Celeste Lacroix is the author of "Images of Animated Others: The Orientalization of Disney's Cartoon Heroines From The Little Mermaid to The Hunchback of Notre Dame".
This piece explores the orientalization of Disney characters. It outlines that the physique of the "exotic other" is emphasised in Disney films. These exotic characters, such as Pocahontas, are made more athletic, and clos eup shots draw attention to their figures. Also, they are oversexualized. As Pocahontas wears even a more provocative dress than the other tribes-women, with a shorter skirt, off the shoulder strap, and more figure hugging shape. Princess Jasmine certainly embodies the sexualized exotic other, with her revealing outfit (in an Arab country no less), and her sexual appeal playing a large role in the scenes with Jafar.
I do feel that Lacroix fails to sufficiently acknowledge that the physique of the ethically diverse princesses plays into the story far more than the original white princesses like Snow White, Cinderella, or Aurora. Pocahontas, for example, would have been more athletic, and stronger. And the tribes people did wear clothes very different to the fully covered, floor length dresses custom in Europe around the 18th century, where the first-wave princess films are based.
Lacroix also compares Esmeralda to Belle, writing that Esmeralda is "frequently shot in active sequences that emphasize the physical rather than the delicate frame that we see particularly in Belle". Well yes, look at it contextually. Belle is a studious character set in provincial France. The dress styles for Belle are very different from Esmerelda's, who is a gypsy. And Belle is not as athletic or active as Esmerelda, though she does still ride her horse, and try to fight off a wolf pack. And while Belle is not overly-sexualized, other white females in The Beauty and The Beast are. Particularly the three blonde, French maiden who swoon after Gaston. They are more provocatively dressed and voluptuously animated. And here, race plays no role in their sexualization, it is more the role of the story line that affects this.
I found particularly interesting Lacroix's interpretation that Disney seeks to "maintain the invisibility of the construction of whiteness". That what it is to be a white woman is defined through the perpetual representations of asexual, demure, generally passive with a touch of rebellion, romance orientated women. Lacroix agrees with other authors, like Nakayama and Krizek, that the exposure of naturalization of whiteness is as important as the exploration of of the construction of otherness.
Overall, I think Lacroix raises an interesting and important argument, even if I think it has some weaknesses. This certainly was an interesting read, and I enjoyed looking at the films from this perspective.
Decoding Disney
Tuesday, April 26, 2016
Have Disney Movies Gone Too Dark?
Have Disney Movies Gone Too Dark?
I don't think so.
And neither would Peggy Orenstein, who believes that Disney are actually still too soft, and who, in fact, reads the Grimm Brothers' tales to her young daughter....though undoubtedly the animated versions of the Grimm stories would be far more damaging than just the words!
Tangled
The video narrator first analyses Tangled, which is based on a grim story indeed, as a young girl is kidnapped and locked away in a tower. Though, the Grimm version does have a happy ending, and in fact isn't even too gruesome. Yes, a girl has been locked away, and the prince falls from the tower and is blinded by the thorn bush that breaks his fall....but Rapunzel manages to escape the tower, and finds her love blindly wandering the forest. As she weeps into his eyes, her tears heal his sight, and the two of them run away to live happily every after. Mother Gothel, Rapunzel's captor, is not maimed or killed. She is just left. This story is also one with greatest equality. Both Rapunzel and her prince work to rescue each other. And Rapunzel manages to escape her tower, and save her prince's eye sight, making her an active protagonist, and not just a damsel in distress.
"Again teaching kids that an upbeat attitude and love can heal even decades long kidnappings may not be the most healthy message. But the moral of the story is a good one, be prepared to take risks and you'll do just fine" - narrator
Although I do agree that Disney films contain dark content - particularly such instances as the Shadow master in The Princess and the Frog - I believe that a lot of the darkness or perhaps seemingly inappropriate content just goes over the child's head. This not only makes the film more interesting for parents / older viewers, but it could be argued also helps children's developments as they view conflicts, or dark scenarios, even subconsciously.
Like Mufasa dying in The Lion King might make some teenagers cry! But often is just accepted by young children. This is a dark, and upsetting scene, but it teaches children how to handle death and understand the circle of life.
