Decoding Disney
Friday, March 4, 2016
Beauty and The Beast
Summary: An arrogant and handsome young Prince is transformed into a Beast after being unkind to an enchantress posed as a beggar woman. His whole palace is put under a spell and the Beast lives in isolation. Belle, a bright, young, brave and adventurous villager, starts to change the Beast's heart and teach him to be gentle again, after she takes her father's place as captive. Belle must also deal with village's most eligible bachelor, Gaston, an intolerable man, who values Belle only for her beauty and not her brains.
It is evident from the out-set that Belle is part of the 2nd wave pdeudo-feminist Disney Princesses. She is intelligent and loves to read, she longs for more in life and is not content to simply be a wife and mother - which was the primary role of the previous first-wave Princesses, Snow White, Cinderella, and Aurora. Quite the contrary, Belle is repulsed by the supposedly most eligible bachelor in town, Gaston, who plots to marry her. He doesn't respect her intelligence, thinking, as the villagers do, that Belle is strange for reading. But, Belle is the prettiest girl in town, so Gaston feels entitled to her. Here, Disney uses - just as they do in many films - the villain to speak in a misogynistic way. This is the fine line between perpetuating old-fashioned ideas of inequality and highlighting them as bad as it is the villain who most noticeably criticizes Belle for reading, and he is the baddie, so what he says is bad and shouldn't be agreed with. In a child's mind, the latter is arguably the case; Good characters say good things, bad characters say bad things and shouldn't be trusted. As children like Belle, the heroin of the story, they'll think she's right, and defend her views of the villagers disapproval of reading. After all, these same villagers mock Belle's father and later come to send him to an asylum and kill the Beast, who the children have now viewed as a gentler and more loving character. So again, villagers are bad and shouldn't be paid attention to. Despite this notion, it can't simply be ignored that there remains a perpetual oppression of women throughout Disney films...and perhaps it is damaging for young children to constantly hear, for example, that women are strange if they read. Even subliminally, this seed is then planted in their minds and may becoming more apparent around middle-school age, when children are desperate to 'fit in'.
Though Gaston's views are very far out there, and he is intentionally mocked by Belle and throughout the film.
Gaston: It's not right for a woman to read. Soon she starts getting *ideas*, and *thinking*...
Belle: Gaston, you are positively primeval.
Gaston: Why thank you, Belle. What would you say if you and I took a walk over to the tavern and took a look at my trophies?
He thinks takes being called "primeval" as a compliment, though it is clearly meant to mean that he is backward and stuck in the past, and he is also repulsively arrogant, "I'd like to thank you all for coming to my wedding. But first I'd better go in there and propose to the girl.". Which only backfires on him, as Belle refuses and kicks him out her house, and Gaston is left in the mud with the pigs.
So, Gaston is our "primeval" villain who arrogantly spouts misogynistic garbage, and he is the baddy who the children will not identify with...but the villagers all love Gaston, they hang on his every word, and he is idealized. So yes, although the villagers are also seen as naive, persuasive figures who become wrapped up in Gaston's scheming, this ties in directly with children as they grow up. When they reach middle-school age, they want to fit in, and naively follow the popular opinion, lead by the idol of the area.....so now Gaston's harmless misogyny doesn't quite seem so easy to shrug off.
It is evident from the out-set that Belle is part of the 2nd wave pdeudo-feminist Disney Princesses. She is intelligent and loves to read, she longs for more in life and is not content to simply be a wife and mother - which was the primary role of the previous first-wave Princesses, Snow White, Cinderella, and Aurora. Quite the contrary, Belle is repulsed by the supposedly most eligible bachelor in town, Gaston, who plots to marry her. He doesn't respect her intelligence, thinking, as the villagers do, that Belle is strange for reading. But, Belle is the prettiest girl in town, so Gaston feels entitled to her. Here, Disney uses - just as they do in many films - the villain to speak in a misogynistic way. This is the fine line between perpetuating old-fashioned ideas of inequality and highlighting them as bad as it is the villain who most noticeably criticizes Belle for reading, and he is the baddie, so what he says is bad and shouldn't be agreed with. In a child's mind, the latter is arguably the case; Good characters say good things, bad characters say bad things and shouldn't be trusted. As children like Belle, the heroin of the story, they'll think she's right, and defend her views of the villagers disapproval of reading. After all, these same villagers mock Belle's father and later come to send him to an asylum and kill the Beast, who the children have now viewed as a gentler and more loving character. So again, villagers are bad and shouldn't be paid attention to. Despite this notion, it can't simply be ignored that there remains a perpetual oppression of women throughout Disney films...and perhaps it is damaging for young children to constantly hear, for example, that women are strange if they read. Even subliminally, this seed is then planted in their minds and may becoming more apparent around middle-school age, when children are desperate to 'fit in'.
