More handpicked essays just for you.
Gender roles and stereotypes in disney movies
Gender roles and stereotypes in disney movies
Gender in american culture
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Gender roles and stereotypes in disney movies
The Monster Under The Bed
In Disney’s hit film, Mulan, a uncoordinated girl living in China must uphold her family’s name in becoming a bride. To do this, she must recite an admonition: an ancient writing instructing Chinese women in their responsibilities and proper mannerisms. The etiquette Mulan speaks of in the movie may seem petty and fictitious; however, such mandates for women exist historically and contain much more burdensome material than what America sees in the film. Through Pearl S. Buck’s novel, The Good Earth, a reader learns that that a woman’s world in ancient China contains more than just white face paint, lotus flowers, a couple of cheerful songs, and a cup of green tea. Buck invites the West to face a brutal environment
…show more content…
From birth, a woman learns that she has no future except for answering a man’s calls--whether for food, for water, or even for sex--and that she will forever reside beneath the metaphorical bed of life while emperors and nobles sip tea between the blankets above her. Through various forms of abuse, China intends to weaken women--however, by doing so, they prove exactly the opposite. For a woman to suffer through such terrible circumstances without a word of complaint, she must have an undying strength within. So while at the beginning of their life, women might be introduced to the world as a helpless child trapped under a mattress, by the end of their lifetime they evolve into a monster threatening to tip men off their comfortable throne. And as soon as society removes her restraints, she will pounce forward in influence and new
Even though the feudal imperial regime has ended years ago, the traditional thoughts and burdens that have ruled Chinese country women for thousands of years remain unchanged. In Young Master Gets His Tonic, Wu Zuxiang presents a first-person narrative story where the young master, guanguan, drinks human milk to get nutrition for making up his previous loss of blood and energy from an accident. Right after the accident, the young master had received shots of blood from a wet nurse’s husband to supplement his loss, and three months later he drinks woman’s milk from the wet nurse. The young master’s description of the wet nurse effectively exhibits the oppressed life of lower class women, that they still lived in poor and unhealthy condition with subordinate status in the society.
Lessons for Women was written by Ban Zhao, the leading female Confucian scholar of classical China, in 100 C.E. It was written to apply Confucian principles to the moral instruction of women, and was particularly addressed to Ban Zhao’s own daughters. As her best remembered work, it allows the reader insight into the common role of a woman during this fascinating time-period. The work starts off by Ban Zhao unconvincingly berating herself, and claiming how she once lived with the constant fear of disgracing her family. This argument is rather implausible, for the reader already knows the credibility of Ban Zhao, and how important her role was in ancient China.
Some of the more fascinating documents of the Han period in ancient China were arguably those written by women. The writings were at once contradictory due to the fact that they appeared to destroy the common perceptions of women as uneducated and subservient creatures while simultaneously delivering messages through the texts that demonstrated a strict adherence to traditional values. Those are the paradoxical characteristics of prominent female scholar Ban Zhou’s work called Lesson for a Woman. Because modern opinions on the roles of women in society likely cloud the clear analysis of Zhou’s work, it is necessary to closely examine the Han’s societal norms and popular beliefs that contributed to establishing the author’s perspective and intent.
Most outcasts of history had a particular, exclusive life; full of struggles against the society ever since birth and grew up with a heart made out of steel from the harsh criticism they have endured. They differ from the community within their beginning to their end, and many of their stories end up becoming legends and gaps of the past that nobody will be able to reincarnate. China’s first and last female emperor, Wu Zetian, was one of these exclusives. Ever since birth, her history of tactics to the people around her; in order to ascend the throne, juxtaposed towards society’s attitudes of women at the time; through her breakdown of gender stereotypes and quick knowledge, and offered a new perspective to the world of just how cruel and beautiful women can be. She successfully destructed all accumulated views of women in the Tang Dynasty, and created her future in the way she wanted it – on top of every man in her country. She was an outcast – somebody who juxtaposed against the demands of her. She was history.
The united States Declaration of independence states that all men are equal, but aren’t all women as well? Nowadays, the numbers for the population are at an increase for the support in gender equality, with the capture of feminist labels. The seek for equality between men and women, and criticize the privileges that arouse by gender differences. However in Old China, males control almost everything due to a patriarchal society. At that time, not only men, but also women are influenced by male chauvinism. In the Jade Peony, written by Wayson Choy, female characters are affected by an unequal perspective despite their age group.
Mulan is a young girl in China, who is trying to honor her family and ancestors by finding a husband. She was expects to be delicate, quiet, obedient, graceful, polite, and poised, none of which Mulan displayed. She showed up late to the meeting with the woman, “The Match Maker”, who picked whom Mulan would one day marry. Although they expect women in China to have a tiny waist, too small of a waist, which Mulan had, was no good. She would not be great at baring children. Mulan could not pour the tea right for the woman either. She missed the cup, spilling the tea on the table. She was not very graceful and upset “The Match Maker”, who believed Mulan would never honor her family. Mulan did not display the characteristics that the Chinese society expected a woman to have and was looked at as dishonorable to outsiders.
Chen, Jo-shui. "Empress Wu and Proto-feminist Sentiments in T'ang China." In Imperial Rulership and Cultural Change in Traditional China, edited by Frederick P. Brandauer and Chün-chieh Huang. 77-116. Seattle: University of Washington Press, 1994.