Frozen
In the analysis of Frozen, the narrator criticizes how Elsa is told to "conceal don't feel", arguing that children should, in fact, be taught the opposite of this. And I agree. But I feel the narrator has failed to acknowledge that this is the whole point of the film! Frozen does teach that we should embrace who we are, and not be shut up in exile because we're different or afraid. We should take control of our lives and embrace our gifts. This is shown as when Elsa does embrace her powers and stops living in fear, the beauty of her ice powers is revealed in the creation of her ice palace. And happiness is restored and the Kingdom saved when Elsa learns to love herself.
"everything before it seems like a dark story of terrible parents and pain...not exactly a Disney classic" - narrator
I fully agree with this statement. But this is exactly what makes Frozen so realistic, relatable and therefore so popular! Elsa overcomes a childhood of oppression and truly finds herself as an adult. Elsa works through the separation driven between her and her sister and finds love can solve many of her problems. She overcomes exile, charges of treason, and plots to murder her. Yes, this is a dark film. But I would not at all say that is too dark. And this can be supported by the film's popularity with people of all ages. As Disney addresses these darker themes, it helps children to process difficulties they might encounter. Now while I don't mean to say that every little girl has to encounter exile for possessing magical powers, many will have to deal with sibling conflicts, over-controlling parents, hormonal changes (swirling storm inside), and perhaps anxiety issues. Elsa serves as a role model for children growing up. Her realistic struggles make her relatable, allowing the viewers to better understand the message, that they should accept themselves to find happiness, and that the power of love should not be underestimated.
Zootopia
Yes, this does contain dark references. But this is because it very accurately reflects many issues faced by society today (from drug problems, to racial tensions). The narrator does admit that some of these darkest references will go over the heads of innocent, young children, but suggests that a post-viewing discussion is almost necessary to explain many of the concepts. For a child of an appropriate age, I think some real-world discussions could be beneficial, and this film serves as an opener. For younger children, just the messages of not judging people based on their ancestors or eating habits etc. is a good start!
I love Zootopia's link to Breaking Bad. Ok so, Jesse and Woolter make a special blue substance in their basement that makes the animals go crazy.....hmmm....sound familiar? Now, when the children have learnt their lessons from Zootopia and grown up, they can enjoy Jesse and Walter White's version....now that's certainly something a little darker! So I guess that helps to put Disney in perspective! They tackle these real-world issues, in the safe setting of an animated animal world. I say well done Disney, and keep at it. You've not got too dark yet!
Monday, April 25, 2016
Disney Princes
Well...we've heard enough about the Disney Princesses already...so how about some Disney Princes?
This video (published April 17th, 2016) counts down the top 10 Disney Princes.
10. Prince Florian - Snow White and The Seven Dwarves
This Prince is introduced singing to Snow White in her garden. He is Disney's original Prince.
This video acknowledges that the Prince plays a MINOR role in the film, but still finds him crucial in the role of "true love's first-kiss" and Disney's notion of romance that follows.
9. Flynn Rider - Tangled
Now I'm a little surprised Flynn Ryder - a.k.a. Eugene Fitzgerald - is only number 9 on their list! This video acknowledges he's a bad boy with a dashing smile, and hints at his sensitive past, but there's a lot more to Flynn that they don't acknowledge. It's such a stark contrast from the Prince in Snow White, who has less than 5 minutes screen time, is followed directly by Flynn, who is such an integral part of Tangled. Flynn is funny and interesting. He undergoes changes throughout the film, as he shows his sensitive side to Rapunzel, reveals to her the truth about his past, and begins to care about more than wealth - evident as he tries to give the crown to the other smugglers, knowing he only needs Rapunzel to find his happiness.
8. Hercules
7. Prince Phillip - Sleeping Beauty
One of the handful of Disney Prince's to be born into royalty.