Though Gaston's views are very far out there, and he is intentionally mocked by Belle and throughout the film.
Gaston: It's not right for a woman to read. Soon she starts getting *ideas*, and *thinking*...
Belle: Gaston, you are positively primeval.
Gaston: Why thank you, Belle. What would you say if you and I took a walk over to the tavern and took a look at my trophies?
He thinks takes being called "primeval" as a compliment, though it is clearly meant to mean that he is backward and stuck in the past, and he is also repulsively arrogant, "I'd like to thank you all for coming to my wedding. But first I'd better go in there and propose to the girl.". Which only backfires on him, as Belle refuses and kicks him out her house, and Gaston is left in the mud with the pigs.
So, Gaston is our "primeval" villain who arrogantly spouts misogynistic garbage, and he is the baddy who the children will not identify with...but the villagers all love Gaston, they hang on his every word, and he is idealized. So yes, although the villagers are also seen as naive, persuasive figures who become wrapped up in Gaston's scheming, this ties in directly with children as they grow up. When they reach middle-school age, they want to fit in, and naively follow the popular opinion, lead by the idol of the area.....so now Gaston's harmless misogyny doesn't quite seem so easy to shrug off.
Sunday, February 28, 2016
Mulan
Disney's Mulan (1998) is a tale based on Chinese legends, depicting a brave woman who takes her injured father's place to serve in the army. Posing as a man, Ping, she uses her intelligence and determination to save all of China and bring honor to her family.
In contrast to Disney's other heroines, Mulan is active from the start, even from the opening scenes as she rides into town on her horse, bareback, and jumps off. It shown by her experience at the Matchmakers that she never fit societal expectations for an ideal woman from the start.
Mulan is too adventurous, too active and brave to be a passive wife - her role better fits being a warrior and saving China.
Mulan has a loving mother and grandmother, motherly figures the first wave Princesses never had, and a good home life. She is treated well, and only suffers oppression all woman at that time experienced, such as role in bringing honor to the family measured only through her abilities as a wife.
Through this film, young girls can see a true heroine to look up to. Mulan shows improvement in her fighting skills and good characteristics such as perseverance, endurance and strength through her intensive training.
"Trust my recipe for instant Bride, you'll bring honor to us all" - she is too look a certain way to get a husband and the only way it was expected for a woman to bring pride to a household was with a good match....that is until Mulan saves all of China...that brings Pride too.
Mulan shows her intelligence from the start, not only from her sly ingenuity to get out of household chores by attaching a bag of feed and a bone on a string to her dog, but also in town when she moves the checker piece to help a man beat his opponent in the game, just as she's being hurried from having her hair done to putting on make-up and clothes.
"men want girls with good taste,
calm, obedient, who work fast paced,
with good breeding and a tiny waist,
you'll bring honor to us all"
"scarier than the undertaker, we are meeting our match-maker"
With the match-maker Mulan is immeditaely in trouble for "speaking without permission" when she proudly announces that she is present after her name is called.
All of this shows that the expectations for women at the time were simply to be good daughters and wives. With Mulan's couragous adventure, this entire notion is undermined. Mulan shows she is just as capable as the men in the army, and if fact even more so, as it is her bravery and ingenuity that saves China twice, first at the mountains, and finally at the Emperor's palace.
Mulan doubts herself as she sings "Reflection" and questions "when will my reflection show, who I really am". She is upset that she has brought shame to her family by not impressing the match-maker and doesn't feel she can be her true self, though her father is supportive, explaining that "the late-blooming blossom is the most beautiful of all".
This moment is interrupted by the arrival of the conscription army, at which point Mulan is told to stay inside, but the encouragement of her grandmother, Mulan climbs the roof to see what's going on, again displaying her curiosity and athleticism. Mulan is strong willed and free speaking, she is brave to stand up against the officials to try to save her injured and elderly father from battle, but this is not received well: "you will do well to teach your daughter to hold her tongue in a man's presence"
Despite Mulan's continually repression, she is ever brave and strong-willed, showing girls do have power.
