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Gender stereotypes in Moana (2016): A film analysis of the main character

Yogi Zanualdy Ramadhan English Language and Literature Universitas Pendidikan Indonesia

ABSTRACT Gender stereotyping is a common phenomenon shown in films. Many films, such as those produced by Disney, often portray their male and female characters stereotypically. One of Disney’s recent children movies is Moana (2016). This research aims to analyze how the main character in Moana (2016) is portrayed and seeks to answer whether the portrayal conform to or goes against gender stereotypes. To analyze the gender stereotypes embedded in the film, the study draws on Evans and Davies’ (2009) framework as well as those of Copenhaver’s (2002) and Brannon’s (2016). Meanwhile, Boggs and Petrie’s (2008) characterization in films has been adopted to unravel the character of Moana. The analysis shows that Moana is portrayed as a character who possesses both masculine and feminine traits; the masculine traits, however, are more dominant that the feminine ones. This indicates that the film tends to go against gender stereotyping by portraying a complexity of traits within the main character.

Keywords: Disney’s Movie, Gender Stereotypes.

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INTRODUCTION Beauty (1959), have weak, Films play an important role in dependent, and passive female main affecting people’s lives, especially characters, films after 2000, such as children. Children films may have Frozen (2013), Brave (2012), and characters that children viewers treat Moana (2016), tend to have a main as their role models. For example, the female character that is strong, cartoon series Crayon Shinchan has a independent and brave. These shifting character named Shinchan who is traits of female characters in Disney funny and entertaining to watch. films appear to reflect the shifting However, Shinchan has also been perceptions of women in real life. criticized as displaying bad manners This shows how gender stereotypes toward parents, friends, and others can change over time. around him. This example, therefore, Gender stereotyping is one of shows that it can be problematic if the undeniable facts of life. Gender children blindly imitate something in stereotyping in films is worth the film. analyzing, since films can have a One of the most popular significant impact towards the children film’s production house is audiences. Gender stereotypes shown Disney. One of the most famous in a film can influence and shape the works by Disney is their princess attitudes of those who watch the film. films. For quite a long time, Disney’s For example, some children who princess films have told fairy-tale watch Cinderella (1950) or Sleeping romance stories of weak princesses Beauty (1959) might be affected by and strong princes. However, the appearance of the princesses they presently, Disney’s stories as well as see in the films and start to imitate its characters seem to have shifted and how they look, while some boys reflected the present reality more. might want to be strong and heroic While most of Disney’s princess like the prince. Even though gender films before 2000, such as Snow stereotypes can change over time, White and the Seven Dwarfs (1937), most films portray their male and Cinderella (1950), and Sleeping female characters in line with the

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traditional gender stereotypes. Brannon (2016). The three Traditionally, men are portrayed as frameworks have been drawn on someone who is strong, brave, because they complement each other: adventurous and independent, while Copenhaver’s (2002) framework women are generally portrayed as provides feminine and masculine powerless, dependent, and emotional. traits classification to analyze Moana, These stereotypes, too, have often Evans and Davies’s (2009) provides a been found in Disney’s princess clear explanation of those traits, and films. Brannon’s (2016) framework provide Moana (2016), however, is The Cult of True Womanhood as the different because some of the traits traditional female gender stereotypes. attached to the main character do not Meanwhile, Boggs and Petrie’s seem conform to the traditional (2008) characterization in films serve gender stereotypes. This makes the as a methodological tool to analyze character, Moana, worth analyzing. the main character of Moana. Since the film has only been released in 2016, there are only, to the best of THEORETICAL FRAMEWORK my knowledge, few studies on Moana This part consists of a discussion of (Khairunnisa, 2017; Streiff and the theoretical framework related to Dundes, 2017). However, these the research. Itis divided into three research studies did not focus major parts: (1) film studies, (2) specifically on examining gender gender stereotypes, and (3) stereotypes in the film. Therefore, to characterization in Films. contribute to research on Moana, this study aims to analyze how the main Film Studies character is portrayed in the film and Films have been part of many explores the gender stereotypes people’s lives. However, there is no attached to her. To analyze the gender clear definition of what a film is. Even stereotypes, the study uses Evans and though Arnheim (1957) believes that Davies’s (2009) framework as well as film is similar to literature, painting, those of Copenhaver’s (2002) and music, in a way that it is used to

