The Media's Gendered Misrepresentation of Disney
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Feminist Figures or Damsels in Distress? The Media’s Gendered Misrepresentation of Disney Princesses Isabelle Gill | University of Central Florida A gender bias seems to exist when discussing Disney princesses in entertainment media that could have significant consequences for girls who admire these heroines. Prior research and my own extensions have shown that modern princesses display almost equal amounts of masculine and feminine qualities; how- ever, my research on film reviews shows an inaccurate representation of these qualities. These media perpetuate sexist ideals for women in society by including traditionally feminine vocabulary, degrading physical descriptions, and inaccuracies about the films, as well as syntax and critiques that trivialize the heroines’ accomplishments and suggest the characters are not empowered enough. The reviews also encourage unhealthy competition between the princesses and devote significantly more words to these negative trends than to positive discussions. These patterns result in the depiction of the princesses as more stereotypically feminine and weak than is indicated by the films themselves, which hinders the cre- ation of role models for girls. Despite significant strides women have made trend. Interviews with male scientists often toward combatting sexism in American portray them as primarily professionals society, news and entertainment media rep- while interviews with female scientists tend resentations of women continue to be one of to reference their professionalism while high- the many obstacles left before reaching lighting domesticity and family life (Shacar). equality. Numerous studies have identified Similarly, media descriptions of the female gender bias in the ways media represent members of Congress focus on domestic women (Fink and Kensicki; Niven and issues even though the congresswomen por- Zilber; Shacar; Wood). Media tend to favor tray themselves as having diverse interests representations of women who are “tradi- (Niven and Zilber). In sum, biased, gendered tionally feminine” as well as not “too able, representations of women are common in too powerful, or too confident,” over more various forms of media. complex representations (Wood 33). For Media misrepresentation of women in example, research by Janet Fink and Linda these ways can lead to significant social Jean Kensicki shows that when media aimed consequences, such as reinforcing anti- at both men and women discuss female ath- quated gender roles and diminishing the letes, their focus is on sex appeal, fashion, perception of women’s impact on society and family rather than athletic accomplish- (England, Descartes, and Collier-Meek; ment. Female scientists as well as female Fink and Kensicki; Graves; Niven and members of Congress also fall victim to this Zilber; Shacar; Wood). Since media are 96 | Young Scholars in Writing Gill | 97 likely one of the most powerful and perva- power in her film and that any passivity is sive influences on how society views men more in response to “the ambitions of the and women, their misrepresentation of gen- femme fatale” (De Rozario 42). For example, der has the potential to impact what is any fear or passivity shown by Snow White viewed as normal or appropriate for men is directed toward the Evil Queen, another and women in society (Wood 31-2). Media’s woman; similarly, the princesses Cinderella, influence on children is especially import- Sleeping Beauty, and Ariel all face female vil- ant to examine since “consistently portrayed lains. Analysis has also found that the gender role images may be interpreted as princesses are often the ones making choices ‘normal’ by children and become connected that drive the plot and outcome of the movie with their concepts of socially acceptable (De Rozario 41). These findings as well as behavior and morality” (England et al. 557). recent work by Dawn England, Lara As such, the development of children’s gen- Descartes, and Melissa Collier-Meek (2011) der role perceptions is of great importance, suggest that Disney princesses do not con- as it impacts how children view themselves form to the standard male dominance/ and society. female submissiveness pattern common in Disney movies remain some of the most antiquated fairy tales. England et al. code influential sources of gender role images for the princes’ and princess’ actions and expres- children, given their popularity, and these sions of traits in their films as traditionally films, especially their portrayal of princesses, masculine or feminine to find that although have been heavily analyzed for their gen- the original three princesses (Snow White, dered content (England et al. 555). Overall, Cinderella, and Sleeping