Cinderella And Princess Culture Summary

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

Fairy Tales have been around for hundreds of years, but up until recently have never been profited on as they are in today’s modern world. It is impossible to hide from anything Mr. Walt Disney has created, and that is exactly the company’s intentions. One huge area Disney has been excelling is in “Princess Culture” most specifically the focus on pretty pink dresses. For example, in Peggy Orenstein’s article “What’s Wrong with Cinderella?” the author addresses the many different consequences of Disney’s lucrative marketing strategy. The heavy influence of everything princess down to the choice of clothing can have a negative or positive impact on young girl’s minds, while stimulating innocence and purity can also encourage body image issues

Disney’s Cinderella demonstrates that, whatever the intention of its makers, modern day fairy tales function in our society as hidden instructions for morals and behaviors that we give children. On the surface, it seems to be a simple story about a young woman whose wishes come true. However, the story also reflects cultural expectations of women’s behaviors and goals and defines expectations of “goodness” for women. Power belongs to men in “Cinderella”, and it is depicted as a female ambition and goal. The storyline describes the rise of the submissive haracter to becoming a Princess; she is portrayed as a passive character who waits for the Prince to come for her. While waiting for her Prince Charming she also bears the mistreatment from her stepmother and stepsisters. While masculine power is taken for granted in the figure of the Prince, becoming his wife is the only way women have to share this power. The

Orenstein begins by using her daughter as an example of a typical girl who is fond of princesses, categorizing her with the many girls influenced by the “princess craze”. Then she continues to analyze how industries use the fixation and further promote it to secure large amounts of money for their company. Subsequently, she returns the argument to her real life experiences, describing a time when her daughter goes to dress up like a princess, saying, “I’m convinced she does largely to torture me — I worry about what playing Little Mermaid is teaching her.” Not only does this statement show how her opinions as a feminist are displayed in her opinion of her daughter, but also introduces her argument of the negative impacts this craze promotes from a parental point of view. The author’s ability to balance her opinions with valid evidence and her relatable worry as a parent, allows her to state her strong opinions openly.

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.

James Poniewozik of "The Princess Paradox" and Catherine Orenstein of "Fairy Tales and a Dose of Reality" focus their writing around modern day fairy tales. Both authors describe that media has the prioritization of wealth in mind and alters the fairy tales to appeal to the audience. Orenstein focuses on the changes of some reality television shows reflecting based off of the initial fairy tales. (284).While Poniewozik focuses on the changes movie makers have made, by making a new type of "Cinderella" who is strong and independent but still wanting a "happily ever after"(324).

When I started analyzing Cinderella I noticed some gender roles/stereotypes that are brought to light. One of them being how women are the ones who stay home and perform household chores. They are “housewives” who depend on a man. The father is briefly in the beginning and afterwards we do not hear of him, initiating that he is off working, or on a business trip while the mom and daughters are home. We also see through Cinderella (who is forced to do all the chores) how their are consequences if she (or women) don’t complete or do the chores that are expected of them (like not being able to go to a ball in Cinderella's case). Another theme that is consistent in Cinderella as it is in other princess stories is the value of being beautiful. We see this when the fairy godmother shows up and makes Cinderella beautiful. She transforms her house clothes into a gown and so forth showing us that beauty is in the way you look or your appearance. If we pursue this theme further we see that the prince falls in love with Cinderella based on how she looks (love at first

“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 makes over $3 billion on their Disney Princess products every year and now have over 25,000 items in their princess collection (Orenstein 2). Disney has played a big role in shaping not only societal viewpoints on what young girls should like, but also what little girls believe they should enjoy as well. Gender stereotypes have been around for a long time, but now with technology advancements, such as media in western society is able to play a bigger than ever role in influencing people’s perspectives. Not only do we see gender roles and stereotypes in television shows, but also in advertisements and in children’s toys. Although many readers of Peggy Orenstein’s “What’s wrong with Cinderella” have argued that the princess culture is corrupting today’s young girls and making them more dependent on men, a closer examination shows that many girls grow out of the princess phase with no negative repercussions and choose whatever passions they want.

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.

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.

Writer Ngozi Adichie says a feminist is a “person who believes in the social, political, and economic equality of the sexes,” meaning both sexes are treated equally. “Cinderella” does not portray women as equal to men, rather it suggests that a woman’s value highly depends on a man and teaches girls to become patient victims. For instance, it places attention on a woman’s chastity, beauty, passiveness, as the story accepts abuse, discourages powerful women, and insists on a double standard.

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.

Cinderella is a fairytale for children that displayed love, loss and miracles; however, when it is further analyzed, it has a deeper meaning. Cinderella is a story about a young girl who became a servant in her own home after her father remarried a malicious woman with two spoiled daughters. She was humiliated and abused yet she remained gentle and kind. She received help from her fairy godmother to go to the prince’s ball after her stepmother rejected her proposal. Cinderella and the Prince fell madly in love but she had to leave at twelve o’clock and forgot to tell him her name but she left her glass slipper behind. He sent his servants to find her and Cinderella was the only maiden in the kingdom to fit into the shoes. She