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How do disney films portray gender
How do disney films portray gender
How do disney films portray gender
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For today’s response paper, I would like to dive into my initial thoughts on the Ebrahim’s article on gender in Pixar movies. In this article, her main argument was to show how Pixar movies often portray female human girls in a demon-child role. More specifically, characters such as Molly from the original Toys Story and Darla from Finding Nemo are narratively and cinematically portrayed as forces of nature that can harm the non-human characters in an ironic twist. It becomes quite apparent from the article that Ebrahim comes from a film theory background in her critique of the movies produced by Pixar. In fact, she discloses in her conclusion that the article was not design to argue any type of media effects that may be invoked from the
pattern she outlines. However, for me, not looking into the effects of the social construction of these types of characters hinders our ability to know the social and psychological impacts on our culture. I understand that this is not the goals for film research, however; it is hard for me not to build upon her arguments through the lens of communication scholarship because she has laid content groundwork in her argument that just tickle my curiosity. The only critique on her argument, at least from my paradigm of thought, is that specific gender and narrative roles in these movies should not be limited to human characters. While it does show usage of the demon-child role, it hinders our ability to evaluate general gender roles in all characters and there potential effects. Other female roles such as Dot from A Bug’s Life and Pearl from Finding Nemo who are non-human little girls who do not fit the pattern are left out, and they should not be because they can create just as much narrative impact on the film and cultural effects as the human characters. For the general pattern laid out despite my one critique, I would say that the child-demon role as portrayed by little human girls can serve a means of cultivation. This means that the public may over a long-period of time with multiple viewings of the same character role may start to assume that the general natures of little girls are unintendedly dangerous towards their possessions or surrounding. However there are two issues with the statement that I just made. The first is that cultivation takes numerous viewings of different content in order for an opinion to develop, and there are not enough examples (at least in Pixar films) to create solid cultivation. The second issue is the manner that these characters are framed in a cinematic sense. Characters like Molly and Darla are frame in a comical nature that tells the audience of fantastical nature of the joke. This lessons the cultivation effect because it is harder for an audience to apply it to real life. From all of this, I am not saying that there is not a social or psychology effect from the content framework that Ebrahim examine. However, from all the media content that society consumes with different portrayals of little girls, I wonder how much variance is there really in this particular pattern.
..." Post-Princess Models of Gender: The New Man in Disney/Pixar." Journal of Popular Film and Television 36: 2-8. Web.
Nominated for three Academy Awards and winner of Best Original Song (IMDb, n.d), Monsters, Inc. is “well-liked by many” thus qualifying as an example of popular cinema (Storey, 2001). Produced by Pete Doctor and David Silverman, Monsters, Inc. tells the tale of two monsters, Mike and Sully, who both work at a utility company called Monsters, Inc(operated), where children’s screams are harvested as power. One night, Sully stayed late as a favor to Mike to finish his paperwork and noticed a door left on the scare floor. The door was left by Randal- a very competitive co-worker, who planned to kidnap the child to test his ‘scream machine’ that sucks the screams out of children at a much more efficient rate than scaring them. Just as Sully was
For several years now, Disney seems to be determined not to offend anyone in order to keep its audience; indeed we are confronted with animation films full of compromises; they are not as degrading for women as Snow-White and the Seven Dwarves (1937), but they are nonetheless still filled with clichés. Films such as The Princess and The Frog (2009), Tangled (2010), Wreck-it Ralph (2012), have in common the sense of being progressive and however we can notice the resurgence of harmful gendered stereotypes on the subjects of the social scale, women’s role in society, or the status quo. Frozen comes in and turns out to be no exception. Though it includes several encouraging and gratifying elements, it contributes insidiously to spread numerous
When gender quality are shown in children’s movies it will have a lasting effect on them which they will carry into adulthood. It is important for parents to monitor what their child is watching, hearing, and seeing. Empowering children through games and songs while they are young to know that every boy and girl are equal will bridge the gap for future generation of men and women. Moreover, children minds are developing faster as technology increases it is better to implant the seed of equality before the traditional gender roles and oppression continues as explained in textbook on page 261.
For this engagement essay the article Mean Ladies: Transgenders Villains in Disney Films by Amanda Putnam and the chapter “Someday My Prince Will Come”: Disney, the Heterosexual Imaginary and Animated Films by Carrie L. Cokely will summarized, analyzed, and engaged with using the Queer analytical framework.
Disney promotes sexisim by forcing young girls to live in a patriarchal world. Cinderella, Sleeping Beauty, The little mermaid, Aladdin, and Snow White are all examples of popular Disney movies that encourage young viewers that they need a man to save the day. Yes, it’s true that there are recent movies such as Moana and Frozen that prove otherwise, but how long will it take to completely get over the fact that women are mainly viewed as secondary citizens compared to the men? There are countless examples of how Disney movies influence this theme, and how much the female characters’ actions, ideas and thoughts are not included in a Disney movie.