6. Kristoff - Frozen
(Not technically a Prince...he doesn't marry Anna). But I do think he's a good 'en. He sure knows how to have an adventure and helps Anna
5. Prince Charming - Cinderella
I believe that, for a long time, when someone thought of a Disney Prince, they'd think of Prince Charming. The typical, eligible, handsome Prince. But now I think we've passed that. I would easily rank our newer options, like Kristoff or Flynn, above the birth-right royal, mild Prince Charming. He's from Disney's era gone by. The olf style of Prince. Boring. Bland. Barely does or says anything....let alone interact with the Princess. And even if you look at his story line...he dances away with his beautiful Cinderella...but then can use only a shoe to find her again!? ....does he even remember her face...? Yes, I understand it's a big Kingdom, and his father takes it to the extreme that the Prince shall marry whomever the shoe fits...so good think it's a magic shoe that only fits our Cinderella! But still....c'mon!?
4. Simba - The Lion King
Ok, I love The Lion King....I love Simba. I approve! Great music. Great story line. The little Prince is tricked by his uncle, but here sure does have one big come back! And when Simba returns to save his lands and his people, he does so in style.
3. Prince Eric - The Little Mermaid
Hm, I don't agree that Eric should be ranked quite so highly. While he's better than Prince Charming, or Snow White's Prince, he doesn't beat Simba, Flynn, or Kristoff in my books! I agree with the video commentary that he is "kind, considerate, and generally respectful".
2. The Beast - Beauty and The Beast
....eurgh...what!? Ok, the Beast changes in the end once Belle gets through to him. But he begins as a vulgar beast...personality wise, which is why he is then turned into a physical beast to match this. He was selfish, and cruel, and turned away a beggar woman because she was old, and ugly, when he had so many means to help her. He locks away Belle's father, then accepts her as a trade. He is abusive and aggressive. Yes, Belle teaches him to leave. She teaches him to be gentle. And as The Beats falls in love with Belle, his nature changes. But he's hardly 2nd place material!
Honorable Mentions:
Prince Naveen - The Princess and the Frog
Prince Edward - Enchanted
Capt. Li Shang - Mulan
John Smith - Pocahontas
1. Aladdin - Aladdin
The rags to riches Prince. This is his story. So it's not surprising that he wins. This story follows his life, and his journey, so he will be one of the princes with the most developed character, the most notable personality, and the most memorable story. Though arguable, the first wave Princes - Naveen, Flynn, and Kristoff, are just as realized.
This video (published April 17th, 2016) counts down the top 10 Disney Princes.
10. Prince Florian - Snow White and The Seven Dwarves
This Prince is introduced singing to Snow White in her garden. He is Disney's original Prince.
This video acknowledges that the Prince plays a MINOR role in the film, but still finds him crucial in the role of "true love's first-kiss" and Disney's notion of romance that follows.
9. Flynn Rider - Tangled
Now I'm a little surprised Flynn Ryder - a.k.a. Eugene Fitzgerald - is only number 9 on their list! This video acknowledges he's a bad boy with a dashing smile, and hints at his sensitive past, but there's a lot more to Flynn that they don't acknowledge. It's such a stark contrast from the Prince in Snow White, who has less than 5 minutes screen time, is followed directly by Flynn, who is such an integral part of Tangled. Flynn is funny and interesting. He undergoes changes throughout the film, as he shows his sensitive side to Rapunzel, reveals to her the truth about his past, and begins to care about more than wealth - evident as he tries to give the crown to the other smugglers, knowing he only needs Rapunzel to find his happiness.
8. Hercules
7. Prince Phillip - Sleeping Beauty
One of the handful of Disney Prince's to be born into royalty.
6. Kristoff - Frozen
(Not technically a Prince...he doesn't marry Anna). But I do think he's a good 'en. He sure knows how to have an adventure and helps Anna
5. Prince Charming - Cinderella
I believe that, for a long time, when someone thought of a Disney Prince, they'd think of Prince Charming. The typical, eligible, handsome Prince. But now I think we've passed that. I would easily rank our newer options, like Kristoff or Flynn, above the birth-right royal, mild Prince Charming. He's from Disney's era gone by. The olf style of Prince. Boring. Bland. Barely does or says anything....let alone interact with the Princess. And even if you look at his story line...he dances away with his beautiful Cinderella...but then can use only a shoe to find her again!? ....does he even remember her face...? Yes, I understand it's a big Kingdom, and his father takes it to the extreme that the Prince shall marry whomever the shoe fits...so good think it's a magic shoe that only fits our Cinderella! But still....c'mon!?