There are many gender stereotypes in this film, that I believe are intentionally included for humor and played on to highlight the insignificant differences between men and woman, as Mulan successfully integrates herself into the male society, posing as a man. So while the differences are highlighted, it is shown that the gender difference does not prevent Mulan from achieving success when she is given the same chances as males.
Such stereotypes include:
Mulan: "they're disgusting"
Mushu: "no, they're men"
Mushu: "punch him, that's how men say hello"
Mulan: "those manly urges when you just gotta kill something, fix something, cook outdoors"
Just as Mulan is being kicked out of the training camp for failing all the tasks, she uses her intelligence and perseverance to climb the pole, using the weights to aid her, and retrieve the arrow. Through this task, she earns the respect of the other men and now excels in all the training tasks. She has proven that a woman is just as capable (though of course her identity remains secret).
In "A Girl Worth Fighting For" Mulan puts forward the qualities she would like in a woman, "how bout a girl who's got a brain who always speaks her mind", to which the males simply replied, "Nah" and day dreamed of pretty girls, or good cooks. Again, showing that the males are seen to value only domestic qualities in women and that nothing more is expected from them. This is a recurrent theme throughout the movie, but Mulan breaks down these views and by the end a change in attitude is certainly shown...it only took a woman to save all of China to get there!
Mulan used her intelligence to defeat the army by blasting the last rocket into the mountains to cause an avalanche, and she goes after Shang to save him, all while suffering from a wound.
The men cheer "let's hear it for Ping, the bravest of them all", but this tone quickly changes when, after receiving medical attention, it is discovered she is a woman. While usually posing as a man in the army would be punishable by death, Shang spares Mulan, "a life for a life".
Though disheartened, Mulan is too brave to return home when she knows China still needs saving. But now, as a woman, "no one will listen" to Mulan and Mushu puts it to her best, "Hey, you're a girl again remember?".
The men don't listen to Mulan, even though she's right about the Huns.
When the Emperor is snatched, the men try to ram the door, which she knows won't be quick enough, so she comes up with an idea to get them in. Now the men follow her, showing their respect for her and trust in her judgement.
Once the emperor was saved, Mulan could have fled to safety, but she bravely stayed to save Shang and defeat Shan Yu, leader of the Huns.
Mulan fights Shan Yu herself, showing skill, agility, strength and intelligence. She executes her plan perfectly and saves all of China.
Shang recognizes Mulan's great success, acknowledging "She's a hero", but still there are opponents to a woman with such power. Chi-Fu, who is not well-liked throughout the film, argues "She's a woman, she'll never be worth anything". Mulan's army comrades come to her defense and Shang is angered by how Chi-Fu speaks about Mulan. These reactions are Disney's way of showing that powerful women are accepted and esteemed, no longer repressed and punished. This is further emphasized as 'All of China, bow down to her, following the Emperor's lead. The Emperor sought to make her a member of his council, showing he respects and trusts the views of a woman and believes she is capable of fulfilling such an important position. Mulan, however, respectfully declines as she's ready to go home, so the Emperor gives her his Crest and the sword of Shan Yu, so her family will know what honor she brings and so all of China will know she has saved them.
"The flower that blooms in adversity is the most rare and beautiful of all" - Emperor
This is not your typical Disney love story, but I find it empowering that Mulan can be a real heroine, saving all of China, and still have a man respect and love her, coming to her home shyly and awkwardly to show his affection. There is no magic true love's kiss, no palace she's whisked away to, far better, Mulan has earned the respect of everyone, has proven her worth, become her country's hero, returned safely home to her family, and gets the man she wants. Now that's a happy ending.
It is interesting that Disney include Mulan in their Princess line, when she is neither royalty nor does she marry into it, but hey, I'm glad there's an action-intensive, amazing woman who's being portrayed as a role model to children.
Unlike the Disney movie, the origins of Mulan's story explain that she was already proficient with weapons and trained in martial arts when she took her father's place in the army at the age of 18. She fought for 12 years, but turned down rewards and high ranking positions in favor of returning to a quiet life at home.
The legend of Mulan was first documented in The Ballad of Mulan, and then given more details in Xu Wei's play, The Heroine Mulan Joins the Army in Place of her Father (1368-1644). Interesting comparisons between Disney's version and this play as well as some great GIFs can be found here.
