Facial Hair Symbolism

Disney’s Pixar has always had a traditionally “alpha male” role for its leading male characters, but there is possibly a “new male model” concept that has overtaken this predominant alpha male role as portrayed in the article, “Post-Princess models of gender: The new man in Disney/Pixar” by Ken Gillam and Shannon R. Wooden. Within the article, Gillam and Wooden use a well-structured article with supportive examples that effectively strengthen their ideas and theories. The observation in Disney’s Pixar promotes a new male model in their films which expresses more feminine traits is effectively reinforced by the author’s success in organizing the evidence and examples which support their ideas: also the authors effective use of structuring the article to draw your attention to the main issues being discussed to successfully connect to their thesis. Effective introduction of their topics and ideas in a sufficient orderly fashion and present these ideas which give a lot of their theories and ideas strength in persuading the readers to think a certain way about the topic. The authors succeed in addressing their theory that in Disney’s Pixar films there is a new male model which has transformed the previously “unambiguous alpha” male role.

The articles authors’, Carmen R. Lugo-Lugo and Mary K. Bloodsworth-Lugo, provide an interesting and detailed account of the way race and sexuality are reinforced in Disney, Pixar and DreamWorks films. They do this through the analysis of four animated films, The Road to El Dorado, Shark Tale, Dinosaurs and Toy Story. The authors argue that these films teach children about the expectations of society’s normalized racial and sexual dynamics (166). The article does an excellent job of of describing these films as stories of socialization for both children and their parents (167).

In their essay, Gillam and Wooden express their revelation that Disney/Pixar is trying to teach their young viewers a new perspective regarding the characteristics of a male. The authors focus on denoting certain points in Pixar movie plots when the male protagonists underwent character growth and hence became the “ideal” character the audience learned to love. Gillam

Disney movies have been the leading outlets for child education and social learning. Due to such power of influence controversies have been raised which include the following, but not limited to, gender roles and stereotypes, issues of independence, and misrepresentation. Many people argue that despite the morals and messages that occur within such films there are still underlying messages that deal with beauty standards and norms. However, others may argue that Disney is evolutionary and evolved the imagery of male/female standards. The controversy then becomes: are Disney films doing more harm than they are good? Due to certain themes brought on by such movies, it has left younger audiences with both positive and

Adults and children experience stereotypes in two ways, from direct experience in life and from the media, which happens to be the largest secondary source. The article entitled The Portrayal of Older Characters in Disney Animated Films, states that “television and movies serve as an important socializing function supplying children with images that can

According to A Dictionary of Journalism, the media is defined as journalism as part of a much broader field of public communication organizations, including newspapers, magazines, radio stations, TV channels, the film industry, the music industry, websites, advertising, and public relations. For young children, media plays a predominant role in developing schemas of one’s identity, including body image, and gender roles. Young children spend the majority of their time viewing media, therefore the process of generating one’s identity based on his or her observation of media is inevitable. Disney’s princess movies have brought significant effects to children’s development of their identities. There are three main stages of Disney movies. The first stage is the “princess” stage, where the movie depicts the most stereotypes (i.e. Snow White and the Seven Dwarfs). The second stage is the “rebellious” stage, where the princesses are illustrated as curious and adventurous, yet still show the aspect of female stereotypes (i.e. Jasmine in Aladdin). The third stage is the “hero” stage, where the princesses are shown to fight the female stereotypes (i.e. Mulan). Although Disney has portrayed more complex, yet evolving gender roles as time went on, Disney’s princess movies had significant effects on young audiences by planting changing gender stereotypes.

I have decided to use portraiture to create a narrative between the portrait and the viewer, allowing the viewer to understand the individual that is being depicted through their physical characteristics and their personality. I see portraiture as a mean to express the issues concerning stereotypes towards African American hair and how those stereotypes influence the way society to perceive African Americans. My overall set of works, tell a story that reveals how these viewpoints oppress African Americans through images of their hair.