4. Simba - The Lion King
Ok, I love The Lion King....I love Simba. I approve! Great music. Great story line. The little Prince is tricked by his uncle, but here sure does have one big come back! And when Simba returns to save his lands and his people, he does so in style.
3. Prince Eric - The Little Mermaid
Hm, I don't agree that Eric should be ranked quite so highly. While he's better than Prince Charming, or Snow White's Prince, he doesn't beat Simba, Flynn, or Kristoff in my books! I agree with the video commentary that he is "kind, considerate, and generally respectful".
2. The Beast - Beauty and The Beast
....eurgh...what!? Ok, the Beast changes in the end once Belle gets through to him. But he begins as a vulgar beast...personality wise, which is why he is then turned into a physical beast to match this. He was selfish, and cruel, and turned away a beggar woman because she was old, and ugly, when he had so many means to help her. He locks away Belle's father, then accepts her as a trade. He is abusive and aggressive. Yes, Belle teaches him to leave. She teaches him to be gentle. And as The Beats falls in love with Belle, his nature changes. But he's hardly 2nd place material!
Honorable Mentions:
Prince Naveen - The Princess and the Frog
Prince Edward - Enchanted
Capt. Li Shang - Mulan
John Smith - Pocahontas
1. Aladdin - Aladdin
The rags to riches Prince. This is his story. So it's not surprising that he wins. This story follows his life, and his journey, so he will be one of the princes with the most developed character, the most notable personality, and the most memorable story. Though arguable, the first wave Princes - Naveen, Flynn, and Kristoff, are just as realized.
Friday, April 22, 2016
Cinderella Ate My Daughter Chapter 10
"Girl Power - No, Really" is Chapter 10 of Peggy Orenstein's book Cinderella Ate My Daughter.
This is the final chapter of the book. This chapter begins by looking at the latest Disney Princess film (as of the writing of this book), The Princess and The Frog. Orenstein discusses how race plays into this film, giving anecdotes from her African-American friend who says black girls need to aspire to be princesses to help remove them from the realm of the "worker bee". Orenstein highlights how Disney consulted experts like Oprah, and the NAACP, among other organizations, to avoid the brunt of the inevitable backlash at this film.
With the character of Lotte, Disney mock the idea of princess - showing how ridiculous it can be to live you life for the sole purpose of marrying a prince. This overly verbose, dramatic, princess-obsessed girl can serve as a warning against pursuing life as a princess. However, as evident in Orenstein's eanecdote, Lotte embodies 'princess' far more than Tiana. Daisy, Orensteins daughter, refers to Lotte when she speaks about the princess in this film, as Lotte embodies all the stereotypes already ingrained in the child's mind. Lotte wears nice dresses, and is at a point of privilege, with her immense wealth allowing her leisure. She throws balls, she wears a tiara, she is pink obsessed, and she dances with a prince. So you can hardly blame the child for thinking her a princess!
In this final chapter, Orenstein tries to bring together her book, explaining that she doesn't have all the answers to raising her child in a perfect way. That, while she strives to protect Daisy from "the marketers' land-grab" (183), she hasn't achieved the peerfect activity balance with walks outside and crafts. Orenstein reiterates alternatives she finds to the commercial princess line, including Papo figurines, and Hayao Miyazaki films (famous films like Laputa: The Castle in the Sky, and Kiki's Delivery Service).
Orenstein discusses the future of Disney, speculating about Brave and Tangled that were yet to be released. Orenstein accurately depicts that Tangled will not too closely resemble the old fairytale Rapunzel, and goes on to explain the story of Rapunzel. However, I disagree with a contrast Orenstein makes between Ariel and Rapunzel. In Rapunzel, a prince hears her singing, and falls immediately in love with her before laying eyes on her. Orenstein conjectures that "that makes Rapunzel the inverse of Ariel - she is loved sight unseen because of her voice" (191). While you could argue that Eric falls in love with the voiceless Ariel by spending time with her and focusing on her appearance and body-language - though her personality certainly shines through even without a voice (as she brushes her hair with a fork, takes the reins in the carriage, explores the town etc.), and Eric often smiles at her for this. It is undeniable that Eric first fell in love with Ariel's voice, when he heard her sing, but didn't see her face. So I don't think Orenstein added anything to her argument by include this point that Ariel is the "inverse" of Rapunzel in this respect, and, in fact, I think this inclusion only opens her argument up to criticism.