The Ballad of Mulan:
Tsiek tsiek and again tsiek tsiek, Mu-lan weaves, facing the door. You don't hear the shuttle's sound, You only hear Daughter's sighs. They ask Daughter who's in her heart, They ask Daughter who's on her mind. "No one is on Daughter's heart, No one is on Daughter's mind. Last night I saw the draft posters, The Khan is calling many troops, The army list is in twelve scrolls, On every scroll there's Father's name. Father has no grown-up son, Mu-lan has no elder brother. I want to buy a saddle and horse, And serve in the army in Father's place." In the East Market she buys a spirited horse, In the West Market she buys a saddle, In the South Market she buys a bridle, In the North Market she buys a long whip. At dawn she takes leave of Father and Mother, In the evening camps on the Yellow River's bank. She doesn't hear the sound of Father and Mother calling, She only hears the Yellow River's flowing water cry tsien tsien. At dawn she takes leave of the Yellow River, In the evening she arrives at Black Mountain. She doesn't hear the sound of Father and Mother calling, She only hears Mount Yen's nomad horses cry tsiu tsiu. She goes ten thousand miles on the business of war, She crosses passes and mountains like flying. Northern gusts carry the rattle of army pots, Chilly light shines on iron armor. Generals die in a hundred battles, Stout soldiers return after ten years. On her return she sees the Son of Heaven, The Son of Heaven sits in the Splendid Hall. He gives out promotions in twelve ranks And prizes of a hundred thousand and more. The Khan asks her what she desires. "Mu-lan has no use for a minister's post. I wish to ride a swift mount To take me back to my home." When Father and Mother hear Daughter is coming They go outside the wall to meet her, leaning on each other. When Elder Sister hears Younger Sister is coming She fixes her rouge, facing the door. When Little Brother hears Elder Sister is coming He whets the knife, quick quick, for pig and sheep. "I open the door to my east chamber, I sit on my couch in the west room, I take off my wartime gown And put on my old-time clothes." Facing the window she fixes her cloudlike hair, Hanging up a mirror she dabs on yellow flower powder She goes out the door and sees her comrades. Her comrades are all amazed and perplexed. Traveling together for twelve years They didn't know Mu-lan was a girl. "The he-hare's feet go hop and skip, The she-hare's eyes are muddled and fuddled. Two hares running side by side close to the ground, How can they tell if I am he or she?"
http://www.chinapage.com/mulan-e.html
Further Readings on the Legend of Mulan:
https://en.wikipedia.org/wiki/Hua_Mulan
http://ancientstandard.com/2011/06/17/the-real-story-of-mulan/
Saturday, February 27, 2016
The Princess and the Magic Kingdom
The Princess and the Magic Kingdom: Beyond Nostalgia, the Function of the Disney Princess is an article by Rebecca-Anne C. Do Rozario. It discusses the Princesses' roles in their Kingdom's, exploring interesting relationships between women within the Disney films and how female authority effects this.
The Disney Princesses don't experience your typical motherly relationship. Quite to the contrary, the role of mother and grandmother is replaced by step-mother and fairy godmother to erase familial bonds and, instead, represent socially constructed relationships.
Additionally, there is a wicked maternal substitute, such as The Evil Queen, Cinderella's Step-Mother, and Maleficent. This relationship plays on the power and authority between the wicked figure and the Princess. It can be argued that the wickedness of these figures is caused by a power dynamic. The evil older women seek to maintain power by oppressing the Princess from childhood, keeping her obedient and passive.
I find particularly interesting the work of Vladimir Propp (1968) that is brought to attention in this article. He put forward that there are seven key roles, around which the action centers, in fairy/folk tales: villain, donor, helper, princess and her father, dispatcher, hero, and false hero. Notable, the mother-figure is missing. And it is true, that in Disney's films there is no mother-figure. Even if the Princess actually still has a loving mother, like in Sleeping Beauty, she plays no role in the film, aside from being a stage-prop; without her, the film plot would remain just the same. Other female characters simply fit better into one of the 7 defined roles anyway. The Evil Queen (name kind of gives it away there), Cinderella's Step Mother, and Maleficent, fit best as villains. Cinderella's fairy-godmother and the Good Fairies from Sleeping Beauty are helpers, or arguably hero's. There is no role for a mother. Even more so, the father figure is combined with the Princess in 1 category, suggesting that you cannot have one without the other. So, while the mother's role is non-existent, the father is key.
The Disney Princesses don't experience your typical motherly relationship. Quite to the contrary, the role of mother and grandmother is replaced by step-mother and fairy godmother to erase familial bonds and, instead, represent socially constructed relationships.
