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Cinderella Ate My Daughter: Dispatches From the Front Lines of the New Girlie-Girl Culture. By Peggy Orenstein. New york, NY: HarperCollins Publishers, 2011, 192 pages
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In this book, Peggy Orenstein explores the land of pink. She takes us on an adventurous trip to try and find out the truth about what society tells our young girls what they should be wearing, how they should be acting and most importantly looks are what matters. Orenstein herself is a mother of a preschool aged daughter so the topic of what influences young girls is of great importance to her. She struggles with making the correct decisions for her own daughter, Daisy, as she dives into the girlie-girl world, because as even she has found out, it is impossible to steer clear of it. She talks with historians, marketers, psychologists, neuroscientists, parents, and children themselves. She returns to the original fairy tales, seeks out girls’ virtual presence online, and ponders the meaning of child beauty pageants. In the process, she faces down her own confusion as a mother and woman about issues of how to raise a girl and teach her about her own femininity.
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...
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...her toys for girls a bit difficult. In lower economic households, there may not me enough money to participate in events such as beauty pageants. Many young children have never even been to Disneyland and don’t have any idea of what princesses are. Orenstein point of view is from that of a middle class white woman. Even though she can’t quit understand why anyone would pay $500 for an American Girl and her accessories, she comes from a place where she and her friends can afford to spend that amount if they please. In a lower class family no way would that ever be possible.
All and all I think Orenstein does a great job of putting a light on the issues of sexualization of or youth and why so many choose Disney as a form of trying to keep our young girls safe. Money may be a small price to pay in order to keep our little girls from becoming little women too soon.
“I grew up with hand-me-downs and once-a-year trips to Walmart. I’d never really been presented with a princess dress. But thinking back, if I had been, I’m pretty sure I would’ve been stoked” (Liechty 471). In February 2013, Crystal Liechty, a mother from Utah, posted this comment on the blog The Unexceptional Mom. She argues that although some children are not exposed to the princess culture, it is important that the parents are not taking away their imagination. Parents should not discourage their children about the princess culture. These princess movies allow parents to talk about certain topics with their children as they grow up. Liechty states, “And these princess movies give me a great chance to talk to her about what kind of guy she
Lianne George’s article “Why Are We Dressing Our Daughters Like This?” (2014) focuses on the societal issue of an increasingly earlier development of young girls. George states that companies facilitate this early development by producing adult like goods for children that push an adult mindset and behaviour. Through the use of various examples George argues that this trend is ill advised and should not be continued.
The woman society wants and idolizes cannot exist because it is impossible to remain true to oneself and one's personal goals completely, while still maintaining a relationship and the responsibilities of royalty. Society is not merely receiving this paradox, but perpetuating and encouraging it by turning a blind eye to something they do not want to see. This unrealistic, unattainable fantasy has become the goal of this modern feminist generation, and Poniewozik highlighted how this new tale has distracted from the true telling and story. Cinderella was simply a woman who just wanted to go to ball, and now she has become someone who is independent and driven, but still falls in love and learns to accept the fact that she is a princess. A woman who doesn't change who she is, but then changes titles and falls in love doesn’t exist, she is a
In fact, Cinderella itself is a prime example on how women should not be suppressed of their own potential. The Cinderella story most known is the “Disney version.” This version is criticized greatly by feminists due to Cinderella’s lack of taking action. Peggy Orenstein wrote an article in the New York Times in 2006 commenting on princesses in today’s society. She speaks of how every little girl these days are expected to be enthralled with princesses. She notes how they cannot grow up wanting to be heroes or anything of that sort. This is similar to “The Yellow Wallpaper” because due to princess stories such as Cinderella, little girls are pushed so often to desire being princesses just like in the short story, wives must succumb to their husband’s authority and ‘superior’
Your sparkling eyes gazed at the television, reading the word “Cinderella” by Disney. You had all your Cinderella toys lined up, ready to grab whenever necessary. Your Cinderella pajamas on, and your tea set is all prepared.Your mom adored your love for princesses. Didn’t we all love to sing along to the Disney movies about princesses and true love? Peggy Orenstein sure didn’t. Peggy Orenstein, the author of Cinderella Ate My Daughter has a sharp opinion about how a “pretty and pink” culture is influencing girls in a negative way. The author proves this argument by discussing gender colorization, dolls, and princesses.
A little girl sits on the floor with her gaze fixed on the television screen in front of her, watching magical images dance before her eyes and catchy songs flow through her ears. Even though she had seen it at least twenty times before, she still loved The Little Mermaid just as much as she did the first time she watched it. As she watched it, she longed to be a beautiful mermaid with a curvy body and wonderful singing voice like Ariel. She longed to be saved by the handsome Prince Eric, and fall in love and live happily ever-after like Ariel did. In today’s society, women strive to achieve equality between the sexes.