Orenstein uses Grimm's Rapunzel as a final teaching point for parents, that they should not smother or restrain their child too much.
"[O]ur role is not to keep the world at bay but to prepare our daughters so they can thrive within it" (192)
While I diagree with much of what Orenstein has to say, and cringe at her harsh criticisms of Disney, and her over-controlling nature with her daughter, I do like this final chapter of hers. It ties together nicely, speaking of the sort of mother she wishes to be - like the hazel branch - and that she uses as a cautionary tale - Mother Gothel. I agree with Orenstein's conclusions and her vague and poetic final paragraph, that succintly sums up everything you need to do to most successfully raise your daughter, without an inclination of what it means or how to do it...but yes, the sentiment is perfect. I suppose you are supposed to implement many techniques Orenstein describes in her previous chapters, but I disagree with most of these (like trying to fight off the princess culture etc.).
This is the final chapter of the book. This chapter begins by looking at the latest Disney Princess film (as of the writing of this book), The Princess and The Frog. Orenstein discusses how race plays into this film, giving anecdotes from her African-American friend who says black girls need to aspire to be princesses to help remove them from the realm of the "worker bee". Orenstein highlights how Disney consulted experts like Oprah, and the NAACP, among other organizations, to avoid the brunt of the inevitable backlash at this film.
With the character of Lotte, Disney mock the idea of princess - showing how ridiculous it can be to live you life for the sole purpose of marrying a prince. This overly verbose, dramatic, princess-obsessed girl can serve as a warning against pursuing life as a princess. However, as evident in Orenstein's eanecdote, Lotte embodies 'princess' far more than Tiana. Daisy, Orensteins daughter, refers to Lotte when she speaks about the princess in this film, as Lotte embodies all the stereotypes already ingrained in the child's mind. Lotte wears nice dresses, and is at a point of privilege, with her immense wealth allowing her leisure. She throws balls, she wears a tiara, she is pink obsessed, and she dances with a prince. So you can hardly blame the child for thinking her a princess!
In this final chapter, Orenstein tries to bring together her book, explaining that she doesn't have all the answers to raising her child in a perfect way. That, while she strives to protect Daisy from "the marketers' land-grab" (183), she hasn't achieved the peerfect activity balance with walks outside and crafts. Orenstein reiterates alternatives she finds to the commercial princess line, including Papo figurines, and Hayao Miyazaki films (famous films like Laputa: The Castle in the Sky, and Kiki's Delivery Service).
Orenstein discusses the future of Disney, speculating about Brave and Tangled that were yet to be released. Orenstein accurately depicts that Tangled will not too closely resemble the old fairytale Rapunzel, and goes on to explain the story of Rapunzel. However, I disagree with a contrast Orenstein makes between Ariel and Rapunzel. In Rapunzel, a prince hears her singing, and falls immediately in love with her before laying eyes on her. Orenstein conjectures that "that makes Rapunzel the inverse of Ariel - she is loved sight unseen because of her voice" (191). While you could argue that Eric falls in love with the voiceless Ariel by spending time with her and focusing on her appearance and body-language - though her personality certainly shines through even without a voice (as she brushes her hair with a fork, takes the reins in the carriage, explores the town etc.), and Eric often smiles at her for this. It is undeniable that Eric first fell in love with Ariel's voice, when he heard her sing, but didn't see her face. So I don't think Orenstein added anything to her argument by include this point that Ariel is the "inverse" of Rapunzel in this respect, and, in fact, I think this inclusion only opens her argument up to criticism.
Orenstein uses Grimm's Rapunzel as a final teaching point for parents, that they should not smother or restrain their child too much.
"[O]ur role is not to keep the world at bay but to prepare our daughters so they can thrive within it" (192)
While I diagree with much of what Orenstein has to say, and cringe at her harsh criticisms of Disney, and her over-controlling nature with her daughter, I do like this final chapter of hers. It ties together nicely, speaking of the sort of mother she wishes to be - like the hazel branch - and that she uses as a cautionary tale - Mother Gothel. I agree with Orenstein's conclusions and her vague and poetic final paragraph, that succintly sums up everything you need to do to most successfully raise your daughter, without an inclination of what it means or how to do it...but yes, the sentiment is perfect. I suppose you are supposed to implement many techniques Orenstein describes in her previous chapters, but I disagree with most of these (like trying to fight off the princess culture etc.).