Beauty) represent researchers do not agree on the progressive- more traditional feminine ideals, the newer ness of Disney princesses; some suggest the princesses are extremely close to portraying princesses are passive and promote strict gen- equal amounts of masculine and feminine der roles, while others see them as balanced characteristics. Why, then, does the percep- role models embodying both feminine and tion that Disney princesses only represent masculine qualities (Bell, Haas, and Sells; sexist ideals for women persist when the De Rozario; England et al.; Rorich; newer heroines portray both feminine and Steedman; Warner; Watsko; Westland). masculine characteristics? Many traditional feminist texts have “con- After studying media portrayals of the demned… familiar fairy stories for encoding Disney princesses by examining film and therefore encouraging passive female reviews from prominent publications for behavior” and “reinforcing… restrictive the Disney princess movies, I contend that images of girlhood and womanhood” entertainment media reinforce traditional (Westland 237). These critiques suggest that gender roles for the princesses, much as fairytales imply women must be innocent, news media do with female athletes, scien- beautiful, and passive, and as such, many are tists, and politicians. I further contend that hesitant to see Disney princess movies as pos- negative portrayals of Disney princesses in itive for children (Steedman 141). However, film reviews have the potential to impact other analysis of the first eight Disney prin- the creation of positive role models for cesses (Snow White through Mulan) has young girls by misrepresenting the charac- discovered that the princess often holds ters that children often admire and emulate. Gill | 97 While Disney is often criticized for produc- nurturing, showing emotion, or being submis- ing stereotypical female heroines who do sive). In all, they coded fourteen expressions of not embody the concept of strong feminist traits as male characteristics and seventeen as role models, my own research on film female characteristics (see Table 1). reviews paired with existing scholarship on the movies demonstrates that, in fact, enter- Masculine Feminine tainment media through film reviews, Physically strong Affectionate rather than the movies themselves, might Assertive Shows emotion primarily create and contribute to this per- Athletic Fearful ception. By including traditionally feminine Curious Troublesome vocabulary, degrading physical descriptions, Unemotional Tends to appearance and inaccuracies about the films, film Gives advice Helpful reviews emphasize stereotypically female Inspires fear Nurturing attributes of the characters and ignore their Brave Submissive more masculine strengths. Additionally, Leader Sensitive Rescues Collapse crying even when acknowledging the princesses’ Intellectual activity Pretty talents or empowered nature, film reviews Explores Asks for help include syntax and critiques that serve Independent Physically weak to trivialize any accomplishments and sug- Handsome Ashamed gest the characters are not fully empowered. Victim Furthermore, film reviews consistently Gets rescued compare the princesses to one another, con- Tentative tributing to the devaluing of the individual Table 1. England, Descartes, and Collier-Meek’s female characters and creating the implica- Coding of Masculine/Feminine Characteristics tion that only one kind of woman can be an While this study provides an excellent example of success. basis of comparison from which to critique film reviews, it was completed before the Methods release of Tangled, Brave, and Frozen. As To conduct my research, I first expanded on such, I re-coded two films England et al. the work of England, Descartes, and had already coded (Beauty and the Beast and Collier-Meek. They studied gender portray- Mulan) to ensure my interpretation of the als of both the princes and princesses in the coding procedure was sufficiently similar. I first nine Disney princess movies Snow( then replicated their coding procedure for White and the Seven Dwarves, Cinderella, Tangled, Brave, and Frozen. These results Sleeping Beauty, The Little Mermaid, Beauty show my re-coding to be sufficiently similar and the Beast, Aladdin, Pocahontas, Mulan, to England et al.’s coding, and the overall and The Princess and the Frog) using a coded percentages show the more recent princesses content analysis approach. To do so, they display almost equal amounts of masculine documented all instances of a prince or and feminine characteristics (see Table 2). princess performing a stereotypically “male” trait (such as athleticism, bravery, or inde- pendence) as well as any time a prince or princess performed a “female” trait (such as 98 | Young Scholars in Writing Gill | 99 Princess