Additionally, there is a wicked maternal substitute, such as The Evil Queen, Cinderella's Step-Mother, and Maleficent. This relationship plays on the power and authority between the wicked figure and the Princess. It can be argued that the wickedness of these figures is caused by a power dynamic. The evil older women seek to maintain power by oppressing the Princess from childhood, keeping her obedient and passive.
I find particularly interesting the work of Vladimir Propp (1968) that is brought to attention in this article. He put forward that there are seven key roles, around which the action centers, in fairy/folk tales: villain, donor, helper, princess and her father, dispatcher, hero, and false hero. Notable, the mother-figure is missing. And it is true, that in Disney's films there is no mother-figure. Even if the Princess actually still has a loving mother, like in Sleeping Beauty, she plays no role in the film, aside from being a stage-prop; without her, the film plot would remain just the same. Other female characters simply fit better into one of the 7 defined roles anyway. The Evil Queen (name kind of gives it away there), Cinderella's Step Mother, and Maleficent, fit best as villains. Cinderella's fairy-godmother and the Good Fairies from Sleeping Beauty are helpers, or arguably hero's. There is no role for a mother. Even more so, the father figure is combined with the Princess in 1 category, suggesting that you cannot have one without the other. So, while the mother's role is non-existent, the father is key.
"We have false memories of the Disney films of our childhoods, I think. In retrospect, they seem sugar-pie sweet and neatly detached from the problems of the culture in which they were conceived, made, and marketed"
- Karal Anne Marling, 1999
Disney's new releases
You may or may not have have seen the latest Disney film trailers, but there are some big releases many people have been eagerly anticipating.
Namely, Finding Dory which is to be released this June. I have friends who have been waiting years for this movie and certainly feel they have more right to the premier theater seats than any 6-year-old.
And with an all-star cast, with Dory being voiced by Ellen DeGeneres, this is already basically a guaranteed hit!
http://www.imdb.com/title/tt2277860/fullcredits/
Check out the official trailer here and this additional promo.
Another new release for 2016 is Pete's Dragon (Disney 1977).
Now, I remember watching the original at my grandma's house with my cousins when I was little.
But with the advancements in CGI since the 1966 fantasy/adventure classic, this new version shows a far more realistic dragon, Elliott. Check out the official trailer here. This film is due to be released this August, and also boasts a starred cast, including Robert Redford and Bryce Dallas Howard.
You can see just from the poster, that this film is going to look very different almost 40 years on.
Namely, Finding Dory which is to be released this June. I have friends who have been waiting years for this movie and certainly feel they have more right to the premier theater seats than any 6-year-old.
And with an all-star cast, with Dory being voiced by Ellen DeGeneres, this is already basically a guaranteed hit!
Cast
 | Idris Elba |
(voice)
| |
 | Michael Sheen |
(voice)
| |
 | Dominic West |
(voice)
| |
 | Diane Keaton |
Jenny (voice)
| |
 | Kaitlin Olson |
Destiny (voice)
| |
 | Ellen DeGeneres |
Dory (voice)
| |
 | Ed O'Neill |
Hank (voice)
| |
 | Ty Burrell |
Bailey (voice)
| |
 | Albert Brooks |
Marlin (voice)
| |
 | Eugene Levy |
Charlie (voice)
| |
 | Hayden Rolence |
Nemo (voice)
| |
Check out the official trailer here and this additional promo.
Another new release for 2016 is Pete's Dragon (Disney 1977).
Now, I remember watching the original at my grandma's house with my cousins when I was little.
But with the advancements in CGI since the 1966 fantasy/adventure classic, this new version shows a far more realistic dragon, Elliott. Check out the official trailer here. This film is due to be released this August, and also boasts a starred cast, including Robert Redford and Bryce Dallas Howard.
You can see just from the poster, that this film is going to look very different almost 40 years on.Sunday, February 14, 2016
Sarah Rothschild Chapter Review
These are my impressions of Chapter 2 from Sarah Rothschild's book, 'The Princess Story'. Overall, I found this text very informative and interesting to read, and would wholeheartedly recommend it to anyone interested in this topic.
Romance, the Role of Men, and Disney
Here, Rothschild brings forward an important point, that I had personally never considered, that Disney dramatises romance that was of little importance in the source material he drew from. He invented the notion of 'true love's first kiss'. This is, perhaps, most evident in Snow White, where the original 7-year old character is transformed to a more appropriate age, who's character is fixated with true love throughout the film. She begins wishing for the one she loves at the well, sings about him to the Dwarves and ultimately bites the poisoned 'wishing' apple in the hope of having her true love. Throughout all of this, she wishes for the one she loves to find her, which makes her entirely passive in the process. She can do nothing except wish and wait for her Prince.
