Title: The Challenges of Crafting a Thesis on Disney Princesses

Embarking on the journey of writing a thesis is no easy feat, especially when delving into the
enchanting realm of Disney Princesses. While the topic may seem whimsical and delightful, the
intricacies involved in dissecting the various aspects of these iconic characters make it a challenging
task that requires dedication, research, and a keen analytical mind.

One of the primary challenges lies in the vastness of the subject matter. Disney Princesses have been
a central part of popular culture for decades, and their stories, themes, and impact span across
multiple dimensions. From analyzing the historical evolution of these characters to exploring their
cultural significance and influence on societal norms, crafting a comprehensive thesis requires a
thorough understanding of the subject.

Moreover, the academic rigor involved in researching and citing relevant literature adds another layer
of complexity. The need to draw from various disciplines such as film studies, gender studies,
psychology, and cultural studies demands a meticulous approach to ensure the thesis is both well-
rounded and academically sound.

Navigating the intricate nuances of Disney Princess narratives, character development, and the
portrayal of gender roles also presents a formidable challenge. Tackling sensitive topics with the
necessary depth and sensitivity requires a careful balance, making it imperative for the researcher to
be well-versed in both the Disney canon and the scholarly discussions surrounding these themes.

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But there is also another side to gauging the influence of such an enormous media and entertainment
company and investigating the way the signs it produces have functioned to educate the cognitive
and affective dimensions of subjective agency in the shaping of popular culture. These are animated
characters and whether it's a tiny waist or huge eyes, they are not meant to look realistic. We could
not even call it technological because it is an independent production of meaning spawned from its
interpretable nature. The first Disney Princess to take the stage was Snow White of Snow White and
the Seven Dwarves which came out December 21, 1937. Next ” The Power of introverts in a world
that can’t stop talking. Chapter 2. What is the point of representation if not to engage the other in a
reciprocal act of meaning making. This could instil a false reality in young females of having to make
great sacrifice in order to make themselves physically more attractive to win the love of a man. This
obvious fact of communication theory allows us, like Giroux (1999), to turn our attention to how the
ideological impetus of this political economy of signification that Disney engages in facilitates the
subjective interpretation of its signs. The results demonstrate that there are three main roles in the
movies, that is the princess who conducts the quest, the hero who assists the princess in conducting
the quest, and the villain who attempts to seize the advantage f. Here we must probe beyond the
surfaces of corporate signs to show how the logic of representation is thoroughly and deeply infused
with traces of ideological force and political power. Sells realises the resemblance of Georgia
O’Keeffe paintings of sweeping seascapes and the female imagery of sea shells and cave openings.
Beginning with Snow White and the Seven Dwarf in 1937, it now includes Snow White, Cinderella,
Aurora, Ariel, Belle, Jasmine, Pocahontas, Mulan, Tiana and Rapunzel. I will argue that Brave and
Frozen have created a positive, post-feminist construction of gender by abandoning female-centric
stories in which the female heroine's happy ending includes a male soul mate. Also with the most
recent princess being a girl with out a boy, the future trend of single princesses is unclear. This is due
to the sea world being rendered invisible by the Prince’s land world whilst his is blessed with
cultural certainty. In Snow White only the kiss from her true love can awake her from the poisoned
apple, whilst Sleeping Beauty is comatose for a good period of her film and again only true love’s
kiss can awake her. They're going to continue to grow and inspire girls all over the world. You may
choose to view the complete survey by clicking the button below. Consequently, with the world now
clamouring and fighting for gender equality and equity, Disney no longer writes women's life stories
through a male discourse or reinforcing the patriarchal ideals and philosophies towards women with
the new movies being released. The franchise has become a favourite of children all over the world.