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produce artistic results, Kolker (2000) making, but also how itaffects the emphasizes that is hard to define film audience as well since films seem to have become a taken-for-granted part of most Gender Stereotypes in Film people’s lives. He points out that that Gender stereotypes can be film is just film; film is just there to defined as beliefs about be enjoyed. characteristics associated with, and Even though Kolker (2000) the activities appropriate to, men or believes that film can be considered women (Brannon, 2016). In the as an art, since it is actually a text just literature, this term has often been like other art forms, he argues that contrasted with the term sex. film is different in some ways. A text, However according to Stoller (1990) according to Kolker (2002), is an sex refers to the physical differences understandable structure of meanings between men and women, while which consist of complex related gender refers to the behavior and events in a context. Moreover, Kolker cultural practices of men and women. (2002) added the differences between Gender stereotypes can also be text in films and in any other arts lie defined as the characteristics of on their physical (photographic genders which draw differences images), narrative (experience by between typical “masculine” and watching the film), economic and “feminine” in society (Krahn, 2015). cultural (the production, distribution, According to Brannon (2016), and consumption) features. gender stereotypes have four different Furthermore, Wardaningsih aspects: physical characteristics, (2017) states that the purposes of film occupations, traits and behavior. studies are to disclose and also First, physical characteristics refer to explain the techniques which one’s appearance physically. Second, distinguish film and any other literary occupation is associated with one’s works. In addition to this, Nelmes job. Third, traits is someone’s (2012) argues that film studies is not distinguishable features personality- only about the mechanics of film

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wise, and last, behavior is one’s action toward something.

Table 1. Brannon’s (2016) elements of stereotyping of women and men “The Cult of True Womanhood” “Male Sex Role Identity” Piety No Sissy Stuff Purity The Big Wheel Submissiveness The Sturdy Oak Domesticity Give ‘Em Hell

The elements of stereotyping a real man is. This concept consists of women and men above have been four major elements that contain the synthesized by Brannon (2016) from following ideas: No Sissy Stuff (no many sources. Traditionally, feminine characteristics such as stereotypes attached to women have nurturing, submissiveness, and been conceptualized as “Cult of True patience), The Big Wheel (being Womanhood” (p. 161), which successful), The Sturdy Oak consists of four aspects: piety (toughness, confidence, and self- (naturally religious), purity (sexually reliance), and Give ‘Em Hell (aura of uninterested), submissiveness (weak, aggression, daring, and violence). dependent, and timid), domesticity Brannon (2016) also emphasizes the (their domain was in the home). binary opposition within the gender According to Brannon (2016) women stereotypes by providing the who have these characteristics will opposites of the stereotypes attached; gain happiness and power since for example, women were expected to without these characteristics be weak, while men were expected to women’s lives have no real meaning. be strong. Stereotypes attached to men, on the In addition to Brannon’s other hand, have been conceptualized framework, Copenhaver (2002) has as “Male Sex Role Identity” (p. 162). conceptualized feminine and In Brannon’s view, this defines what masculine traits as follows:

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Table 2. Gender Traits by Copenhaver (2002, p. 83-84) Masculine Feminine Non-emotional / Non-excitable Emotional / Excitable Objective Subjective Competitive Non-competitive Logical / Rational Illogical / Irrational Direct Sneaky Self-confident Not self-confident Sloppy Neat Ambitious Non-ambitious Provide security / stability Need security / stability Self-esteem from work Self-esteem from relationship Act alone People oriented Fearless Fearful Rough Gentle Less intuitive about others’ feelings Intuitive about others’ feelings

Other than the above traits definitions of gender stereotypical provided by Copenhaver (2002), traits, as shown below: Evans and Davies (2009) also list

Table 3. Gender Personality Traits with Definitions by Evans and Davies (2009) taken from Kimsey (2011, p.17) Personality Traits Definition Masculine traits Actions and motives with intent to hurt or frighten; imparts Aggressive hostile feelings Adventurous Actively exploring the environment, be it real or imaginary Argumentative Belligerent; verbally disagreeable with another Taking charge of a situation, making plans and issuing Assertive instructions Competitive Challenging to win over another physically or intellectually