Set in the Northern Wei dynasty of China, the gender roles of China were simple as depicted through song in Mulan. “We all must serve our Emperor… a man by bearing arms, a girl by bearing sons.” Mulan’s one and only role in life is to marry a man, who she is deemed fit for and to bear many sons and tend to the home. She is to live a life of homely domesticity. This is perhaps one of the most obvious motifs that don’t shine a nice pretty light on Mulan. Mulan has to go to a beauty salon in order to meet the matchmaker and “bring honor” to her family. At the salon, Mulan is mercilessly soaked in a freezing bath, has her hair tied up neatly, her waist laced up, and is overloaded with excessive make-up and jewels. The potential brides, Mulan included, are thus made to look like “cultured pearls, each a perfect porcelain doll.” According to the beauty specialists, “A girl can bring her family great honor in one way, by striking a good match.” They preach that “Men want girls with good taste, calm, obedient, who work fast-paced, with good breeding and a tiny waist.” This demonstrates heg...
In China, girls are seen as a possession or a “cheap commodity” (Yen Mah 100). Sons, especially the eldest, are given far more attention and praise. Families that are well off keep their daughters and marry them off to prominent families’ sons through a marriage broker (“mei-po”). Rich daughters often had their feet bound, a process by which the “four lateral toes of the foot are forced with a bandage under the sole so that only the big toe protruded. (It was) tightened daily for a number of years (so as to) permanently arrest the foot’s growth in order to achieve tiny feet so prized by Chinese men” (Yen Mah 11). Their inability to walk with ease is a symbol of submissiveness, weakness, and wealth. This tradition is becoming more rare, but still many older women bear its pain today. Adeline’s grandmother went against these traditions by not torturing her own daughter i...
Lindo Jong provides the reader with a summary of her difficulty in passing along the Chinese culture to her daughter: “I wanted my children to have the best combination: American circumstances and Chinese character. How could I know these two things do not mix? I taught her how American circumstances work. If you are born poor here, it's no lasting shame . . . You do not have to sit like a Buddha under a tree letting pigeons drop their dirty business on your head . . . In America, nobody says you have to keep the circumstances somebody else gives you. . . . but I couldn't teach her about Chinese character . . . How to know your own worth and polish it, never flashing it around like a cheap ring. Why Chinese thinking is best”(Tan 289).
Despite the Odes beneficial contribution to ancient Chinese society, they served as a detrimental force that stripped women of their rights and freedoms in ancient China, providing a repressive and deprecating stereotype of women. Several poems from the Book of Odes vividly depict females as an inferior sub-human race by disclosing the turmoil that ensued, when women acquired sufficient knowledge or influence in ancient Chinese society. A few of the Odes go beyond story telling and provide vindictive guidelines for the treatment and handling of women. Despite many of the Odes’ dehumanizing projection of women, a few in particular illustrate ancient Chinese women as highly emotional beings who possessed feelings and emot...
Many people know that Mary Shelley, the author of Frankenstein, was part of a family of famed Romantic era writers. Her mother, Mary Wollstonecraft, was one of the first leaders of the feminist movement, her father, William Godwin, was a famous social philosopher, and her husband, Percy Shelley, was one of the leading Romantic poets of the time ("Frankenstein: Mary Shelley Biography."). What most people do not know, however, is that Mary Shelley dealt with issues of abandonment her whole life and fear of giving birth (Duncan, Greg. "Frankenstein: The Historical Context."). When she wrote Frankenstein, she revealed her hidden fears and desires through the story of Victor Frankenstein’s creation, putting him symbolically in her place (Murfin, Ross. "Psychoanalytic Criticism and Frankenstein.”). Her purpose, though possibly unconsciously, in writing the novel was to resolve both her feelings of abandonment by her parents, and fears of her own childbirth.
The early part of the novel shows women’s place in Chinese culture. Women had no say or position in society. They were viewed as objects, and were used as concubines and treated with disparagement in society. The status of women’s social rank in the 20th century in China is a definite positive change. As the development of Communism continued, women were allowed to be involved in not only protests, but attended universities and more opportunities outside “house” work. Communism established gender equality and legimated free marriage, instead of concunbinage. Mao’s slogan, “Women hold half of the sky”, became extremely popular. Women did almost any job a man performed. Women were victims by being compared to objects and treated as sex slaves. This was compared to the human acts right, because it was an issue of inhumane treatment.
Examples of cultural constructions can be seen throughout history in several forms such as gender, relationships, and marriage. “Cultural construction of gender emphasizes that different cultures have distinctive ideas about males and females and use these ideas to define manhood/masculinity and womanhood/femininity.” (Humanity, 239) In many cultures gender roles are a great way to gain an understanding of just how different the construction of gender can be amongst individual cultures. The video The Women’s Kingdom provides an example of an uncommon gender role, which is seen in the Wujiao Village where the Mosuo women are the last matriarchy in the country and have been around for over one thousand years. Unlike other rural Chinese villages where many girls are degraded and abandoned at birth, Mosuo woman are proud and run the households where the men simply assist in what they need. The view of gender as a cultural construct ...
The classic Disney movie, Mulan, is often praised as a film involving feminist empowerment, but upon closer look just the opposite appears to be true. The classic storyline includes Mulan, a young Chinese woman, taking over her fragile father’s place in the Chinese army, disguised as a man named Ping. She trains among the other soldiers, becoming one of the very best with her accompanying guardian dragon, Mushu and a cricket her grandmother gave her for luck for the matchmakers by her side. She ends up saving all of China by revealing that the Huns are back and invading the country, and is honored as a hero. This movie breaks away from the typical damsel in distress princess story by having a single woman save all of China. However, on Mulan’s journey she faced extreme female shaming, and experienced stereotypes attempting to belittle her; all