Disney's Global Presence
The Disney corporation is a global phenomenon. With theme parks in America (California and Florida), France, Tokyo, China, and Hong Kong.
Frozen's (2013) "Let It Go" was translated into 41 different languages...that's a far greater reach than The Lion King's (1994) 15 languages...which is still arguably a lot for 1994.
This Map shows where every animated Disney film (as of November 2014) is based!
And they sure do span the globe.
Disney's upcoming princess film, Moana, focuses on a Polynesian princess, further extending this global reach, and appealing to a wider audience.
Wednesday, April 20, 2016
Disney Dolls
Disney Dolls....or more specifically princess dolls...are a guaranteed sale these days, so of course it's only natural for a set of 'limited edition' dolls to be on pre-order sale for $649.75!!!!!
Well, hey, that's less than $650...before tax...so a bargain right!?
Tangled
"I'm a despicable human being"
"This is the best day evveeerrr"
Tangled is, in my opinion, a hilarious, creative, heart-warming film, that's just enjoyable to watch.
I first watched it staying at a friend's house. She'd just got the DVD for her 16th birthday....she requested it from her parents...and was astounded that I'd never seen the film before, so she put it straight on for me. I immediately LOVED it, and we had inside jokes, quotes, and references to this film ever since (one of our favorites being "I'm a despicable human being", which we'd use any time we did something horrendous!).
Maximus is hilarious. The chameleon, though mute, plays a key role as Rapunzel's companion; entertaining Rapunzel, and interacting with Flynn Rider a.k.a Eugene Fitzgerald.
The songs are beautiful.
This film, like all third wave princess films, is targeted not only at young children, but at teenagers and even adults. This is very effective marketing on Disney's part. They make one film, and everyone goes to the movies to see it, buys it on DVD, downloads the songs, and takes on the merchandise. Well played Eisner....well played.
Rapunzel is intelligent, resourceful, quirky, humorous, brave, conscientious, and wholly lovable.
She pulls off immense feats with her hair, and I find it such a shame she lost her beautiful, magical hair at the end of the film. It happened so suddenly. And I understand that Flynn/Eugene cut Rapunzel's hair for her own good, so that Mother Gothel wouldn't steal her away and take over her life. And in doing so, he sacrificed his own chance of survival. But...still...her hair was such a big part of her, and it was just gone, just like that, without Rapunzel having a say in it. Thankfully, her magical tears still managed to save Eugene, but she doesn't posses the powers she once did.
Which is a shame. She could have helped many people with her magical hair. Just like it was a shame it took the whole flower in the first place to save the Queen, rather than the healing powers being shared...it clearly wasn't running out if Mother Gothel had been using it for hundreds of years already.
I do like the new story Disney created, with the magic flower etc.
The songs are beautiful.
This film, like all third wave princess films, is targeted not only at young children, but at teenagers and even adults. This is very effective marketing on Disney's part. They make one film, and everyone goes to the movies to see it, buys it on DVD, downloads the songs, and takes on the merchandise. Well played Eisner....well played.
Rapunzel is intelligent, resourceful, quirky, humorous, brave, conscientious, and wholly lovable.
She pulls off immense feats with her hair, and I find it such a shame she lost her beautiful, magical hair at the end of the film. It happened so suddenly. And I understand that Flynn/Eugene cut Rapunzel's hair for her own good, so that Mother Gothel wouldn't steal her away and take over her life. And in doing so, he sacrificed his own chance of survival. But...still...her hair was such a big part of her, and it was just gone, just like that, without Rapunzel having a say in it. Thankfully, her magical tears still managed to save Eugene, but she doesn't posses the powers she once did.
Which is a shame. She could have helped many people with her magical hair. Just like it was a shame it took the whole flower in the first place to save the Queen, rather than the healing powers being shared...it clearly wasn't running out if Mother Gothel had been using it for hundreds of years already.
I do like the new story Disney created, with the magic flower etc.
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