Gender Stereotypes In Disney

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,

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.

Not only do Disney princesses result in bad self esteem, they also encourage passiveness and reliance on others. The feminine and vulnerable side of these princesses, reflect the reliance on their hero and true love. The Disney princess stereotype insinuates that girls should be sweet and submissive, and should fully rely on a male-counterpart. Conversely, new characters, such as Elsa (Frozen), Rapunzel (Tangled), and Merida (Brave), do not express this passive characteristic. At the same time, these princesses continue to need assistance to reach the desired solution. For instance, Princess Rapunzel still needed hero Flynn Rider, in order to navigate her to her parents throughout the movie. None of these princesses independently found a solution to the main conflict in any of these Disney films.

“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

Karl Marx and Friedrich Engels stated in Manifesto of the Communist Party that the “bourgeoisie…must nestle everywhere, settle everywhere, establish connections everywhere.” While Marx uses the term bourgeoisie modern societies know this group as the capitalists. The individuals and organizations that constantly seek out the consumer no matter who, what, where, or how old they are. It is in this constant pursuit of the next big money maker that Disney found the “Princess”. With it they have become everything exciting in a young girls life. With the amazing success and profitability of the princess story Disney has cornered the market on what it is to be beautiful and popular as a young girl in our world today. This profitability wouldn’t be so bad if the product was diverse but well over 80 percent of the Disney store in the South Shore Plaza Mall is strictly based on their princess characters. The princess story is not a bad influence until it becomes the only influence. Peggy Orenstein presents this problem perfectly in the New York Times piece What’s Wrong With Cinderella? as she sited the work of Lyn Mikel Brown who argues that it is not that Disney is offering girls the princess but rather that it is all they are offering. From this one minded focus can also come some unintended consequences stemming from the homogeneity of the racial makeup of the product.

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.

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.

Disney is one of the most successful and largest companies in the world. They have their hand in nearly every form of entertainment as well as media, and broadcasting. Disney is best known for their animated films, unique cartoon characters, catchy musicals, and fairy tales that most of us were first introduced to as children. They are one of the few entertainment companies in the World whose primary demographic is children and teens. Nearly everybody is familiar with the Disney name and its brand, and its realistic to suggest that nearly everybody has experienced a Disney film and animated character at some point in their lives; which may have helped to influence them or their behaviors or even their

Cramped in a small Los Angeles office, Walt Disney drew a few larger than life cartoons. After Disney’s big hit Alice Comedies and cartoons of Mickey and the gang, he moved his office to Burbank, California. There, Walt and his brother, Roy, came up with their most famous movies such as Cinderella, Snow White, and Alice in Wonderland. Now with two American amusement parks, three international parks, multiple cruise lines, multiple resorts, over five hundred films, and over thirty academy award, it’s hard to not heard of Disney. Every boy or girl has at least seen or heard of Disney movies. It’s such a big part of society today that it becomes influential in a kid’s childhood. This project will look at the underlying effect of the Disney princess phenomenon and how it shapes a young girls’ perspective of herself and how she’s “supposed” to be.