This will be the first time that two different princesses come from one movie. The transformation
proves that the patriarchal stereotype of women as weaker vessels have been broken down with their
performance. While the first three princesses had more of a passive approach to finding true love,
Ariel swooped in and changed up the game and also in a way set the stage for some very proactive
princesses. Ariel plays the protagonist in The Little Mermaid as do most princesses such as Snow
White, Sleeping Beauty, and Cinderella that gives the female viewer a chance to reflect herself onto
the screen and identify somehow with the character giving a sense of empowerment to the viewer
that this story is all about her, yet all these stories are contradicted by the fact that the actual part
played by the princesses in overcoming some life obstacle is generally heavily influenced by the
man. It has also been criticised for promoting female subservience and subjugation in addition to the
glorification of abusive relationships. For one thing the ages of the princesses has gradually
increased. These movies have certain themes in common—the female protagonist in each of these
films is shown as a “Disney Princess” but the traits of these princesses, featured through these films
are submissiveness and servitude. The Disney Princess franchise has evolved drastically from the
first movie in 1937. It goes for race and stuff too- being are so shallow and care way too much about
appearances, totally forgetting the whole point of all these movies!
But there is also another side to gauging the influence of such an enormous media and entertainment
company and investigating the way the signs it produces have functioned to educate the cognitive
and affective dimensions of subjective agency in the shaping of popular culture. Snow White was
only fourteen in her movie while Rapunzel, the most recently added damsel was 18. We could not
even call it technological because it is an independent production of meaning spawned from its
interpretable nature. Consequently, this paper investigates how Walt Disney Animations changes its
narrative from the damsel in distress and male saviourism to female strength and agency. This was
achieved through the mechanism of the gaze and her main charge was that the spectator subject was
male, it was his look that was solicited and his ego that was massaged by films psychological
strategies. Ariel plays the protagonist in The Little Mermaid as do most princesses such as Snow
White, Sleeping Beauty, and Cinderella that gives the female viewer a chance to reflect herself onto
the screen and identify somehow with the character giving a sense of empowerment to the viewer
that this story is all about her, yet all these stories are contradicted by the fact that the actual part
played by the princesses in overcoming some life obstacle is generally heavily influenced by the man.
In the Disney version the mermaid does not attain her self-actualisation where as Anderson’s version
wanted the mermaid to earn a soul on her own and not as an attachment of someone else. Of course
in those days the actual Disney Princess franchise didn't even exist. This study aimed to test these
assertions by utilizing content coding analysis to examine the behavioral characteristics, rescue
behavior, and romantic conclusions of prince and princess characters in five iconic Disney films
released between 2009 and 2016 (The Princess and the Frog, Tangled, Brave (released under Pixar),
Frozen, and Moana). Inspiring children to desire a life of grandeur, adventure, where dreams become
a reality. This helps them to break free of the structure that already discriminates and marginalizes
them. Instead, these two films focus on the struggles and triumphs of unconditional, female familial
love without the need of a male presence. Next ” The Power of introverts in a world that can’t stop
talking. Chapter 2. This negative portrayals of women and girls in Disney movies gain force through
the way in which similar messages are consistently circulated and reproduced in varying degrees in
many of the Disney movies even till today. To browse Academia.edu and the wider internet faster
and more securely, please take a few seconds to upgrade your browser. This article is designed to
study the gender identity and gender roles in Disney movies and to see how identity is transformed
through long term virtues and ideals that are set forth by the Disney movies. However we must be
aware that such films represent former politics and societies and if we want our children to
understand this we must take into consideration the age at which we expose them to such films and
entertainment and be prepared to sit down with them and question their false ideologies in relation to
current society. Download Free PDF View PDF The Gender Role Portrayal Of Disney Princesses
And Its Impact On The Audience Rosechongporn Komolsevin With the voices from past literature
and research, this paper explores areas of Disney princess movies over the decades in terms of the
transitional female lead characters and the perceived impact of the said change on the audience in
terms of their behavior and decision making. In fact, a new movie that came out on Thanksgiving
plans to introduce two new lovely ladies to the group. Disney movies are often criticized for their
negative, stereotypical portrayal of female characters that are often unrealistically painted. Thus,
consumption may signify an assertion of self in opposition to the self sacrifice associated with
marriage and motherhood in 1950’s Britain (238)’ (Storey, 2006:p108) It is only now where
feminism is of greater cultural interest that women have far more political and cultural freedom and
we therefore look back with a critical view of the past. It wasn't until the late 1990's that the
princesses became a marketing power house. For one thing the ages of the princesses has gradually
increased. Women are no longer in a passive position, but they begin to develop to be strong,
challenging, and independent. Disney classics such as Snow White and Cinderella have and will
probably always remain popular with children, as our own nostalgic childhood memories of them
will encourage us to share them with our children. Her own sense of being in herself is supplanted by
a sense of being appreciated as herself by another’ (Berger, 1972:p46) Jack David Zipes talks of the
use of phallic symbols in Disney. With its humble beginnings as a group with 6 members, the
princesses continues to amaze. These movies have certain themes in common—the female
protagonist in each of these films is shown as a “Disney Princess” but the traits of these princesses,
featured through these films are submissiveness and servitude. The paper also looks at the impact of
this sexism on its target audience and reinstates the responsibilities of movies to project females in an
elevated role. This contradicts all of Disney’s early classics where females play the part of the main
protagonist and it is generally the female spectator that identifies with these female characters, the
trouble with these heroines however was that their happiness was usually mired in misery that could
only be salvaged by the prince.