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Decisive Quick to consider options/situation and make up mind Willing to take a chance on personal safety or reputation to Risk-taker achieve a goal Can accomplish tasks or handle situations alone with Self-reliant confidence Feminine Traits Affectionate Openly expressing warm feelings; hugging, touching, holding Allowing feelings to show, including temper tantrums, Emotionally expressive crying, or laughing Impetuous Quick to act without thinking of the consequences; impulsive Actively caring and aiding another’s development, be it Nurturing physically or emotionally Panicky Reacting to situation with hysteria; crying, shouting, running Passive Following another’s lead and not being active in a situation Tender Handling someone with gentle sensitivity and consideration Being able to see and comprehend a situation from another Understanding person’s perspective; showing empathy

Copenhaver’s (2002) and Evans and (2016), state that there are Davies’s (2009) frameworks above prescriptive and proscriptive (what provide a concrete classification of people should do and not do) feminine and masculine traits; stereotype for each gender. For Copenhaver (2002) provides more example, prescription for men traits to classify and identify with, includes being the breadwinner, while while Evans and Davies (2009) the prescription for women is that provide a concrete explanation of they should stay at home. Krahn those traits. These lists by (2015) supports the idea of Copenhaver (2002) and Evans and prescriptive and proscriptive by Davies (2009) are only used as saying that “The everyday activities guidance as they believe that gender of men and women in their social stereotypes traits are different for one roles, lead to their individual social person and the others. role categorizations of gender In addition, Murnen, stereotypes” (p. 6). Greenfield, Younger and Boyd

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Gender stereotypes have been Characterization in Films portrayed in many ways in the media, Characterization simply can and these stereotypes can affect the be defined as the process on how the way people see their roles in the writer reveals character’s personality. society. As stated by Krahn (2016), Character is undeniably one of the one influencing factor in defining most important aspects of literary gender stereotypes among individuals works. To make a character more is the influence from the media Films, alive, relatable, and believable, as one of the most important forms of characterization is one way to do it. the media, can be very influential in According to Rimmon-Kenan (2002) shaping people’s mindset and for novel and short stories, there are attitudes. Unfortunately, many films two categories of characterization: tend to portray and perpetuate the direct and indirect categorization. aforementioned gender stereotypes Rimmon-Kenan (2002) states for men and women. For example, that direct characterization is when men tend to be portrayed as strong, the characterization is directly stated brave, and independent, while women on the text. The writer directly as weak and dependent. People might mention the traits of the character by: use the stereotypes shown in films as using adjective (she is nice), an a role model for themselves. abstract noun (his kindness knows no Moreover, some people might think limit), some other kind of noun (Steve that the stereotypes in the films are is a king of dancing), and as a part of true, especially when the stereotypes speech (she doesn’t like herself). are continually being shown that way. Indirect characterization, on the Therefore, gender stereotyping is contrary, means the characterization dangerous as it can have negative is not directly stated on the text. influences on how people see Rimmon-Kenan (2002) believes that themselves and others. most of the characterization adopts indirect characterization, since it will put more active roles on the readers to depict the characters by themselves.

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Rimmon-Kenan (2002) divides Characterization through choice of indirect characterization into four name. Their framework of elements: action (kindness act shown characterization is elaborated below. by someone who helps the others), A. Characterization Through speech (rude traits shown by someone Appearance who talks impolitely towards elders), As appearance is the main external appearance (dirty traits focus of film, appearance holds shown by someone who rarely change an important roles in film to their outfit), and environment deliver a character’s (characters economic situation shown characterization. When a by their living cost) character appears in the film, it However, direct and indirect will draw several assumptions characterization are only for written about the character regarding literature. Analyzing films is different their physical appearance, from analyzing novel or short stories clothing, and facial features. since, according to Boggs and Petrie Boggs and Petrie (2008) (2008), “film depends greatly on exemplify through Erin visual and other nonverbal elements Brokovich, who wears tight, sexy that are not easily expressed in clothes which initially mislead writing” (p. 41). Therefore, they film watchers about her provide other methods to analyze personality. characterization in films: 1) B. Characterization Through Characterization through appearance, Dialogue 2) Characterization through dialogue, 3) Characterization through external Characterization can also be action, 4) Characterization through drawn from the dialogue. Things internal action, 5) Characterization the characters say and their ways through reactions of other characters, of saying things might reveal 6) Characterization through contrast: their true thoughts. According to Dramatic foils, 7) Characterization Boggs and Petrie (2008), word through caricature and leitmotif, 8) choices, stress, pitch, and pause