This text primarily outlines that in Disney's versions the story centers around males, where as in the 'original' texts, such as Grimm's or Perrault's, the storyline centers around the female characters. It is the male characters' desires and actions that progress Disney's story, from the Prince falling in love with dear Snow and provoking the Queen's rage, to the King in Cinderella desiring grand-children so deeply that he organises a ball, to Sleeping Beauty where the King throws an elaborate Christening, enraging Maleficent by not inviting her, and betrothing his daughter from birth to form his own alliance. Rothschild provides many more examples of how men are central to the action in the films, and the titular Princesses remain passive. Their own stories are being taken from them, and without the men, they would never find their 'happily ever after'. Snow White would remain asleep in her coffin, Cinderella forever a slave in her own home and Aurora never awoken from her sleep. In Rothschilds words, "The prince is both [the princess's] savior and her reward".
Though after reading Grimm's version of Snow White, it could also be argued that Snow White never was the main character of her story, rather the Evil Queen and her envious hatred was the centrality, for most of the story revolves around her desires and feelings and even ends with her punishment.
While, Rothschild brings forward many intriguing points such as this, there are also many places in her writing where I simply disagree with the conclusions she draws about Disney. While I admire her creativity in her thoughts, I often feel they lack any substantial evidence, and so can be considered barely more than her personal opinions. The first example of this is when Rothschild asserts that Walt Disney "inserted himself into Snow White" through Grumpy and Dopey. Disney's rendition gives the Dwarves a role that never existed in Grimm's version, using them for comedic effect and to progress and fill out the story. I agree that this could have been done for two main reasons. Firstly, to pad out a short story to make it into a feature length film. Secondly, as animating comedic Dwarves, which are less realistic than Snow White, the Prince or the Queen, was easier at a time when animation was at it's beginnings. After all, Snow White was Disney's first film. However, I think it's a bit of a stretch to say that these two Dwarves are Walt Disney's way of putting himself into his film. And the assumption that the misogynistic personality of Grumpy is a direct reflection of Walt himself is a little simplistic. As Amy M Davis discussed in her article 'The Dark Prince and Dream Women', there is little evidence to prove that Walt Disney was sexist and this topic is far more complex than at fist glance. From other executives to the general attitudes at the time, there is more to consider. Though the basis Rothschild draws on for Walt's transformation from Dopey to Grumpy is true to an extent. It is believed Walt associated women with warmth and security in his younger years, and became fearful of women after learning about venereal disease in France and having his heart broken by his child-hood sweet-heart while away. But is it fair to say that Grumpy represents Walt's "personal antipathy toward women"? Walt worked with women in his studio and was prepared to listen to their advice, he cared about skill, not gender, and valued his employees on what they could contribute to his company (Amy M. Davis, The Dark Prince and Dream Women). Rothschild states that women at Disney's studio were "accorded neither creative credit nor power", and while I fully believe that women would have been treated unequally in the workplace at this time, this directly conflicts Davis' writing, where Disney is attributed with saying "girl artists have the right to expect the same chances for advancement as men". So again, I feel it is unfair to judge Walt so harshly, especially when you take into context the lack of opportunity for women in 1937, which was not Walt's doing, but the general attitude in society at that time.
Defining the Disney Princess
What I find to be the most interesting point in this section, is the paradox between the first-wave princesses being modeled from Ballerinas, and the fact that such passive princesses could never attain such a disciplined physique. And more shockingly so, that had the real-life Ballerinas actually had figures like the animators adjusted the princesses to, they would not have the muscle strength or balance to dance. With this in mind, I respect the disciplined grace and poise the princesses were modeled on, but simply wish they had kept the more muscular, yet still very feminine, undoubtedly thin, and attractive physique of the dancers.
Romance, the Role of Men, and Disney
Here, Rothschild brings forward an important point, that I had personally never considered, that Disney dramatises romance that was of little importance in the source material he drew from. He invented the notion of 'true love's first kiss'. This is, perhaps, most evident in Snow White, where the original 7-year old character is transformed to a more appropriate age, who's character is fixated with true love throughout the film. She begins wishing for the one she loves at the well, sings about him to the Dwarves and ultimately bites the poisoned 'wishing' apple in the hope of having her true love. Throughout all of this, she wishes for the one she loves to find her, which makes her entirely passive in the process. She can do nothing except wish and wait for her Prince.
