Disney Spell Culture

Disney was and still is one of the children’s greatest happiness. His movies represented a way of disconnection with the real world, a model of beauty and bravery in which every child wants to take part. Disney characters have become extraordinarly notable to millions of children and, as one analyst of the Disney empire noticed, “these films inspire at least as much cultural authority and legitimacy for teaching specific roles, values, and ideals than more traditional sites of learning such as public school, religious institutions and the family”. However not everything which is beauty can be real. Due to its incredible impact on children and adults, Disney created an empire that may influence human’s mind by hiding certain messages which might

Therefore, in the following essay I want to investigate Disney’s utilization and representation of foreign cultures and its awareness to the whole world.

Producing the magic and breaking the Disney Spell
Disney applies the same ideology as Harry Houdini, an illusionist and stunt performer, who once said “What the eyes see and the ears hear, the mind believes”. But how does Disney continue to play with their minds? Family is the first encounter and also they try to bring joyfulness to their child through what is known as “magic”. Also, children often make use of popular stories, myths and fairy tales to make sense of themselves and their surroundings, but for many young children their earliest exposure to this term likely come from media sources. Simply put, the great “magic” of

Above all, I want to define the word ‘orientalism’ as “style, artefacts, or traits considered characteristic of the peoples and cultures of Asia” (Oxford Dictionary). According to Celeste Lacroix, the characters of colour are portrayed far more sexually, with a strong, active and adult appearance. For example, Mulan and Pocahontas are seen more athletic and brave with a physique that reflects a body structure to that of a Barbie Doll. Also, by changing the shape, colour and the size of facial features (Jasmine’s skin tone is appropriately darker for the Middle Eastern, Pocahontas is drawn with large almond shaped eyes) might portray the distinctive look of a “I am a foreigner”. Moreover, their traditional clothes place the characters in a more sexualized light (Pocahontas dress is quite short, as in Jasmine’s costume the shoulders are almost bare). Paula Gunn Allen, a Sioux tribe member and a professor of literature, finds Disney’s portrayal of Pocahontas disquieting. She is “troubled that Hollywood’s sexual stereotyping eclipses much of the power women held in native cultures.” On the other hand, the elements of physique, costuming and iconography of the white women (1989: The Little Mermaid, 1991: