Cinderella Stereotypes

In her article What's Wrong With Cinderella, Peggy Orenstein looks at the present "princess" fever that has spread among young women, and how this example could impact their personality later on. Orenstein states that there has been a goliath spike in the commercialization of princesses by Disney and diverse associations, which has incited most toys that are sold to young women being princess themed. The issue with this is being a princess influences young women to endeavor and be "perfect" when they grow up, and Orenstein says that various young women feel monster strain to win concerning all that they do and furthermore be stunning like the princesses they grew up with. In any case, Orenstein is exploding by trying to shield her young lady

In the article, “What's Wrong With Cinderella?”, mother and author Peggy Orenstein expresses utter concern for the increasing rise of the princess culture. From a personal stance (mother, feminist, and gender advocate) Orenstein forms valid assertions about the expansion of the princess image, and how it has influenced younger girls, including her three-year old daughters’. Moreover she displays negative impacts for the influential princess image and its capacity to affect the lives of younger girls in the future years, yet fails to acknowledge a personal stance. While correlating the princess culture into a larger context that singles out relevant points of gender awareness/equality, she degrades the princes culture, and

Little girls have become infatuated with looking, acting and dressing like princesses. In “What’s Wrong With Cinderella?” Peggy Orenstein writes “There are now more than 25,000 Disney Princess items. ''Princess,'' as some Disney execs call it, is not only the fastest-growing brand the company has ever created; they say it is on its way to becoming the largest girls' franchise on the planet” (Orenstein). The author explains how enormous of a franchise Disney princess items have become. The author physically cannot hide from their products; they are virtually everywhere.” As my daughter pointed out Disney Princess Band-Aids, Disney Princess paper cups, Disney Princess lip balm, Disney Princess pens, Disney Princess crayons and Disney Princess notebooks -- all cleverly displayed at the eye level of a 3-year-old trapped in a shopping cart -- as well as a bouquet of Disney Princess balloons bobbing over the checkout line. The repetition was excessive, even for a preschooler” (Ornstein). The over saturation of Disney does not leave girls with many other choices, they are being forced fed a brand and ideology from a very young age. This could have the potential of taking a toll on how young girls grow into mature emotionally developed women. Not only is Disney ingeniously marketing these characters to young girls, but it has become prevalent in everyone’s mainstream lives. Peggy insists “I'd smiled politely every

In “Cinderella and Princess Culture,” Peggy Orenstein compares girls lives to princesses. Society is stereotyping girls as princesses negatively impacting girls well being. As a result, Orenstein claims society should stop stereotyping girls as princesses and have parents limit the girl's exposure to them. Orenstein proves her claim by stating playing with princesses lowers girls self-esteem and can harm their mental and physical health. Orenstein also states the word princess is such a broad meaning, that it is very misunderstood. For example, when one hears the word princess they can think of a girl wearing a fancy dress, or all the princess products. A lot of girls are being stereotyped as being a princess,

In Peggy Orenstein’s article, “What’s wrong with Cinderella?”, she analyzes the obsessions young girls have for stereotypical feminine products and toys, such as princesses and the color pink. Orenstein claims that such obsessions have negative effects on girls as they grow into women, restricting them into playing a specific role in adulthood. Although the author expresses much bias, she effectively supports her claims through her positions as a feminists and parent.

In Peggy Orenstein’s article, “What's wrong with Cinderella?” she discusses the problems with princesses. The first problem being that princess merchandise is everywhere. Orenstein writes about when she took her daughter to the dentist and once the check-up was over, her daughter got a princess sticker. Princesses are embedded into a child’s everyday life, making a “princess” more of a way of living than a fantasy. To further this point, Orenstein mentions how even now, in a show that is supposed to be about teaching other languages, Dora the Explorer, has turned into Dora finding a fairy tale land where she becomes a princess at the end of her two part movie. This is only the beginning of the issues that are brought to attention in this article.

Orenstein does everything within her radius to enunciate on the topic of gender stereotypes. She begins the novel by describing the classic Disney Princesses and her daughter’s (Daisy) perspective towards the dresses. Every child wants to have the “real princess dress (page 3)” but that is where Orenstein wants to draw the line. She wants Daisy to live her life the way she wants to, but that does not mean she has to live up to an imaginary expectation bar. This draws back to the purpose of children, regardless of gender, has to be perfect in society. They need to have the ‘real’ dress or the newest Superman action figure to fit in with their

“Little Girls or Little Women? The Disney Princess Effect” is an article by Stephanie Hanes which touches on the princess phenomenon many young girls are obsessed with. Stephanie Hanes concludes that the Disney Princess craze is linked to self-objectification and the growing sexualization of young girls. Although she provided numerous facts the argument was unsuccessful because it was weak and confusing. Her own personal opinion on why she blamed the Disney Empire for sexualization amongst young girls was rarely voiced. Lastly the main idea of the article gets masked by controversial expert claims that are not linked to the topic.