Throughout many fairytales, Cinderella more evidently, there is the stigma of male roles and female roles. The man is the prince, the knight in shining armor, the strong protector and able provider, and the woman is the princess. Dainty and innocent, weak and capable only of looking pretty, fostering children and maintaining appearances of house and home. These roles of placement have been around long before fairy tales, and they’ll be around long after fairy tales, but the inclusion of these roles through characters in fairy tales does nothing but enforce the idea that this is the way things are meant to be, and women who do not assume these roles are wrong and unworthy. In her article, Orenstein refers to Cinderella as “the patriarchal oppression of all women”, and she is exactly right (Orenstein “What’s wrong with Cinderella?”). The impression left of these gender stereotypes travels off the pages of the fairy tale and into the real world when studies show that there is a “23% decline in girls’ participation in sports and other rigorous activity … has been linked to their sense that athletics is unfeminine” (Orenstein “What’s wrong with Cinderella?”). The blatant disregard for equality in these stories can be summed up with a term Orenstein coined, “relentless resegregation of childhood”, which ultimately defines what it means to be a boy or a girl in the terms of set behaviors and life duties (Orenstein “What’s wrong with Cinderella?”). Whether it be Cinderella or any other princess, the fairy tale business makes it a point to create a place for women with their stories, and unfortunately that “place” is demeaning and still practiced
Society cements certain roles for children based on gender, and these roles, recognized during infancy with the assistance of consumerism, rarely allow for openness of definition. A study conducted by Witt (1997) observed that parents often expect certain behaviors based on gender as soon as twenty-four hours after the birth of a child. The gender socialization of infants appears most noticeably by the age of eighteen months, when children display sex-stereotyped toy preferences (Caldera, Huston, & O’Brian 1989). This socialization proves extremely influential on later notions and conceptions of gender. Children understand gender in very simple ways, one way being the notion of gender permanence—if one is born a girl or a boy, they will stay that way for life (Kohlberg 1966). “According to theories of gender constancy, until they’re about 6 or 7, children don’t realize that the sex they were born with is immutable” (Orenstein 2006). The Walt Disney Corporation creates childhood for children worldwide. “Because Disney are such a large media corporation and their products are so ubiquitous and wide spread globally, Disney’s stories, the stories that Disney tell, will be the stories that will form and help form a child’s imaginary world, all over the world, and that’s an incredible amount of power, enormous amount of power” (Sun). Because of the portrayal of women in Disney films, specifically the Disney Princess films, associations of homemaker, innocence, and dependence are emphasized as feminine qualities for young children. Thus, children begin to consider such qualities normal and proceed to form conceptions of gender identity based off of the movies that portray the very specific and limiting views of women (...
The American Girl Dolls of this generation are focused on the outer beauty more than the inner beauty and intelligence of a girl. Areson comments on this in her
In present day society, where political correctness and equality are at the top of the priority list, by reading essays such as the one by Karol Kelley we find that this might not have been the case in earlier days. Fairy tales such as Cinderella have been found guilty of possessing subliminal socialization traits. Classifying genders as inferior and molding young girls into the female that society expects them to be. In Charles Perrault’s version, which is considered the most common, Cinderella is seen as passive, limited, dependent and inferior. As critics argue, these traits can hinder a child’s self esteem. Karol Kelley states that the “expectations and the promises
Orenstein does not support ideas that force gender on girls, especially Disney for starting the so well known “Princess” line. On page sixty-five this mother states: “I have been taken by surprise by the princess craze and the girlie-girl culture that has risen around it”. Disney’s royal rubric which consists of nine of its female princess characters, has been the fastest-growing brand, taking in $3 billion in 2006. You can find anything Princess now, the number of products in existence are overwhelming. All things princess, sparkles, pink and tulle became a trend worldwide for little girls. Although, girls do not have to just like princesses, what if she wanted to play with trucks and do sports instead? Most girls do like all the
"What's Wrong with Cinderella", an article in the 2006 New York Times, discusses the toxicity of the Disney Princess era and all the princess products, and how it largely contributes to forcing gender roles on young girls and pushes young girls to heighten their sense of being feminine. Peggy Orenstein, the author of the article and a mother to a young girl herself, doesn't like the concept of princesses and explains how everyone associates girls with princesses. Several issues and concerns are raised regarding the physical and mental impact that the younger generation might have from the excessiveness of the princess theme toys, clothing and animation. The writer believes that young girls are being influenced to think that beauty is determined
...present powerful characters, while females represent unimportant characters. Unaware of the influence of society’s perception of the importance of sexes, literature and culture go unchanged. Although fairytales such as Sleeping Beauty produce charming entertainment for children, their remains a didactic message that lays hidden beneath the surface; teaching future generations to be submissive to the inequalities of their gender. Feminist critic the works of former literature, highlighting sexual discriminations, and broadcasting their own versions of former works, that paints a composite image of women’s oppression (Feminist Theory and Criticism). Women of the twenty-first century serge forward investigating, and highlighting the inequalities of their race in effort to organize a better social life for women of the future (Feminist Theory and Criticism).
However, Camp doesn’t recognize what is being implicitly stated by her inaction. While it is possible for girls to overcome the confining nature of pink that Camp illustrated, it is just as likely that girls will end up with their own damaging conclusions about femininity. For example, Camp mentioned the marketing of pink, flower-embossed LEGOs to young girls. Perhaps toys like this do, as Camp suggests, support patterns of inferiority. However, a girl may also draw the conclusion that she needs to be both a LEGO architect as well as a dainty princess that resides in the castle she has just built for herself. Neither conclusion is healthy for a girl’s self-esteem. However, Camp denies their relevance because she believes young girls simply don’t understand the implications. Although most girls do outgrow the pink phase, femininity manifests itself in different forms as girls age, all of which are equally limiting. What Camp assumes to be blissful ignorance of the social implications of pink may actually be an outlet for stereotypes to begin corrupting a girl’s self
Often beauty pageants feature an “outfit of choice” portion where parents and their children can collaborate in deciding their desired ensemble. On the TLC hit series Toddler and Tiaras, a three-year-old child entered a glitz beauty pageant, and in the “outfit of choice” portion, she dressed as Julia Robert’s character from Pretty Woman (O’Neill 20-21). In other words, a mother dressed her three-year-old child as a prostitute in hopes of winning a pageant. Young girls all around the country compete in beauty pageants that, on the surface, seem like harmless fun, but the negative consequences of juvenile beauty pageants drastically outweigh the benefits. Modern-day