The Portrayal of Older Characters in Disney Animated Films, studies the everyday stereotypes which arises in our children’s lives. This research will not just examine the direct experiences of children’s behavior from the media but also, the representation of older people in Disney animated films in terms such as gender, race, appearance, role, personality, and physical characteristics of older characters. This study was chosen for two main reasons. First, to examine the representation of older people in Disney animated classics in terms of their gender, race, appearance, and role. The second reason focuses on examining the nature of portrayals and personality and physical characteristics of older characters. Researchers will first began the analysis by studying the quantity of older characters in which they appear in Disney animated movies and how they represent in gender and race. They will look into the primary roles of older characters in Disney animated movies as well as the percentage of which is considered to be major or minor roles. The

During the time of war, nations come to rely on propaganda to help invigorate a sense of nationalism into their people. Not only does it encourage them to unify as one, but propaganda also creates an enemy, someone that needs to be defeated. The use of propaganda is not limited to those old enough to understand what is happening in the world, rather it is used even upon the young and innocent who are new to the world around them. Children become a target that can be swayed by ideals, but it must be dealt with in a different manner. Using animation is one way to influence a younger audience, especially by using cute animals and a figure that is well known to them, a fictional figure like Momotaro. This familiar character for the Japanese is

These questions of image scale and duration are intricately related to the respect afforded a character and the potential for audience sympathy, understanding and identification. Which characters are afforded close-ups and

“We all use stereotypes,all the time, without knowing it” (Paul 1998) In “Brave Old World's” Writer for the LA Times and Hollywood reporter, Graeme McMillan, argues against the demeaning stereotypes present in Pixar films. He explains that while these films usually have a positive underlying morals they are often neglected. McMillan argues that while to some while even some stereotypes are okay to some extent, Pixar continues to employ these stereotypes. While McMillian puts forth a legitimate argument, he makes several errors in his argument by making irrational use of logic and reason, failing to provide a concrete definition of the word stereotype and utilizing informal and biased language.

“Cartooning has always been informed by the tradition of caricature,” [Wells, 1998, p.252] thus leading animators creating a series of harrowing cartoons consisting an analysis of offensive racist contents. This essay will demonstrate the intense racial stereotyping in the early 20th century but mainly focusing on black caricaturing and seeing how it culturally changed with Disney, as it can be argued that they are still stereotyping in their animations today.

Children’s movies can often hold important and informative life lessons. In the case of Shrek, we learn that “beauty is in the eye of the beholder,” and to “never judge a book by its cover.” That is all fine and dandy, however this winsome story of a misunderstood ogre, a talkative donkey, and a beautiful princess delves into concepts that go much deeper than that of a cute children’s anecdote. Throughout the course of the movie, points are made dealing with attraction and intimacy, specifically the “halo effect”, cognitive dissonance, and most prominent of all, prejudice, discrimination, and the social identity theory. After making a harrowing escape with the princess from the fire breathing dragon, Shrek and Donkey find themselves in an

The purpose of this study is to investigate the depiction of beauty in animated Disney Princess movies and consequences the portrayal of beauty has on young girl’s individual self-esteem. This study includes one general hypothesis. The hypothesis states that young girls who idealize the beauty standards of Disney Princesses will have lower self-esteem than young girls who do not idealize their standard of beauty. I expected that young girls who have the desire to mimic Disney Princesses will have lower self-esteem because the beauty standards of Disney Princess are impossible to obtain; therefore, their perception of beauty will become extremely faltered, which will lead to a decrease in their self-esteem levels and a negative perception of their body image compared to Disney Princesses. Young girls with higher expectations regarding beauty standards, self-esteems will be negatively impacted due to the “beauty-goodness” stereotype presented in animated Disney films, for Disney films portray beauty over all human attributes, which skews young girl’s perception of beauty and their overall self-image. This study is similar to an experiment conducted by Bazzini et al.

Not many companies can influence the childhood development of many Americans like the Walt Disney Company. Disney, named after their founder, began as just an animation studio called The Walt Disney Studios, which the company describes as “the foundation on which The Walt Disney Company was built”. Today, Disney produces various items targeted at children like toys, clothing, and animation (“Company”). In the paper, Images of Animated Others: The Orientalization of Disney’s Cartoon Heroines From The Little Mermaid To The Hunchback of Notre Dame, Celeste Lacroix of the College of Charleston assesses the portrayal of female heroines from Disney animated films that depicts human main characters, examining the sexualization of non-European or the “exotic” others, and brings to light Disney’s strategy to instill an attitude of consumerism in children. Despite my memorable sentiment with Disney animations as a child, I agree with Lacroix’s assertion that Disney impose consumerism onto children, especially with DVD commercials, tie-in products and “apps” on smartphones and tablets.