Even the hair color ranges, from fire engine red to platinum blond to jet black. An example of
Mulvey’s patriarchal order could be used in Disney’s tale of The Little Mermaid where Ariel’s desire
to be human leads her to visit the evil Sea Witch Ursula who grants her the wish of human legs in
return for the sacrifice of her voice, consequently her wish can only be fulfilled by the kiss of her true
love otherwise she will return to her former self. To answer this question, researchers will use
qualitative research methods that emphasize the depth of research and the results of the Disney film
analysis. Disney movies are often criticized for their negative, stereotypical portrayal of female
characters that are often unrealistically painted. On the contrary, Disney’s Mulan (1998) portrays the
protagonist woman in the fight to be equal with men and thereby offers an encouraging role model
to young women and a more accurate reflection of current society. This negative portrayals of
women and girls in Disney movies gain force through the way in which similar messages are
consistently circulated and reproduced in varying degrees in many of the Disney movies even till
today. Snow White was only fourteen in her movie while Rapunzel, the most recently added damsel
was 18. It examines how the Brothers Grimm and then Disney adapted the fairy tales so to conform
better into the patriarchal society of their times and in what ways the Snow White model has
persisted in spite of seventy years of rethinking gender roles and models. Beginning with Snow
White and the Seven Dwarf in 1937, it now includes Snow White, Cinderella, Aurora, Ariel, Belle,
Jasmine, Pocahontas, Mulan, Tiana and Rapunzel. This will be the first time that two different
princesses come from one movie. By using a critically balanced approach, Giroux (1999) provides
the theoretical and methodological grounding and analytical framework for examining the ethical
and moral force of Disney and its rendering of culture as a byproduct of “media culture” without
dismissing the complicated value of its “public pedagogy” as a means of constructing a pleasurable
escape “from the drudgery of work.” The veneer of images Disney spins out simulates reality and
stimulates the imagination. You may choose to view the complete survey by clicking the button
below. When initiating the project, it was decided that the princesses were not to acknowledge each
other in any way so as to keep them individual in nature. This helps them to break free of the
structure that already discriminates and marginalizes them. The transformation proves that the
patriarchal stereotype of women as weaker vessels have been broken down with their performance.
He noticed many little girls wearing generic princess costumes, none of which really having anything
to do with the beloved characters from the movie. Lastly is the diversity within their actual stories.