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patterns may reveal a character’s However, Boggs and Petrie true thoughts, attitudes, and (2008) argue that not all action emotion. Boggs and Petrie will represent their exemplify characterization characterization. Sometimes the through dialogue by showing most effective way to reveal a Possession, a film which tells a character’s characterization is by story about two couples who live small insignificant action, not the in different centuries. The formal large one. Boggs and Petrie diction of one couple clashes (2008) exemplify this with a with the casual vernacular firefighter. A firefighter shows spoken by the other couple to his bravery by saving a child show the distinction between from a burning building. While them. this act can be seen as C. Characterization Through representing his duty, the act of External Action saving the little girl’s doll shows that he is a big hearted man who Boggs and Petrie (2008) understands the doll’s value for argue that even though the little girl. appearance is important to know

character’s characterization, D. Characterization Through sometimes appearances can be Internal Action misleading. Moreover, they Boggs and Petrie (2008) state believe that the best reflection of that even the most careful listener the character is their actions. might not be able to see or hear Boggs and Petrie (2008) state others’ inner world. Yet, they that “there should be a clear claim that most of the time this relationship between a character inner world is an important and his or her actions; the actions aspect to understand a character. should grow naturally out of the According to Boggs and Petrie character’s personality” (p.62). It (2008) this occurs in character’s means that the character’s action minds and emotions, which will represent who they are.

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consist of secrets, unspoken may appear even before the thoughts, daydreams, aspirations, character’s first appearance on memories, fears, and fantasies. the screen through other The most obvious way to reveal a characters. This is the case in character’s internal action is by Harry Potter and the Sorcerer’s taking viewers into the Stone. The audience can imply character’s mind so viewers can that Lord Voldemort is scary and see or hear the character’s strong according to what other imagination. characters say about him. Wardaningsih (2017) exemplifies this by using Willy F. Characterization Through Wonka in Charlie and the Contrast: Dramatic Foils Chocolate Factory (Burton, Boggs and Petrie (2008) 2005). She states that Willy define foils as contrasting Wonkais portrayed in that film as characters whose behaviors, someone who is eccentric and as attitude, opinions, lifestyle, and someone who hates the existence physical appearance are the of parents. Burton (2005) shows opposite of those of the main Willy Wonka’s past so the character. They state that by viewers are able to feel what foiling characters, it gives similar Willy Wonka felt at that time. effect of putting black and white together. By contrasting E. Characterization Through characters, it may give a clearer Reactions of Other Characters information of one’s There will be more than one characterization. character in a story. The way they Wardaningsih (2017) see each other can also contribute exemplifies this by using two towards characterization (Boggs characters from Men in Black & Petrie, 2008). Furthermore, (Sonnenfeld, 1997). Two agents, they elaborate that sometimes the who are Agent J and Agent K, information about one character have very different

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characteristics, thus showing Guardians of the Galaxy (Gunn, Agent J and Agent K’s 2014) repeatedly says “I am characteristics clearer since there Groot!” which shows how he is someone to contrast their wants to be known as Groot. characteristics with. H. Characterization Through G. Characterization Through Choice of Name Caricature and Leitmotif According to Boggs and According to Boggs and Petrie (2008), one of the most Petrie (2008), caricature is a important methods in technique that is usually used to characterization is name-typing. exaggerate or distort one or more Name-typing is the use of names dominant features of one which fits into qualities of sound, character. One example of this is meaning, and connotation. Mr. Bean’s stupidity and his Moreover, they added that in any innocence in the series Mr. Bean literary works. Wardaningsih (Atkinson, 1990). These traits of (2017) exemplifies this through Mr. Bean construct a caricature the name Jack Dawson in Titanic in his characterization. (1997). She stated that Jack is Leitmotif, according to one of the most common names Boggs and Petrie (2008) is “the in 1920s, the time when the repetition of a single action, catastrophe happened. phrase, or idea by a character until it becomes almost a To meet the purpose of this trademark of theme song for that study, this research draws on three character” (p. 66). They believe methods to analyze the that it is similar with caricature characterization of Moana: 1) since it deals with exaggeration, characterization through dialogue, 2) however in this case it is characterization through external exaggerated through repetition. action, 3) characterization through For example, Groot from internal action. These three have been

