Graduate Research Symposium (GCUA) (2010 - 2017) Graduate Research Symposium 2014

Apr 21st, 1:00 AM - 2:30 AM

Long May She Reign: A Rhetorical Analysis of Gender Expectations in Disney’s Tangled and Disney/Pixar’s Brave

Caitlin J. Saladino University of Nevada, Las Vegas

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Repository Citation Saladino, Caitlin J., "Long May She Reign: A Rhetorical Analysis of Gender Expectations in Disney’s Tangled and Disney/Pixar’s Brave" (2014). Graduate Research Symposium (GCUA) (2010 - 2017). 4. https://digitalscholarship.unlv.edu/grad_symposium/2014/april_21/4

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This Event has been accepted for inclusion in Graduate Research Symposium (GCUA) (2010 - 2017) by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. Caitlin J. Saladino Department of Communication Studies Long May She Reign A Rhetorical Analysis of Gender Expectations in Disney’s Tangled and Disney/Pixar’s Brave

Abstract Justifying the Study of Rapunzel and Merida:

This project addresses messages about gender expectations in Disney princess narratives. The two films included in my project are Tangled (2010) and Brave (2012), which feature the most recently 1. Examining gender AND race is outside the scope of this project. inducted princesses to the marketed Disney Princess line (Rapunzel and Merida, respectively). Using genre as an organizing principle, I argue that Rapunzel and Merida are different from the 2. The tension for both princesses originates in expectations set forth by their mothers. past Disney princesses (Snow White, Cinderella, Ariel, Jasmine, etc.) because their narratives reflect new ideas about gender expectations in modern society. The central tension appearing in 3. Rapunzel and Merida are the two most recent princesses. both films is the opposition between the image of woman as traditional, domestic, and dependent and woman as progressive, motivated, and independent. The ways in which Rapunzel and Merida address this tension reflects changing roles of women in society more generally. In Tangled, Rapunzel experiences consciousness-raising in her quest for self-discovery, and the film's audience is also invited to experience consciousness-raising about gender expectations. In Brave, Merida's quest for control of her own destiny is in tension with the expectations of her mother, the queen. Merida’s experience is reflective of the unrealistic expectations of the can-do discourse in society, which influences young women to believe they can have a rewarding life as a home maker and achieve a fulfilling professional career, if only they are willing to work hard enough. I find these messages appear most explicitly in the princess narratives and song lyrics in each film. These messages are considered moral messages because they suggest ways about how the world ought to Tangled Brave be, and therefore may resonate with young children who view Rapunzel and Merida as role • Synopsis: models. My thesis is a valuable addition to current communication studies literature because while •Synopsis: princesses have been analyzed rhetorically in the past, a scholarly investigation of Disney’s newest “Rapunzel spends most of her life in a tower with her “Merida is a Princess by birth and an adventurer by spirit. princesses has yet to be published. Disney’s prominence in American culture suggests that this chameleon friend, Pascal, imagining the world outside. She spends her days practicing archery, riding her horse research can appeal to a large readership beyond the walls of academia. When she meets Flynn Rider, the two of them go on an Angus, and exploring the world around her. She loves her adventure so she can finally live her dream.” family, but she wants to control her own destiny.”

Extrinsic / Conceptual Background • Consciousness-Raising • Self-Efficacy • A rhetorical strategy, “of the affective, of the validity of personal • “the belief that one has complete control over his/her life”6 experience, of the necessity for self-exposure and self-criticism, of the Rhetoric = the way that people use messages to create meaning • Merida’s Struggle: value of dialogue, and the goal of autonomous, individual decision • wants to change her fate 4 making.” • no interest in being a princess if that means she can’t have • “Criticism must be polymorphous because • 2 Step Process: her freedom • 1 Rapunzel’s Consciousness-Raising rhetorical acts are polysemous.” • Rapunzel’s Narrative as Consciousness-Raising for Film’s Audience • Can-Do Discourse ! • Androgyny • “The can-do discourse encourages [young women] to • “Androgynous individuals are independent, industrious and imagine they will have high status careers and successful • Polysemous - multiple meanings courageous, and at the same time they are nurturing, tender and families if they are but willing to invest sufficient effort.” 7 • Polymorphous - multiple forms expressive. They do not rely on gender as an organizing principle.”5 ! Mother Imposes Control on Princess’ Ambition Mother Imposes Control on Princess’ Ambition Disney Princess Marketing Line Mother’s Control Conflicts with Princess’ Ambition Mother’s Control Conflicts with Princess’ Ambition • started in 2000 Princess’ Ambition Reigns over Mother’s Princess’ Ambition Reigns over Mother’s • fastest growing Disney brand • largest franchise worldwide for girls age 2 - 6 Conclusions & Future Directions Moral Messages “messages about how we ought to live, about morality”

Through this historical account, I argue that Disney princesses 1) Marriage is not a necessary end. “Genre” as an Organizing Principle speak and act in ways reflective of gender expectations of women 2) Rejecting tradition is necessary in the quest for self-discovery in society during the time the films were released. 3) Standing up for yourself is important. 4) A “real” girl should be androgynous. •1937- 1959 1937-1959 1989-1998 2009- present Opinion editorial writer, Katie Patton states, “As adults, we know • Snow White, Cinderella, & Aurora • passive, domestic, waiting for marriage as rescue that what makes a princess, of the Disney or real-life variety, isn’t • Walt Disney Company • women excluded from creative roles what she is wearing or how she looks; whether Prince Charming ! •1989- 1998 sweeps her off her feet or she carves her own independent path. What makes a princess is, who she is and what she stands for.” • Ariel, Belle, Jasmine, Pocahontas, & Mulan • active, adventurous, but marriage as hegemonic end • Walt Disney Company • Frozen (2013) • women included in creative roles, but no lead roles ! • Disney’s “I Am A Princess” Campaign ! •2009- present 1.Karlyn Kohrs Campbell, “The Nature of Criticism in Rhetorical and Communicative Studies,” Central States Speech Journal, 30 (1979): 8. • Tiana, Rapunzel, and Merida 2.Peggy Orenstein, Cinderella Ate My Daughter (New York: Harper-Collins Publishers, 2011) 3.Synopses of Tangled and Brave, Disney Princess Logo, and Princess Icons taken from the Disney Princess website: http://princess.disney.com/ • determined, rebellious, disinterested in marriage 4.Karlyn Kohrs Campbell, “The Rhetoric of Women’s Liberation: An Oxymoron,” Quarterly Journal of Speech, 59, no. 1 (1973): 79. • 5.Sangeeta Rath and Aakankshya Mishra, “Gender-role Perception and Employment Status in the Self-Efficacy of Women,” European Journal of Sustainable Development, 2, no 3 (2013): 58. Walt Disney Company 6.Ibid. • women occupy leadership roles in film production 7.Julia Wood, “The Can-Do Discourse and Young Women’s Anticipations of Future,” Women & Language, 33 (2010): 103-107. 8.Annalee Ward. Mouse Morality: The Rhetoric of Disney Animated Film. (Austin: University of Texas Press, 2002), 1. • female directors and producers 9.Katie Patton, “The Princess Redefined; Long May She Reign.” Hello Giggles. last modified October 26, 2012, http://hellogiggles.com/the-princess-redefined-long-may-she-reign. 10.Rapunzel and Merida Images, and Frozen Image taken from HD deskop wallpaper website: http://hdw.eweb4.com/