The effects of this form of expression constitute the real moments of teaching and learning: In short,
they are (mis)educative in nature.”. The most recent addition to the line up, Merida, didn't even have
a prince. The first Disney Princess to take the stage was Snow White of Snow White and the Seven
Dwarves which came out December 21, 1937. Ariel plays the protagonist in The Little Mermaid as
do most princesses such as Snow White, Sleeping Beauty, and Cinderella that gives the female
viewer a chance to reflect herself onto the screen and identify somehow with the character giving a
sense of empowerment to the viewer that this story is all about her, yet all these stories are
contradicted by the fact that the actual part played by the princesses in overcoming some life
obstacle is generally heavily influenced by the man. But the medium therefore becomes transparent,
that is put in the background, forgotten, in its purely instrumental role as the visible reflection of
content. Consequently, this paper investigates how Walt Disney Animations changes its narrative
from the damsel in distress and male saviourism to female strength and agency. Though both the
male and the female roles have changed over time in the Disney princess line, yet the female
characters actually exhibits less change in their gender role portrayals and there is no doubt that
Disney Corporation is reaching their target audience and their message is continuously being made
available to the young children (especially the young girls) around the world. Download Free PDF
View PDF The Gender Role Portrayal Of Disney Princesses And Its Impact On The Audience
Rosechongporn Komolsevin With the voices from past literature and research, this paper explores
areas of Disney princess movies over the decades in terms of the transitional female lead characters
and the perceived impact of the said change on the audience in terms of their behavior and decision
making. By focusing on research questions, namely, how the nature of Disney women experiences a
shift as a form of gender equality. The results demonstrate that there are three main roles in the
movies, that is the princess who conducts the quest, the hero who assists the princess in conducting
the quest, and the villain who attempts to seize the advantage f. The Disney Princess franchise has
evolved drastically from the first movie in 1937. Though they possess divine beauty, these princesses
only seem to be capable of suffering in silence, and it is because of this, they are finally given the
ultimate reward: salvation through the handsome Prince Charming.
However, the creative impetus of the means of representation is neither technical nor technological
as much as it is an instance of artifice that is poetic in nature. Download Free PDF View PDF The
Gender Role Portrayal Of Disney Princesses And Its Impact On The Audience Rosechongporn
Komolsevin With the voices from past literature and research, this paper explores areas of Disney
princess movies over the decades in terms of the transitional female lead characters and the
perceived impact of the said change on the audience in terms of their behavior and decision making.
By focusing on research questions, namely, how the nature of Disney women experiences a shift as a
form of gender equality. The first Disney Princess to take the stage was Snow White of Snow White
and the Seven Dwarves which came out December 21, 1937. You may choose to view the complete
survey by clicking the button below. While the first three princesses had more of a passive approach
to finding true love, Ariel swooped in and changed up the game and also in a way set the stage for
some very proactive princesses. What is the point of representation if not to engage the other in a
reciprocal act of meaning making. Here we must probe beyond the surfaces of corporate signs to
show how the logic of representation is thoroughly and deeply infused with traces of ideological
force and political power. It is generally regarded that the Disney movies is unhealthy for children,
especially the young girls to watch for the physical, social and behavioral attributes they suggest,
conform to the values supporting male dominance. Gender represents and also reproduces certain
attributes, expectations and roles which are associated with male and female. It produces something
other than the technology of itself, that is not remote controlled by the technology itself. The spilt
between the female and male world is frequently enforced through the language and imagery of “up
there” and “down here”. To answer this question, researchers will use qualitative research methods
that emphasize the depth of research and the results of the Disney film analysis. Not to mention that
she's arguably the curviest Princess in the merchandise. In considering further Mulvey’s theory of
film as a patriarchal ideological institution she exposed the ways in which narrative cinema endowed
men with empowerment and entrapped women in the opposing qualities. Disney as a global
corporation has imposed on the psychological development of children in regards to identity
management, gender performance, and racial stereotypes, forming an overall structure society has
been reduced to confine in. Films such as Snow White (1937) and Cinderella (1950) were both
released in cultural eras where women were not at that time viewed as being oppressed and thought
it nothing more than an achievement to be the loyal housewife, mother and part of the patriarchal
order. As with most Disney movies that rarely follow the path of the original fairytale, which are far
more dark and generally without happy endings, Disney has made a conscious decision to portray
characters in such demeanours and is not merely visually recreating the original therefore many
feminists are objectionable to Disney’s idealistic interpretations. However, such research, as well as
public commentary, has also suggested that princess characters in movies released across the 2000s
and 2010s may have more positive gender role portrayals. Snow White was only fourteen in her
movie while Rapunzel, the most recently added damsel was 18. This could instil a false reality in
young females of having to make great sacrifice in order to make themselves physically more
attractive to win the love of a man. Then came Pocahontas and perhaps the toughest princess there
is, Mulan. For one thing the ages of the princesses has gradually increased. This extensional
production is a neglected or understated aspect of media. As the time periods around the Walt
Disney Company changed so have the story lines. Even the hair color ranges, from fire engine red to
platinum blond to jet black. But now, the pattern is experiencing changes that occur in female
characters. That is, how it is possible for a corporation to use the media as a pedagogical tool or
device in order to convince the public of the redeeming cultural value of its idiosyncratic point of
view. Next was Pocahontas, who was native American, then Mulan, a beautiful young lady from
East Asia, and finally Tiana, an African American. By using a critically balanced approach, Giroux
(1999) provides the theoretical and methodological grounding and analytical framework for
examining the ethical and moral force of Disney and its rendering of culture as a byproduct of
“media culture” without dismissing the complicated value of its “public pedagogy” as a means of
constructing a pleasurable escape “from the drudgery of work.” The veneer of images Disney spins
out simulates reality and stimulates the imagination.
