1. The Gender Role Portrayal in the Disney Princess Line
Megan E. Salatino
Ashland University Department of Communication Studies
BACKGROUND
THE ‘MIDDLE MOVIES’
THE ‘MODERN MOVIES’
The Disney Princess line is one of the largest marketing tools Disney advertises. Beginning with the early movies such as Snow White and Cinderella, the Disney Princess line has evolved into the term, “progressive.” The word progressive is defined as developing gradually in stages within society. Though change has occurred, there is still a defining gender role portrayal that emphasizes difference in the Disney films. This gender difference is contradicted by physical appearance, personality traits and stereotypical endeavors.
There are many findings that show Disney defining “the romantic and romanticized worldviews of several generations of girls as well, establishing female gender identity and relationship roles that often create artificial and unreasonable expectations regarding love and marriage,” (Hoppenstand, 2012, p. 241). This quote is identifiable through the stages in which Disney published the movies, identified as the following: the early movies, the middle movies and the modern movies.
To date, no research has focused on the language used within the films and its impact on gender identity; therefore, a discussion on language has been analyzed to showcase the significant difference between the early movies from the modern movies.
The Princess and the Frog (2009):
First ever African American Princess
She became Disney’s “social, political and artistic first” (Lester, 2010, p. 297)
More than a progressive princess, she was an evolution to a change worth-coming
Expanded one’s picture of beauty (Lester, 2010, p )
Female heroine
Tangled (2010):
Physical characteristic of being tall, blonde and beautiful
Grow into maturity
After she loses her blond hair (e.g. identity), she finds freedom
Snow White (1937):
Physical appearance seen as tall, thin and young
Porcelain skin
Seen as affectionate, fearful, troublesome and at times helpful (England, et al., 2011)
Cinderella (1950):
Physical appearance seen as tall, thin, young and beautiful
Internal characteristics that were seen as fearful and troublesome with not abiding to orders given
Language used to “search for a maiden, to make a suitable bride and mother” (Geronimi & Jackson, 1950)
The Little Mermaid (1989):
Physical characteristics of being slim, young and beautiful
Female heroine
Seen as adventuresome but believes the only way out of her world is to become a part of “his” human world (Lacroix, 2004)
Contradictory to being “progressive”
Pocahontas (1995):
Athletic build
First film to showcase multidimensional aspects of Indigenous people
Physical characteristics is tall and slim
Strong-willed, but confides in a sense of loyalty to her people (Lacroix, 2004)
Moral growth – she was selfless and allowed young females to see a true empowering woman
DISCUSSION ON LANGUAGE
In Mulan (1998), she is perceived as a tomboy, and she has to be someone that she is not in order to keep the family name and impress those around her. Some of the language used included:
“Uphold the family honor”
“Too skinny, not good for marriage material”
“Teach your daughter to hold your tongues in a man’s presence”
(Bancroft & Cook, 1998)
In Frozen (2013), a new wave was born with language. Though many of the Disney Princesses married young, the main character expressed:
“You cannot marry a man you just met”
(Buck & Lee, 2013)
GOAL
To investigate the way in which Disney films have changed to a more “progressive” approach and how they have been critiqued over the years.
THE ‘EARLIER MOVIES’
Image URL: disneyprincess.wikia.com
REFERENCES
“Laughter is timeless.
Imagination has no age,
and dreams are forever.”
- Walt Disney
For additional information, please contact:
Megan Salatino
Ashland University
Bancroft, T. & Cook, B. (1998). Mulan [Motion picture]. United States.
Buck, C. & Lee, J. (2013). Frozen [Motion picture]. United States.
England, D., Descartes, L., & Collier-Meek, M. (2011). Gender role portrayal and the Disney princesses. Sex Roles, 64(7),
Geronimi, C. & Jackson, W. (1950). Cinderella [Motion picture]. United States
Hoppenstand, G. (2013). Editorial: Disney and diversity. Journal of Popular Culture, 46(2),
Lacroix, C. (2004). Images of animated others: The orientalization of Disney’s cartoon heroines from the Little Mermaid to the Hunchback of Notre Dame. Popular Communication, 2(4),
Lester, N. (2010). Disney’s the Princess and The Frog: The pride, the pressure and the politics of being a first. Journal of American Culture 33(4),