Masculinity In Disney

With the rise in the popularity of television in the 50’s and the ensuing price decreases throughout the years, media has become one of the most pervasive agents of socialization in children. Currents statistics of TV ownership give credence to this fact, with 96.7 percent of all American households owning sets. (Stelter 2011) Because of the fact that the influence of video media is so widespread, it is imperative that we recognize the effect that it has on people, especially children during the phase of primary socialization. One of the largest and well known content producers in the realm of children’s media is The Walt Disney Company. Disney Is responsible for countless films that have, beginning with their first feature film in 1937 Snow

This becomes apparent when we first encounter Milo in the second scene of the movie when, after a brief flashback of Atlantis being destroyed, he is practicing a lecture on Atlantis in an underground boiler room. In terms of physical appearance, Milo is skinny with a long pointed face, and wears huge round glasses that hide most of his face. His dorky looks, as well as his interest in discovering the mythical Atlantis suggest that he is the stereotypical non-hegemonically masculine nerd and positions him as the underdog protagonist right from the start. The subordinated masculinity that milo embodies throughout the film is necessary as he cannot physically adhere to many of the stereotypical traits of the hegemonic male. Instead of asserting his masculinity through violence, sexual prowess, or socio-economic status, he finds power in his intelligence and, on multiple occasions, his aptitude for fixing machines. At one point he fixes an exploration crew members named Audrey’s car, “It looks like the rotor is shot, well the boiler in this baby is… like the one back at the museum, the heating on this whole line has always been a little temperamental”. (Atlantis 2001) She responds by asserting her dominance over him, dismissing his attempt to “get the girl” by punching him in the stomach. In this scene Milo stakes his claim in the patriarchal dividend to enact hegemonic masculinity in a perfect opportunity to assert his power over a female companion. The fact that she is an engineer and can undoubtedly fix her own car without the help of a man is seemingly lost on