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Beauty standards and gender inequality
The effects of Disney princesses on girls
The effects of Disney princesses on girls
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Recommended: Beauty standards and gender inequality
For the past seventy-eight years, Disney continued to create Disney princess movies, a phenomenon which swept the world, with a worldwide gross of up to six hundred million dollars, with young girls adoring each and every movie. Girls from the age of two watch and enjoy these chauvinist movies, spending hundreds of dollars of their parents’ money on outfits so the little girls can resemble their most idealized princess, which include but not limited to Snow White, Cinderella, Tiana and Mulan. However, the stories of the Disney princesses and the princesses themselves do not cater Both detrimental influences on young girls, the official Disney princesses promote light skin over dark and reliance on a man through explicit and implicit means in their allegedly inspirational movies.
A common issues, racism proves prevalent in many Disney princess
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Thus, impressionable girls will not expect to go far in life, believing that as long as they catch the attention of a handsome rich man, they will live a life of happiness and luxury. Unfortunately, there seem to be a lack of wealthy men on the prowl for damsels in distress. On the other hand, girls who do not desire to get married, those who wish to work for themselves, will see the failures of independence as a woman, and might lose confidence in themselves. If a princess, with looks, kindness, and intelligence could not succeed, then the poor girl should, by rights, have no chance. Disney weaves these messages into uplifting movies so completely, all the little child receives is the faint impression of anti-feminism. If children constantly receives the same detrimental; theme, the information will become ingrained in an unconscious part of their mind, so when they desire to succeed, they must overcome their internal ideals
Since Disney’s Snow White appeared in 1937, Disney princesses have been a present in pop culture. With the release of new movies frequent and re-release of decades old movies inevitable, a continuous stream keeps Disney princesses in the foreground of adolescent society. It is with the value of entertainment they have been created and as entertainment they should be viewed.
Orenstein explores the rise of Girl Power in the 1990s and the differences that are in today’s society. The rise and fast spreading message that girls receive from the Disney Princesses is one of her biggest issues. Not only does she disagree, but other mothers from Daisy’s preschool do as well. In the second chapter Orenstein invites all the mothers with daughters that are obsessed with Princesses to discuss the subject, one mother states that she sees no problem with encouraging being feminine and then states, “On the other hand, I a... ...
Hanes presents the idea that “Disney Princess Effect” influences young girls to grow up sooner that they should because of the things that they see on television and the toys that they play with. The media plays a huge role in the sexualization of little girls. Making this topic very important because so many little girls watch Disney, putting them at risk later in life. The characters and images may seem harmless, but in the long run they are very dangerous. Potentially causing self-objectification, poor body image and eating disorder later in life (483).
Cinderella-like tales has become a staple of the Disney movie lineup. That may explain the overwhelming popularity of these themes. The influences of these innocuous movies has a profound effect on people. Yet Disney admits there is very little marketing strategy behind their products. However, Feminist and author, Peggy Orenstein demonstrates that companies like Disney stereotype and market to little girls. The idea that a “Princess Culture” has corrupted the Cinderella fairytale is used by marketing to increase consumerism, regardless of its effects on girls.
Cinderella is arguably the most popular fairy tale of all time. While there are many variants, the Disney variant of Cinderella focuses on a girl being rescued from her circumstances by a prince who fell in love with her based on her appearance and because her tiny feet were the “perfect” fit to a lost slipper. Modern feminists are concerned with the subliminal messages Cinderella has in portraying the role of women. Some critique that Cinderella conveys women to have a defined gender stereotype and believe that it has a negative effect on children’s minds. Two critics that have dealt extensively with Cinderella and princess culture are James Poniewozak and Peggy Orenstein. James Poniewozak is a media and television critic for Time magazine and Peggy Orenstein is a contributing writer for the New York Times Magazine. In two similar but unique articles, they discuss Disney’s princess culture and explore its psychological effects. While both Poniewozak and Orenstein are concerned with how princess culture shapes children’s understanding of femininity; Poniewozak explores how feminist themes in movies have evolved over time
In Walt Disney’s 1950 film, Cinderella explains, “A dream is a wish your heart makes.” During childhood, countless girls dream of becoming Disney princesses in response to their exposure to animated films like Cinderella. This fascination with the princess lifestyle is commonly viewed as a phase that young girls pass through and is encouraged by Walt Disney’s 4.4 billon dollar line of princess merchandise, which includes toys, clothes, and even pink house paint (Smith). Although the princess merchandise, featuring primarily the original princesses of Belle, Jasmine, Ariel, Snow White, and Sleeping Beauty, is often perceived positively as being an essential part of a girl’s childhood, the commercialization of the Disney Princesses is in fact a detriment to the American society’s movement towards gender and racial equality.
