Introduction

Defining Genres

Disney Corporation and identifying its reach and influence

Fairy tale genre

Disney Princesses

Men in Disney films

Assignment 1: You could analyse gender representation in Disney film or films in relation to semiotics.

Learning outcome 3: Develop textual analysis – Disney films

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Genre

Method of analysing film, television, literature

Most things are a mixture of different genres

Do we impose classifications onto films rather than those differences existing?

We seem to know what constitutes sci-fi, RomCom etc.

Genres may change over time – thus fluid/active

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Disney Multinational mass media and

entertainment conglomerate (1923)

1937 Snow White and Seven Dwarfs(1.25 mins)

1940 live action films e.g. The Reluctant Dragon (1941) (1.58 mins)

1986 expanded to other media

2006 bought Pixar (associated with Bug’s Life (1998), Monsters Inc. (2001) -Up(2009), Brave (2012)

Disney also own Star Wars (Lucasfilms) (2012), Marvel (2009), 21st Century Fox (2017)

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Fairy Tale Genre

Fairy tales – maiden

overcoming domination by

more powerful older women

Often witch/wicked

stepmother

Contemporary films –

wealthy woman with status

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Patriarchal Binary

Binary between the two main females

Princesses in Disney Films

Pressure to change outdated

representations of women

◦ passive/waiting for man/domesticated

Evil woman and princess still dominate

Role models – choice of the above

Fewer male role models

◦ but men often had authority over females

Companions for the princesses e.g.

Sebastian in The Little Mermaid

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Films

Shrek (Dreamworks)

◦ Body image different

Brave

◦ No marriage at end, independent

Maleficent

◦ Powerful older woman becomes kinder

etc. through a mother role

Frozen

◦ Sisterly love and independent women

◦ Elsa has to tame her powers

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More recent films

Beauty and the Beast◦ Feminist or Fraud article

◦ There is some agency but also

critiques

Moana◦ Some changes as well but still needs

a male to accompany

◦ Issues re Representation of Polynesian

culture/history

Frozen 2◦ 2019

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End of Part 1

New Man in Disney Films

Cars, Toy Story, Incredibles

Journeying towards more New Man type

masculinities

Muscle bound, testosterone hero less popular

(6.51 mins)

Male/male relationships also figure

All remain heterosexual

Big Hero 6

Wall E (Disney Pixar) interesting

representation of masculinity

Others Represntations?

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Start of part 2

Race in Disney

Social order

King and Simba drawn brightly, smooth

Villain Scar – dark, angular, thin,

disfigured

Hyenas (0.49 mins)

Racism in Disney examples (10 mins but

we will watch some of this)

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Rise in superhero films since 9/11

Powers and abilities beyond ordinary mortals

Hero= super-human, warrior, noble

Plato – goodness is attractive

Superheroes – character and courage over adversity

Violence to defeat evil – but controlled

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Gender re Superheroes Often conform to gender

stereotypes

The Incredibles

Mr Incredible – strength/durability

Elastigirl – powers to do with body

Violet – force fields and invisibility (body)

Dash – speed/durability

Jack-Jack - fire and many others

Looks – stereotypical.

Incredibles 2 (2.49 mins)

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Summary

Genres are fluid and change (and despite debates are recognisable)

Disney - huge, influential multinational

Fairy Tale genre still around in many different forms

Princesses – maybe later films less stereotyped

Men – less focus on alpha male and muscles towards new man masculinities

Semiotic analysis: You could analyse gender/race stereotypes in relation to Disney Film, superheroes etc.

Learning outcome 3: Develop textual analysis – Disney films

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References

Benshoff, H. & Griffin, S. (2004) America on Film. Representing Race, Class, Gender and Sexuality at the Movies. Oxford, Blackwell.

Dundes, L. (2001) Disney’s modern heroine Pocahontas: Revealing age-old gender stereotypes and role discontinuity under a façade of liberation, The Social Science Journal. Vol. 38, pp. 353-365.

Gillam, K. and Wooden, S. (2008) Post-Princess Models of Gender: The New Man in Disney/Pixar, Journal of popular Film and Television, Vol. 36(1), pp. 2-8.

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