two sisters. For the coronation of the older sister, a large party is thrown at the castle. Although it is not obvious, many of the party guests are African-American or other races besides Caucasian. This is a minute detail of the movie, but a meaningful notion of Disney's commentary on race.
As equality was continuously pushed for in American society, Disney recognized the importance of diversity in its characters. Alongside the decrease in racial discrimination, many minorities no longer live in poverty, and the culture of American consumers has expanded beyond a Caucasian audience. To appeal to its more varied audience and increase sales, Disney expanded its racial boundaries over the years. Though the African-American presence is no where near equal to the Caucasian relevance in Disney movies, it has progressed greatly from early Disney movies which even contained intentional racial disrespect. From obvious incorporation of an African-American princess, to subtle dispersing of African-American party guests, Disney's rhetoric on the minority race has improved and changed as our culture has.