He begins the article by discussing the “recurring nightmare of high-minded modern parents of daughters” He writes, “Call it nature or nurture, harmless fantasy or insidious indoctrination, but Hollywood is discovering that it still pays not to fight the royal urge” (323). Although his use of words suggests that Hollywood is the reason for the dispute, he emphasizes the suggestion of nature vs nurture. This commentary sets up his viewpoint of feminism in both the real world and in films. Orenstein acknowledges Poniewozik’s idea when she begins her article discussing a problematic story that occurred in the dentist office, continuing to state, “I have been taken by surprise by the princess craze and the girlie-girl culture that has risen around it” (327). Orenstein describes herself as a “feminist mother” (327) who believes that young girls should not remain looked at as comely or dainty but something deeper because the word “princess” is so broadly constructed. Poniewozik agrees when he discusses the belief of women needing to have independence and self-determination. “You need a feisty girl, and self-determination of skepticism and a fabulous ball gown”
... theorists, including historians and scientists, started to analyse women in terms of their appearance and how concepts of femininity had changed over the years. Prior to this era, trends towards contemporary femininity appeared to embody cultural attitudes concerning adult females. It could be argued that as viewpoints in society were changing about women and they were gaining independence and trying to increase equality, that in Sleeping Beauty, Disney were attempting to ‘retain traditional ideals of femininity whilst speaking to a changing generation’ (Stover, C, 2013, p.2). There is a thirty year gap between the release of Sleeping Beauty in 1959 and the next princess film The Little Mermaid in 1989. Thus, there appears to be a correlation of passive princesses during a time of society upheaval and changes for women’s equality and the absence of princess films.
Are the little girl 's in America being cheated of their privilege of having a childhood? Stephanie Hanes, a freelance journalist, believes so and she decided to express her opinion in the article “ Little girls or Little women ? The Disney Princess Effect”. Hanes argues that today’s society is morally ambiguous because of the sexual messages being sent to young girls. In consequence of this , toddlers now aspire to attain the pre-teen goal to be sexy at such an early age. It all begins with the influence and example that The Disney princesses give to their young fans. For the reason that the article appeared in magazines and in the USA today , the targeted audience must be
In the 1950s Disney character such as “Cinderella” and “Sleeping Beauty” depicted women as still innocent and meek, thereby alluding to the permanence of pre-feminist stereotyping of women in popular culture (Cheu 150). In the two fi...
Growing up, we are introduced and raised around cute fairytale Disney movies such as “Cinderella”, “Sleeping Beauty”, “The Little Mermaid”, and many more. As children, we believe that everything we see in movies good or even sometimes bad, will happen to us, at least once, during our lifetime. We don’t realize but as we get older, we have become completely oblivious as to how these movies have corrupted our views on how to live our lives, romantically and socially. For example, as little girls most of us believe that we will grow up to be princesses and live in our own kingdom. As we get older we come to realization that that’s impossible but we still hold on to the idea and hope for our perfect endings. As writer David Derbyshire states in
The point of many films is to convey a message to its viewers, such as morals and ethics. Consequently, films intended for adults convey messages suitable for adults; while children’s films do likewise for their target age groups, as one might expect. These children’s films, directed towards particularly younger audiences, prove useful when they contain beneficial maxims. Although at times, these films elicit less than healthy social views. Disney’s Aladdin is a prime example of a children’s film that immerses the audience in unhealthy views towards women. This film is an irresponsible in its portrayal of women - it sexually objectifies the female protagonist and enforces sexist ideologies, which directly affects the female characters within the story’s patriarchal system. The idea of sexism towards women is rampant throughout the movie Aladdin by making the following three claims: a woman’s worth is defined by men, women are incapable of making their own choices, and that women are inadequate and thus require saving by a man.
As a result little girls strongly identify with princesses and parents assume their daughters love them but it’s not all fun and games. Disney princesses receive seven times the praise for appearance opposed to skills, with earlier on films having 60 percent of compliments related to looks and 9 percent to abilities suggesting their value is appearance. Disney princesses have rather strange attributes such as: size zero waists that are ludicrously tiny in saying this a team at comedy website went as far as placing coloured bars over the width of their eyes and waist as shown, for comparison and saw the eye width of princesses is bigger than their waists yet again promoting unrealistic standards. If this isn’t demeaning I don’t know what is? Glenn Boozan on the site commentated “Hungry, gals? You must be, because these Disney kweens’ eyes are literally bigger than their stomachs”. As Disney explored taking animated Disney classics to real life they attracted an uproar from viewers after their live action version of Cinderella starring Lily James, whose corset-cinched waist was so unbelievably tiny that the audience believed producers had digitally altered her. Along with having incredibly tiny waists they acquire no hips, emaciated limbs, flawless hair, big eyes and tiny feet. When young girls look up to
The article titled “Little Girls or Little Women? The Disney Princesses Effect” was written by Stephanie Hanes and was published September 24, 2011 by the Christian Science Monitor. Hanes wrote this article in response to the Disney Princesses becoming popular. The author argues that the princesses were having a negative effect on little girls. Hanes isolated this article into five segments. In the introduction the author introduces a mother that believed that the Disney princesses were having a negative effect on her daughter. In the next section the author provides the reader with studies and information about mental and physical effects the princesses have on little girls. At that point Hanes presents an association of how grown-ups can
... portraying women in roles that don’t objectify them, encourage degradation, and promote feminism and female agency, there are some films that (luckily) do possess these traits. Tests such as the Bechdel Test, and theoriest such as Moi and Mulvey, point out and raise the issues present in our current patriarchal society that tries so hard to pigeonhole women and reduce them to sexual objects without agency, present only for male pleasure and power, are incredibly valid and important, yet no longer as overwhelmingly true – the feminist movement is making progress, on some fronts, even in the world of Disney, which constantly receives critique for the women role models that it promotes to young girls. Luckily, through the lenses presented by Moi and Mulvey, it becomes apparent that these Disney Princesses do possess agency, and are not just there for men to objectify.