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chosen because they are the most successful scientists. Further example relevant analytical tools for analyzing is from Boldry, Wood, and Kashy Moana’s character. (2002), who analyze gender stereotypes in the context of military. Previous Studies Their aim is to examine the extent to A number of studies have been which stereotypes of men and women conducted to analyze gender in the military affect students. The stereotypes in various contexts. For result is male cadets were judged to example Mou and Peng (2008) possess bigger motivation than analyzed gender stereotypes in female cadets. The other example, popular video games. They analyzed Streiff and Dundes (2017) analyzed it using quantitative method, and gender stereotypes in movie using found that there is no female or qualitative method. They analyzed minority leading role in popular video gender stereotypes in Frozen (2013). games. Mou and Peng (2008) argue Their main purpose is to analyze how that the representation of female and Elsa was portrayed in the movie. minority characters in a video games They found that Elsa is just a variation might have significant impact on the on the archetypal power-hungry players, especially adolescent who female villain whose lust for power are still in the developing stage of life. replaces lust for a mate and who Another example comes from threatens the patriarchal status quo. Carli, Alawa, Lee, Zhao and Kim The studies above illustrate (2016), who conducted a research that gender stereotypes are all study on gender stereotypes in a pervasive, existing in various professional context. She found that contexts, which proves that gender women are perceived to lack the stereotypes is one of the undeniable qualities needed to be successful facts of life. scientists. The study also points that women may be at disadvantage in RESEARCH METHOD science because of the stereotypes This study is conducted using that has been built about women and qualitative method because it aims to

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investigate the portrayal of the could save this island by returning the character Moana in Moana (2016). heart of Te Fiti, but Moana needs to This study is descriptive in nature, ask for Maui’s help. On the first which means it contains open-ended meeting between Maui and Moana, research questions and data source. Maui didn’t want to help Moana. Qualitative method is chosen because However, Moana got Maui’s help this research aims to explore a after some persuasion. In the end, particular phenomenon (that is, Moana successfully returned the heart gender stereotyping in a children of Te Fiti and saved her island. movie) and create meanings rather The data for this study are taken from than confirm hypotheses (Mack, Moana (2016) in the forms of scenes Woodsong, MacQueen, Guest & and scripts. The procedure in Namey, 2005). gathering data is as follows: The data source of this study is 1. Watch the film and read the Moana (2016), one of Disney script several times. Princess Film. The film was released 2. Analyze Moana’s in November 2016 and is directed and characterization based on written by Ron Clements and John Boggs and Petrie’s (2008) Musker. The film tells about a framework of characterization daughter of a chief of Polynesian by using three methods which area. When she was young, the sea are drawn from internal chooses her to return the heart of Te conflicts, external conflicts, Fiti, she is a goddess which possesses and dialogue to obtain the power to create life. Heart of Te Moana’s traits. Fiti was stolen by Maui long time 3. Classify these traits into before Moana was born. Moana is masculine and feminine traits really fond of the sea; she always tried by using Evans and Davies’s to sail but her father never let her. (2009) and Copenhaver's When there was a crisis about (2002) gender stereotypes resources on her island, Moana’s theory. grandmother told Moana that she

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4. Analyze whether Moana FINDINGS AND DISCUSSION subvert or confirm the gender Portrayal of Moana stereotypes by using Evans The analysis of the and Davies’s (2009) and characterization of Moana reveals Copenhaver's (2002) gender that she possesses the following traits: stereotypes framework and brave, adventurous, ambitious, smart, Brannon’s (2016) The Cult of independent, rebellious, loving, True Womanhood. assertive, affectionate, nurturing, and 5. Investigate the signification of decisive. the portrayal of Moana and Moana shows her bravery gender stereotypes in Moana. throughout her journey. This is reflected in her song when she sets on

her journey and left her village. ♫ There's a line where the sky meets the sea and it calls me / But no one knows how far it goes / All the time wondering where I need to be is behind me / I'm on my own, to worlds unknown / Every turn I take, every trail I track / Is a choice I make, now I can't turn back / From the great unknown, where I go alone, where I long to be / See her light up the night in the sea, she calls me / And yes, I know, that I can go / There's a moon in the sky and the wind is behind me / Soon I'll know, how far I'll go ♫ (30:48-32:00)