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. Despite the tremendous steps that have been taken towards reaching gender equality, mainstream media contradicts these accomplishments with stereotypes of women present in Walt Disney movies. These unrealistic stereotypes may be detrimental to children because they grow up with a distorted view of how men and women interact. Disney animated films assign gender roles to characters, and young children should not be exposed to inequality between genders because its effect on their view of what is right and wrong in society is harmful to their future.
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 (...
In the article Construction of the Female Self: Feminist Readings Of the Disney Heroine, Jill Birmie Henke, Diane Zimmerman Umble, and Nancy J. Smith are looking at the female self and how it was developed based on two theories: Standpoint by Parker Follet and the psychological development of girls by Gilligam. That by examines gender identity especially girls and how media exposure affects them through analyzing five of Disney movies: Cinderella, Sleeping Beauty, The little Mermaid, Beauty and the Beast, and Pocahontas. They segmented the article into three titles: The Oxymoron of Power and the Perfect Girl where they introduced the two theories in which they built their critic on, Construction of the Female Self where they talk about the evolution in the female character from Cinderella to Pocahontas, and Construction of Self in Relation to Others where they talk about the evolution of the self in relation to others from power-over to power-with until power-to. Finally they concluded that even if the female character in Disney’s movies was changing to become more
The American black comedy The Wolf of Wall Street directed by Martin Scorsese was released December 25, 2013 and stars the likes of Leonardo DiCaprio, Jonah Hill and Margot Robbie. While on face value The Wolf of Wall Street looks like a film about excessive cocaine binges, long evenings filled with men with cigarettes, large portions of alcoholic consumption, having many sexual escapades with various women and even dwarf tossing from time to time, the film is deeply rooted in perception gender within the genre of The Wolf of Wall Street. The word ‘genre’ is rooted into a similar category as
...n by naming the title of the movie after the main female protagonists. Just look at the Little Mermaid, Snow White, Sleeping Beauty and even Beauty and the Beast. All are movies about the females being damsels in distress and having a male come to their rescue. Charles Perrault’s original version portrays the perfect version that children all around the world should be watching. Children are already very impressionable and what they watch when they are younger is how they eventually will act. How they grow up rests on the children movies and books of that generation. Those movies and books are what form the future leaders of our countries and for one very impressionable company, such as Disney, to be favoring one gender more than the other can result in chaos. Overall, Charles Perrault’s feminist lens in his story can lead girls to an empowering high self-esteem.
In today’s modern age, young children are being raised by their TV screen. Reining from the original tales of Perrault and the Grim Brothers, the Disney princess line has been a staple on the screens since the 1930s (Do Rozario 1). However, these princesses have gone through dramatic changes to remain relevant to todays youth. The effects that can be influenced by the roles expressed in these types of films send mixed messages to the audience, causing them to ask themselves whether or not they should believe what the princess is expressing on the screen.
of influence in both the characters and gender roles of people in our society. The films have brought about the shaping of morals, behaviors and characters of not only children, but also adults in todays society, through engaging them in a constant series of unthinking consumption. In addition, most of the films in Disney bring out many different gender roles and people who grew up watching them have been influenced greatly by the content in the films (Blum 13). This paper will involve the various roles played by the characters in the films and how their roles have influenced the society at large.
I chose to analyze Despicable Me, an animated film geared towards a younger audience, because I was interested in examining underlying theories and messages that this film would be relaying to its viewers. Often times, when watching animated films, children are not aware of these messages, as they are absorbed by the characters, special effects, and humor. But as we have learned throughout this semester, our brains are subconsciously primed by the various surroundings we are exposed to. Since we also studied the impacts of entertainment, such as television and video games, on children, I wanted to see how a popular children’s film might also affect them.
Feminist theory was derived from the social movement of feminism where political women fight for the right of females in general and argue in depth about the unequality we face today. In the aspect of cinema, feminists notice the fictitious representations of females and also, machismo. In 1974, a book written by Molly Haskell "From Reverence to Rape: The treatment of Women in Movies" argues about how women almost always play only passive roles while men are always awarded with active, heroic roles. Moreover, how women are portrayed in movies are very important as it plays a big role to the audience on how to look at a woman and how to treat her in real life due to the illusionism that cinema offers. These images of women created in the cinema shapes what an ideal woman is. This can be further explained through an article 'Visual Pleasure and Narrative Cinema' written by a feminist named Laura Mulvey in 1975. She uses psychoanalysis theories by Sigmund Freud to analyze 'Scopophilia' which is the desire to see. This explains how the audience is hooked to the screen when a sexy woman is present. In a bigger picture, where Scopophilia derives from, 'Voyeurism' is also known as feeling visual pleasure when looking at another. Narcissism on the other hand means identifying one's self with the role played. It is not hard to notice that in classical cinema, men often play the active role while the women are always the object of desire for the male leads, displayed as a sexual object and frequently the damsels in distress. Therefore, the obvious imbalance of power in classical cinema shows how men are accountable to moving the narratives along. Subconsciously, narcissism occurs in the audience as they ...