The primary objective of this study therefore, is to find out how the characterization of gender
perception of Disney princesses over the decades has left an impact on the audience and how the
transition of Disney princesses and the portrayal of gender roles affect the audience. Ariel plays the
protagonist in The Little Mermaid as do most princesses such as Snow White, Sleeping Beauty, and
Cinderella that gives the female viewer a chance to reflect herself onto the screen and identify
somehow with the character giving a sense of empowerment to the viewer that this story is all about
her, yet all these stories are contradicted by the fact that the actual part played by the princesses in
overcoming some life obstacle is generally heavily influenced by the man. These are animated
characters and whether it's a tiny waist or huge eyes, they are not meant to look realistic. Eleven
ladies make up the group known as the Disney Princesses. I believe it would be unfair to say that
Disney has directly enforced these false ideologies in young women as Disney has merely
capitalised on American innocence and utopianism of the social and political issues that related to the
current era that the film was produced. That is, how it is possible for a corporation to use the media
as a pedagogical tool or device in order to convince the public of the redeeming cultural value of its
idiosyncratic point of view. Earlier researches have suggested that Disney movies are not beneficial
for children as they propagate certain male dominant ideas by portraying females in a dependent
role.This research analyses two texts notably “Cinderella” and “Aladdin” from two different eras and
comes to the conclusion that though the societal framework and the roles have changed over time,
yet the female character depiction remains the same. With its humble beginnings as a group with 6
members, the princesses continues to amaze. As with most Disney movies that rarely follow the path
of the original fairytale, which are far more dark and generally without happy endings, Disney has
made a conscious decision to portray characters in such demeanours and is not merely visually
recreating the original therefore many feminists are objectionable to Disney’s idealistic
interpretations. Will Disney add more single ladies to the group or will they go back to the true love
tradition. See Full PDF Download PDF See Full PDF Download PDF Related Papers
ETNOLINGUAL Fictitious Story of Independent Women: Analysis of Main Characters’ Roles in
New Disney Princess Movies Dita Palupi The former Disney Princess movies mostly, if not all,
represent women as the ones who are helpless and require men to save them. Here we must probe
beyond the surfaces of corporate signs to show how the logic of representation is thoroughly and
deeply infused with traces of ideological force and political power. However, this representation of
women is then altered by Disney, who eventually attempts to change the representation of women
into the ones who are independent and able to do things by themselves. Next ” The Power of
introverts in a world that can’t stop talking. Chapter 2. Sells realises the resemblance of Georgia
O’Keeffe paintings of sweeping seascapes and the female imagery of sea shells and cave openings.
Sells notes a key instance during Ariel’s song “Part of Your World” in which she desires to be “up
there”. By focusing on research questions, namely, how the nature of Disney women experiences a
shift as a form of gender equality. The paper's investigation of Disney's earlier animations submits
that they contribute to the circulation of the normative gender roles that girls should be passive,
submissive and weak. By using our site, you agree to our collection of information through the use
of cookies. The medium is the message. Yes. Marshal McLuhan was correct in this observation. Also
with the most recent princess being a girl with out a boy, the future trend of single princesses is
unclear. He notes Donald Crafton’s discussion of the topic in Before Mickey: The animated film
1898-1928 where Crafton argues that the early animators were nearly all men and would literally
draw themselves into animation using their phallic pens and camera work as a phallic function. Next
was Pocahontas, who was native American, then Mulan, a beautiful young lady from East Asia, and
finally Tiana, an African American. Also the last of the original six, Jasmine, spiced up the line up by
adding a Persian flare to what used to be an all white group. I really don't see what the fuss is about,
people will just find a reason to moan about literally anything. It is generally regarded that the Disney
movies is unhealthy for children, especially the young girls to watch for the physical, social and
behavioral attributes they suggest, conform to the values supporting male dominance. The female
spectator could only briefly borrow the male gaze and identify with the male character. Secondly,
women with their compassionate nature can perform a different and contributive quality in taking
over men’s role of leadership and protection. Though they possess divine beauty, these princesses
only seem to be capable of suffering in silence, and it is because of this, they are finally given the
ultimate reward: salvation through the handsome Prince Charming. It wasn't until the late 1990's that
the princesses became a marketing power house.