This text primarily outlines that in Disney's versions the story centers around males, where as in the 'original' texts, such as Grimm's or Perrault's, the storyline centers around the female characters. It is the male characters' desires and actions that progress Disney's story, from the Prince falling in love with dear Snow and provoking the Queen's rage, to the King in Cinderella desiring grand-children so deeply that he organises a ball, to Sleeping Beauty where the King throws an elaborate Christening, enraging Maleficent by not inviting her, and betrothing his daughter from birth to form his own alliance. Rothschild provides many more examples of how men are central to the action in the films, and the titular Princesses remain passive. Their own stories are being taken from them, and without the men, they would never find their 'happily ever after'. Snow White would remain asleep in her coffin, Cinderella forever a slave in her own home and Aurora never awoken from her sleep. In Rothschilds words, "The prince is both [the princess's] savior and her reward".
Though after reading Grimm's version of Snow White, it could also be argued that Snow White never was the main character of her story, rather the Evil Queen and her envious hatred was the centrality, for most of the story revolves around her desires and feelings and even ends with her punishment.
While, Rothschild brings forward many intriguing points such as this, there are also many places in her writing where I simply disagree with the conclusions she draws about Disney. While I admire her creativity in her thoughts, I often feel they lack any substantial evidence, and so can be considered barely more than her personal opinions. The first example of this is when Rothschild asserts that Walt Disney "inserted himself into Snow White" through Grumpy and Dopey. Disney's rendition gives the Dwarves a role that never existed in Grimm's version, using them for comedic effect and to progress and fill out the story. I agree that this could have been done for two main reasons. Firstly, to pad out a short story to make it into a feature length film. Secondly, as animating comedic Dwarves, which are less realistic than Snow White, the Prince or the Queen, was easier at a time when animation was at it's beginnings. After all, Snow White was Disney's first film. However, I think it's a bit of a stretch to say that these two Dwarves are Walt Disney's way of putting himself into his film. And the assumption that the misogynistic personality of Grumpy is a direct reflection of Walt himself is a little simplistic. As Amy M Davis discussed in her article 'The Dark Prince and Dream Women', there is little evidence to prove that Walt Disney was sexist and this topic is far more complex than at fist glance. From other executives to the general attitudes at the time, there is more to consider. Though the basis Rothschild draws on for Walt's transformation from Dopey to Grumpy is true to an extent. It is believed Walt associated women with warmth and security in his younger years, and became fearful of women after learning about venereal disease in France and having his heart broken by his child-hood sweet-heart while away. But is it fair to say that Grumpy represents Walt's "personal antipathy toward women"? Walt worked with women in his studio and was prepared to listen to their advice, he cared about skill, not gender, and valued his employees on what they could contribute to his company (Amy M. Davis, The Dark Prince and Dream Women). Rothschild states that women at Disney's studio were "accorded neither creative credit nor power", and while I fully believe that women would have been treated unequally in the workplace at this time, this directly conflicts Davis' writing, where Disney is attributed with saying "girl artists have the right to expect the same chances for advancement as men". So again, I feel it is unfair to judge Walt so harshly, especially when you take into context the lack of opportunity for women in 1937, which was not Walt's doing, but the general attitude in society at that time.
Defining the Disney Princess
What I find to be the most interesting point in this section, is the paradox between the first-wave princesses being modeled from Ballerinas, and the fact that such passive princesses could never attain such a disciplined physique. And more shockingly so, that had the real-life Ballerinas actually had figures like the animators adjusted the princesses to, they would not have the muscle strength or balance to dance. With this in mind, I respect the disciplined grace and poise the princesses were modeled on, but simply wish they had kept the more muscular, yet still very feminine, undoubtedly thin, and attractive physique of the dancers.
Tuesday, February 9, 2016
Guns and (Briar) Roses
Chapter 6 of Peggy Orenstein's 'Cinderella Ate my Daughter'
Orenstein begins the chapter by discussing the effect of violent play on girls and the lack of research into this. It is seen that females just aren't as violent as males - which I believe to be true - but Orenstein also gives notion to the idea that we merely see what we want to see. That we would dismiss girls violence because it doesn't fit with out idea of what a girl should be. But if we truly looked, it's still there. I also found particularly interesting the concept that violent play is only beneficial to a child's development if it really is play, where they control the narratives. However, many modern violent games do not involve the child's imagination, rather simply the children copy the violent tv shows or video games and lack their own dramatic license.