Disney princesses are fun for all ages, but their target audience is young children and “as children grow and develop, they can be easily influenced by what they see and hear”. Therefore, what they see and hear in Disney movies leaves an impression on them. The first princess, Snow White, was created in a time where each gender and race had a specific role in society. Recently, many believe that Disney has come a long way in regards to gender and race since Snow White, as several multi-cultural protagonists have been introduced subsequently, and gender roles do not appear to be as stereotypical as they once were. However, many of the apparent innocent messages about race and gender in these movies, can be exposed as otherwise. Despite

In this book, chronicles the author’s journey through America’s princess culture with her young daughter, Daisy. Beginning with Disney princesses, Orenstein comes to examine American Girl dolls, the “tween” market, Miley Cyrus, social media, beauty pageants, and of course, Barbie, all in the united effort to best understand the decisions she is making for her daughter. potential body issues, poor self-esteem, ramped sexism, and gender essentialist impositions,

Authors James Poniewozik and Peggy Orenstein are both concerned with the increase of princess culture among young girls. Poniewozik’s article “The Princess Paradox” and Orenstein's article “Cinderella and Princess Culture” discuss similar aspects of princess culture that could be potentially harmful to it’s audience. Both Poniewozik and Orenstein take on a feminist perspective in their articles. Specifically, both authors discuss feminist themes in princess culture but Orenstein focuses on toddler to pre-teen aged girls while Poniewozik is more concerned with specifically teenagers.

Little girls? Or little women? The “Disney Princess Effect”, an article written by Stephanie Hanes was published September 4, 2011 the CS Monitor. Girls growing up in today’s society are being stripped of their childhoods. With fictional figures to dream of being, young girls aren’t falling in love with the beauty of the stories but more so they assume that they don’t look good enough to be like the world adored princesses. The author wrote this article in response to the epidemic of young girls growing up too fast and the concern it leaves. Between the Finucane Theory, the “Hottie Mystique” and the media onslaught will all reveal the beginning to a much bigger problem that these Disney princesses are creating. The author contends that young girls are losing sight of their childhoods and are becoming sexually advanced too soon.

In our modern society parents want to know who the best role models are for their children; especially parents of young girls. Most girls are introduced to Disney Princesses at a young age, but what most parents don’t know is that not all Disney Princesses are positive role models of modern society. The princesses were amazing role models for their time but since then many opinions have changed on what is expected of women and what is not some; people in society today can argue weather certain qualities that the princesses posses are acceptable for today’s youth. The most famous princesses are the “Original Disney Princesses” :(in chronological order) Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Pocahontas, and Mulan.

Cassandra Stover explains in her Journal Damsels and Heroines: The Conundrum of the Post-Feminist Disney Princess, the dramatic shift with Disney princess at the peak of the late 1980s and early 1990s. She explains that the shift can derive from feminist movements and how the change can be directed to the third wave of feminism. She examines the original Disney princesses and decribes them to be more passively aggresive and unindependent, while the new princesses are more independent and brave. The author then explains if the shift from the old to new princesses are actually better, and not just different. Stover analysizes that Disney princesses evolve and are a part of the worlds change on feminism.

What young girl does not dream of becoming a princess and living in a castle happily ever after? Virtually every young girl identifies with princesses and has watched at least one Disney Princess movie. From the first movies of Snow White and Cinderella, to the later movies of The Little Mermaid and Beauty and the Beast, to the most current movie Moana, Disney Princess movies permeate not only the movie theaters, but also our culture. In fact, “becoming a princess is as easy as purchasing a tiara and hosting a princess-themed birthday party or buying a Halloween costume and playing pretend” (Garabedian, 2014, p. 23). Nonetheless, as declared by Princess Merida in the movie Brave, “there comes a day when I don’t have to be a princess. No rules, no expectations. A day where anything can happen. A day where I can change my fate” (Andrews & Chapman, 2012). In other words, does the life of a princess measure up to the expectations of little girls everywhere? The Disney Princess brand has grown incredibly popular, especially with young girls. In spite of this, the franchise has also become extremely controversial due to potential gender stereotypes in the films. “Gender is one of the most discussed topics in today’s society…[it] represents and also reproduces certain attributes, expectations and roles which are associated with male and female…influencing the views and opinions of future generations” (Maity, 2014, p. 31). Yet, is the Disney Princess brand harmful to young children due to gender stereotypes? Two essays that contemplate the Disney Princess brand and gender stereotypes with opposite viewpoints on this controversial issue are “Girls on Film: The Real Problem with the Disney Princess Brand” by writer Monika Bartyzel and “In Defense of Princess Culture” by writer and mother Crystal Liechty. However, Liechty’s essay “In Defense of Princess Culture,” is the most effective article in convincing the audience of her point of view due to the claim, support, warrant, language, and vocabulary employed.