The Disney Princess franchise has evolved drastically from the first movie in 1937. You can
download the paper by clicking the button above. I believe it would be unfair to say that Disney has
directly enforced these false ideologies in young women as Disney has merely capitalised on
American innocence and utopianism of the social and political issues that related to the current era
that the film was produced. To browse Academia.edu and the wider internet faster and more
securely, please take a few seconds to upgrade your browser. The findings show that there are some
shifted values implied in both texts which is delivered through the brave, leading and responsible
characterization of Merida and Rapunzel. Not to mention that she's arguably the curviest Princess in
the merchandise. Now with 11 princesses and counting in the mini sorority, the ladies still keep eye
contact with anything but each other. The essay then delves deeper into the gender identity of the
princesses, witches, and heroes in these tales and shows how they are stereotyped in all Disney pr.
The paper's investigation of Disney's earlier animations submits that they contribute to the circulation
of the normative gender roles that girls should be passive, submissive and weak. Download Free
PDF View PDF The Gender Role Portrayal Of Disney Princesses And Its Impact On The Audience
Rosechongporn Komolsevin With the voices from past literature and research, this paper explores
areas of Disney princess movies over the decades in terms of the transitional female lead characters
and the perceived impact of the said change on the audience in terms of their behavior and decision
making. For one thing the ages of the princesses has gradually increased. It produces something other
than the technology of itself, that is not remote controlled by the technology itself. The results
demonstrate that there are three main roles in the movies, that is the princess who conducts the quest,
the hero who assists the princess in conducting the quest, and the villain who attempts to seize the
advantage f. This survey concludes that more recent Disney Princesses are influenced the most
because they withheld staggering attributes in order to be positive role models for young children.
You can download the paper by clicking the button above. The Disney princesses have had quite a
ride and they aren't finished. These movies have certain themes in common—the female protagonist
in each of these films is shown as a “Disney Princess” but the traits of these princesses, featured
through these films are submissiveness and servitude. As with most Disney movies that rarely follow
the path of the original fairytale, which are far more dark and generally without happy endings,
Disney has made a conscious decision to portray characters in such demeanours and is not merely
visually recreating the original therefore many feminists are objectionable to Disney’s idealistic
interpretations. The first Disney Princess to take the stage was Snow White of Snow White and the
Seven Dwarves which came out December 21, 1937. The study will evaluate the shifted
characterization of a princess from Disney Princesses’ damsel in distress to the current woman-
warrior characters of Tangled and Brave. This was achieved through the mechanism of the gaze and
her main charge was that the spectator subject was male, it was his look that was solicited and his
ego that was massaged by films psychological strategies. Eleven ladies make up the group known as
the Disney Princesses. Inspiring children to desire a life of grandeur, adventure, where dreams
become a reality. The forever evolving franchise does what it needs to provide the best role models a
young girl could ask for. Also with the most recent princess being a girl with out a boy, the future
trend of single princesses is unclear. Thus, consumption may signify an assertion of self in opposition
to the self sacrifice associated with marriage and motherhood in 1950’s Britain (238)’ (Storey,
2006:p108) It is only now where feminism is of greater cultural interest that women have far more
political and cultural freedom and we therefore look back with a critical view of the past. Will
Disney add more single ladies to the group or will they go back to the true love tradition.
Consequently, with the world now clamouring and fighting for gender equality and equity, Disney
no longer writes women's life stories through a male discourse or reinforcing the patriarchal ideals
and philosophies towards women with the new movies being released. With its humble beginnings
as a group with 6 members, the princesses continues to amaze.