Grimm's Fairytales vs. Gentler Alternatives
Now, many parents may be horrified to read the gruesome Grimm originals to their children, complete with dancing 'til death (Snow White), dismembered feet and pecked out eyes (Cinderella) or suicide (The Little Mermaid). But that may be just what children need. A platform to learn about and cope with their emotions. To recognise the evils in the world, but that those who stand fast will survive. These are, according to 'experts' such as Bettelheim, far more useful than modern stories, such as 'The Paper Bag Princess', which in Oreinstein's words "equate 'pro-girl' with 'anti-boy'". Not to mention that Grimm's version of Cinderella (Aschenputtel) is a story about the woman's strength, about her transition from girl to womanhood and that she evades both her father and the Prince each night, until she reveals herself in rags to her Prince, as he must accept her past before he may have a future with her. Orenstein read these Grimm versions to her daughter, and found that they did not make Daisy flinch. Daisy accepted the gore, and often paused her mother to ask questions about meanings of words from this tale - e.g. 'asunder'.
Finally, Orenstein explores Twilight, Stephanie Meyer's hit sensation Vampire trilogy. While Orenstein despises the heroin, Bella, who she sees as bland, talentless, uninteresting and as a terrible role model who lives only for her man and constantly reminds him how much better he is than her. She does admit that Bella could also be exactly what girls need. An example that you don't have to be gorgeous, sexual, talented to 'get the man'. You can simply be you. If plan old Bella can do it, so can any girl. There is no pressure to sexualise yourself - Bella simply dresses in jeans and a sweatshirt, so why can't we?
Note: I often refer to the Grimm Fairytales as the originals, though I know these stories did not start here. The Grimm brothers were librarians who were able to write down old tales that had been passed on by mouth for a long time. The Grimm brothers did censor these inappropriate tales so they could be told to children, however they did not remove the violence.....merely things like incest and other sexual content.
Orenstein begins the chapter by discussing the effect of violent play on girls and the lack of research into this. It is seen that females just aren't as violent as males - which I believe to be true - but Orenstein also gives notion to the idea that we merely see what we want to see. That we would dismiss girls violence because it doesn't fit with out idea of what a girl should be. But if we truly looked, it's still there. I also found particularly interesting the concept that violent play is only beneficial to a child's development if it really is play, where they control the narratives. However, many modern violent games do not involve the child's imagination, rather simply the children copy the violent tv shows or video games and lack their own dramatic license.
Grimm's Fairytales vs. Gentler Alternatives
Now, many parents may be horrified to read the gruesome Grimm originals to their children, complete with dancing 'til death (Snow White), dismembered feet and pecked out eyes (Cinderella) or suicide (The Little Mermaid). But that may be just what children need. A platform to learn about and cope with their emotions. To recognise the evils in the world, but that those who stand fast will survive. These are, according to 'experts' such as Bettelheim, far more useful than modern stories, such as 'The Paper Bag Princess', which in Oreinstein's words "equate 'pro-girl' with 'anti-boy'". Not to mention that Grimm's version of Cinderella (Aschenputtel) is a story about the woman's strength, about her transition from girl to womanhood and that she evades both her father and the Prince each night, until she reveals herself in rags to her Prince, as he must accept her past before he may have a future with her. Orenstein read these Grimm versions to her daughter, and found that they did not make Daisy flinch. Daisy accepted the gore, and often paused her mother to ask questions about meanings of words from this tale - e.g. 'asunder'.
Finally, Orenstein explores Twilight, Stephanie Meyer's hit sensation Vampire trilogy. While Orenstein despises the heroin, Bella, who she sees as bland, talentless, uninteresting and as a terrible role model who lives only for her man and constantly reminds him how much better he is than her. She does admit that Bella could also be exactly what girls need. An example that you don't have to be gorgeous, sexual, talented to 'get the man'. You can simply be you. If plan old Bella can do it, so can any girl. There is no pressure to sexualise yourself - Bella simply dresses in jeans and a sweatshirt, so why can't we?
Note: I often refer to the Grimm Fairytales as the originals, though I know these stories did not start here. The Grimm brothers were librarians who were able to write down old tales that had been passed on by mouth for a long time. The Grimm brothers did censor these inappropriate tales so they could be told to children, however they did not remove the violence.....merely things like incest and other sexual content.
Subscribe to:
Posts (Atom)