The above excerpt, which can be decisive person: “Every turn I take, considered as characterization every trail I track / Is a choice I make, through internal action, shows how now I can't turn back”. Evans and brave Moana is and that she is also a Davies (2009) define decisiveness as risk-taker. As Evans and Davies “quick to consider options/situation (2009) define, a risk taker is “willing and make up mind” (p.17). to take a chance on personal safety or Additionally, this song highlights reputation to achieve a goal” (p.17). Moana’s determination to start her This is particularly reflected from the journey even though she is all by line “From the great unknown, where herself. I go alone, where I long to be”. This As the story progresses, Moana’s song also indicates that Moana is a assertiveness is shown. This is

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particularly reflected from her action making plans and issuing towards Maui. Being assertive, instructions” (p.17) which in this case according to Evans and Davies (2009) shows that Moana is the one who is in is “taking charge of a situation, charge and instructs Maui.

Figure 1. Moana holds up her paddle towards Maui

Figure 1 shows Moana forcing Maui independent and skillful in directing to help her return the heart of Te Fiti. the boat. Moana’s independence can Even though at first Moana seems be associated with Evans and Davies’ scared, she manages to overcome it term of being self-reliant, which they and force Maui to help her. Apart define as “can accomplish tasks or from being assertive, Moana is also handle situations alone with portrayed as someone who is confidence” (p.17). It is shown when independent, because she manages to Moana is able to handle the situation survive on the sea. As the journey calmly when left alone on the sea. progresses, Moana becomes more

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Figure 2. Moana is fixing her boat without anyone’s help

As her boat was broken because of Te seen through her act of opposing her Ka, who is the main antagonist of the father’s will. Since Moana was a story, she manages to repair it by child, Moana wanted to sail but her herself since Maui left her alone on father prohibits her from sailing. At the sea. This scene also shows that the beginning of the movie, Moana is Moana is an ambitious character. shown to raise her voice towards her Even though Maui left her, her father in disagreement. The excerpt ambition to return the heart of Te Fiti below is taken when Moana is and save her peopleremain. She will arguing with her father about fishing do anything to fulfill her ambition. over the reef. Other than that, Moana is portrayed as rebellious; this can be Moana: An older rule, when there were fish. Chief Tui: A rule that keep us safe! Moana: But Dad! Chief Tui: Instead of endangering our people so you can run right back to the water! Every time I think you're past this. No one goes beyond the reef! (14:36 – 14:40)

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Figure 3. Moana is arguing with her father Figure 3 shows Moana showing a rebellious side of her arguing with her father about fishing character. Her action of sailing by her beyond the reef. Moana raises her own is also one proof of her voice to show her disagreement, rebelliousness.

Figure 4. Moana sailing by her own

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As her rebelliousness takes over,she be seen through her ideas to achieve goes ahead with sailing on her own, her goals. Since Moana realizes that to prove that the sea is safe to her she needs Maui’s help, she resolutely father. Unfortunately, she then got hit persuade Maui by tempting him that by a wave which breaks her boat. he will be a hero of all. Additionally, Moana is also portrayed as a smart character, as can Maui : Little girl, I am a hero. Moana : Maybe you were but now . Now you're just the guy who stole the heart of Te Fiti. The guy who cursed the world. Don't know one fellow. No one. But, put this back. Save the world. You'd be everyone's hero.

In this conversation, Moana’s smart to persuade Maui to help her to restore nature is shown. She finally manages the heart of Te Fiti.