Ariel plays the protagonist in The Little Mermaid as do most princesses such as Snow White,
Sleeping Beauty, and Cinderella that gives the female viewer a chance to reflect herself onto the
screen and identify somehow with the character giving a sense of empowerment to the viewer that
this story is all about her, yet all these stories are contradicted by the fact that the actual part played
by the princesses in overcoming some life obstacle is generally heavily influenced by the man. To
browse Academia.edu and the wider internet faster and more securely, please take a few seconds to
upgrade your browser. This study aims to inspect the similarities in three new Disney Princess
movies, that is Tangled (2010), Frozen (2013), Moana (2016), particularly in the main characters’
roles and the princesses’ independent acts. This paper is designed to study the gender roles and the
construction of identity in Disney movies. The essay then delves deeper into the gender identity of
the princesses, witches, and heroes in these tales and shows how they are stereotyped in all Disney
pr. Here we must probe beyond the surfaces of corporate signs to show how the logic of
representation is thoroughly and deeply infused with traces of ideological force and political power.
Sells realises the resemblance of Georgia O’Keeffe paintings of sweeping seascapes and the female
imagery of sea shells and cave openings. Disney as a global corporation has imposed on the
psychological development of children in regards to identity management, gender performance, and
racial stereotypes, forming an overall structure society has been reduced to confine in. Though both
the male and the female roles have changed over time in the Disney princess line, yet the female
characters actually exhibits less change in their gender role portrayals and there is no doubt that
Disney Corporation is reaching their target audience and their message is continuously being made
available to the young children (especially the young girls) around the world. Sells notes a key
instance during Ariel’s song “Part of Your World” in which she desires to be “up there”. While the
first three princesses had more of a passive approach to finding true love, Ariel swooped in and
changed up the game and also in a way set the stage for some very proactive princesses. On the
contrary, Disney’s Mulan (1998) portrays the protagonist woman in the fight to be equal with men
and thereby offers an encouraging role model to young women and a more accurate reflection of
current society. He notes Donald Crafton’s discussion of the topic in Before Mickey: The animated
film 1898-1928 where Crafton argues that the early animators were nearly all men and would
literally draw themselves into animation using their phallic pens and camera work as a phallic
function. Like a Disney princess who always depends on her prince to save her life. See Full PDF
Download PDF See Full PDF Download PDF Related Papers ETNOLINGUAL Fictitious Story of
Independent Women: Analysis of Main Characters’ Roles in New Disney Princess Movies Dita
Palupi The former Disney Princess movies mostly, if not all, represent women as the ones who are
helpless and require men to save them. Next was Pocahontas, who was native American, then Mulan,
a beautiful young lady from East Asia, and finally Tiana, an African American. This obvious fact of
communication theory allows us, like Giroux (1999), to turn our attention to how the ideological
impetus of this political economy of signification that Disney engages in facilitates the subjective
interpretation of its signs. Women are no longer in a passive position, but they begin to develop to be
strong, challenging, and independent. But now, the pattern is experiencing changes that occur in
female characters. It traces the transformation made by Disney in its portrayal of women in relation
to men. As in all means of media production and representation, there is an element of intentionality
involved. Will Disney add more single ladies to the group or will they go back to the true love
tradition. By using our site, you agree to our collection of information through the use of cookies.
Loading Preview Sorry, preview is currently unavailable. But the medium therefore becomes
transparent, that is put in the background, forgotten, in its purely instrumental role as the visible
reflection of content. In considering further Mulvey’s theory of film as a patriarchal ideological
institution she exposed the ways in which narrative cinema endowed men with empowerment and
entrapped women in the opposing qualities. Disney classics such as Snow White and Cinderella
have and will probably always remain popular with children, as our own nostalgic childhood
memories of them will encourage us to share them with our children. Though they possess divine
beauty, these princesses only seem to be capable of suffering in silence, and it is because of this, they
are finally given the ultimate reward: salvation through the handsome Prince Charming. From there,
the respondents were asked how they perceive Disney Princesses based on their characteristics and
how they would like to view them. The theory of characters of fairy tales (Propp, 1968) is employed
in investigating the characters in the movies, then the theory of feminism (Tyson, 2006) is utilized in
observing the role of princess characters in the movies.