Figure 5. Moana tries to find another way to go past through Te Ka

Figure 5 shows that Moana is not only find another way to reach her smart, but she is also fearless. Moana ‘destination’, she manages to go past knows that she does not stand a through Te Ka. chance to go head to head against Te The above discussed Ka, but because of her brilliance to characteristics tend to emphasize

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Moana’s “masculine” side. However, around her. Even though there is an she has also been portrayed as aspect of rebelliousness inside her, someone who is caring and loving she always loves her parents. because she always love others

Figure 6. Moana and her parents hug each other

Figure 6 shows Moana is hugging her shows she really loves her parents. parents after going into a very long Even though she started the journey journey. She realizes her by rebelling against her father, deep rebelliousness at the end of the story, inside she always loves him. and said sorry to her parents. This Villager: I'm curious about that chicken eating the rock. He seems to lack the basic intelligence required for pretty much everything. Should we maybe just cook him? Moana: Sometimes our strength lies beneath the surface. Far beneath in some cases. But I'm sure there's more to Heihei than meets the eye.

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The above excerpt shows that her love Even in the middle of the movie, she is not only towards other people, but shows her nurturing nature by also towards animals. She ‘defends’ rescuing Heihei from Kakamora, as her chicken in front of other people. shown in Figure 7.

Figure 7. Moana saves Heihei from Kakamora

Moana: Subversion or portrayed as loving, nurturing and Confirmation of Gender tender. Relating these traits to Evans Stereotypes? and Davies’s and Copenhaver’s As has been elaborated in the gender traits, Moana can be seen as previous section, Moana has been having both masculine and feminine portrayed as someone who possesses traits. Below is the identification and the following traits: brave, classification of Moana’s adventurous, ambitious, rebellious, characteristics according to the smart, self-reliant, fearless, assertive, stereotypical gender traits: and decisive. Additionally, she is also

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Table 4. Moana’s traits classification

Masculine Traits Feminine Traits Brave Loving Adventurous Tender Independent Nurturing Ambitious Assertive Decisive Rebellious Smart Fearless

Table 4 shows that Moana possesses the film industry to take into account nine masculine traits and three and avoid being ‘perpetuators’ of feminine traits. This analysis shows gender stereotypes. Furthermore, that she is different from most female Moana denies Brannon’s (2016) main characters in children’s film statement that women who do not because her masculine traits dominate have the traditional characteristics of the feminine traits. As she is The Cult of True Womanhood will portrayed differently from other main have no real meaning in life and will characters of Disney’s films, such as not gain happiness and power. In the Snow White from Snow White and the film, Moana proves that even though Seven Dwarfs (1937), Cinderella she does not conform to the idea of from Cinderella (1950) and Princess “the cult of true womanhood”, she Aurora from Sleeping Beauty (1959), can still be powerful and happy. this can be seen as a step forward in Moana shows that she has the power children’s film. Such a portrayal to save her people and island. seems to indicate a positive attempt to Two previous studies, which fight against gender stereotyping in both analyzes Disney movies, are children’s film. This is important for particularly relevant to the present

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study. The study that was conducted decisive. And she is also portrayed as by Khairunnisa (2017) shows similar loving, nurturing, tender and results, but the one conducted by affectionate. As Evans and Davies Streiff and Dundes (2017) indicates (2009) and Copenhaver (2002) different findings their research propose several traits attached to each concludes that Moana (2016) does gender as a guidance, it can be seen perpetuate gender stereotypes that that Moana subverts female gender have been built by Disney. This stereotypes in Disney films. In seems to have occurred because addition, the finding also proves that Streiff and Dundes did not only focus Brannon’s (2016) statement is not on Moana, as they also analyzed other true, women who do not have the characters, such as Maui, Te Ka, and characteristics of The Cult of True Tamatoa. Despite some shifts of how Womanhood can be happy and also the main female character is powerful. portrayed in Moana, the male gender This movie shows that Disney stereotypes might still remain. try to avoid perpetuating gender stereotype. However, it only applied CONCLUSION to the main character. It might be This study aims to analyze how the different if it is applied into the whole main character is portrayed in the film character in the film such as Maui, Te and analyze the gender stereotypes Ka, or even Moana’s mother. attached to her. The study analyzes Furthermore, this study opens up a the portrayal of Moana by using possibility in the further research to characterization in films theory, and analyze not only the gender analyzes the gender stereotypes stereotypes attached to the main attached through gender stereotypes character, but also other characters. theory. The finding shows that Moana as the main character portrayed as REFERENCES someone who is brave, adventurous, Arnheim, R. (1957). Film as art. Berkeley: University of ambitious, rebellious, smart, self- California Press. reliant, fearless, assertive, and

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