Stereotypes In Aladdin

Boxing is a sport where the will to win is just as important as the strength to win. James J. Braddock had this will to win which is expertly portrayed by Russell Crow in Ron Howard’s Cinderella Man. Braddock symbolized the nation’s unwillingness to give in to the terrible times during The Great Depression and its fight to remain standing.

Jindabyne reinforces and challenges the relationships between cultures and genders through sound, establishing the reconciliation of characters. The haunting music and cinematography create a sense of timelessness. The opening shot of the ominous ‘landscape’ is highlighted with somber and minimal music, adding to the scene’s tension and hostility. Furthermore, Susan’s light-hearted, energetic singing and non-diegetic soundtrack of grass swaying in the wind is contrastingly cast with the looming image of Gregory’s vehicle and the soundtracks quickening, matching the action on screen. Lawrence uses the change of pace to build tension amongst the audience, evoking feelings of angst. Moreover, the cold and explosive interchange between characters

When it comes to the illustrations of his popular characters in Aladdin, Disney proves to be quite racist. Most of the small-part, background characters and especially “the bad guys”, such as Jafar and the palace guards, all have incredibly distinct Arabic appearances. Every one of them stereotypically consists of “beards, large noses, sinister eyes, and heavy accents, and they’re wielding swords constantly” (Giroux, 104). In contrast, Aladdin the hero, looks and talks like an All-American man. His skin is pale and he wants to be addressed as Al, which is an American name rather than Arabic. He does not have a beard, big nose, turban, or accent. The key point in this illustration is that Disney is establishing that Aladdin looks right for the part of a hero, while Jafar looks right for a villain.” Jack Zipes, author of the essay “Breaking the Disney Spell”, clarifies that “though the characters are fleshed out to become more realistic, they are also one-dimensional. There is no character development because the characters are stereotypes, arranged according to a credo of domestication of the imagination”

The classic Disney movies Peter Pan and Pocahontas have been staples in many American children’s lives. These seemingly harmless family-friendly films have taught many important life lessons and morals, however, the movies also tend to create racial stereotypes and insinuate the ideas of white settler innocence. The song “Savages” from Pocahontas and the song “What Makes the Red Man Red” from Peter Pan in particular portray these implications. Sherene Razack’s “When Place Becomes Race” explores the correlation and affect that race and space have on each other with in-depth analysis of what makes up each. Chimamanda Ngozi Adichie’s ““The Danger of a Single Story” explains how stereotypes are not only created by a story -which is not necessarily false- but also

By continually representing the Muslim or the Arab as the heartless villain, even cartoon movies contain a biased perspective against the Muslim image in America. All that glitters is not gold, and this is true for films fresh off the reels of Hollywood, as some contain an unfair perspective of Muslims.

In this photo a Middle Eastern woman is pointing a gun directly towards the camera, symbolizing the way she, like many others, are stereotyped in America. The picture is clear and concise, with front view and level angles that let the viewers see the struggles she has gone faced. Her face and arms display Arabic writings that symbolize the stereotypes given to them in America: terrorists, muslims, extremists, and fanatics. The picture is limited to the colors black and white to represent the seriousness of this issue. Her eyes staring directly towards the viewer causes them to feel sympathy, leading them to wonder why there is such hate towards Middle Easterners. The concepts of this picture go back to the main idea of the research question

What images come to mind as one reflects upon his or her childhood? Playgrounds, blackboards, and soccer balls may be among the fondest of memories. Yet, for many, mermaids swim their thoughts, princesses get swept off their feet, and lions roar to their royal place in the animal kingdom. Disney films have captivated the American culture for years and have become a pivotal part of popular culture as well as a form of education. However, these films have devoured the youth of America and, in the process; have perpetuated an institutionally racist society based on harsh stereotypes. Minorities are often underrepresented, and even completely left out, of many Disney films such as Dumbo (1941), The Lion King (1994), Aladdin (1992), and

If one were to survey Americans about what they think a terrorist looks like, it is not surprising what the most common description would be. The majority of people would likely describe a bearded, turban-clad middle eastern man waving around an AK-47 while shouting, “allahu akbar!” Although there is nothing inherently frightening about bearded men and practicing religion, somehow being middle eastern and practicing Islam became one of the dirtiest crimes in the United States. After 9/11 it seems that almost overnight, America developed an irrational phobia of anyone who remotely looks middle eastern, and has since systematically oppressed and mistreated innocent

Literary Analysis of Aladdin Disney’s Aladdin is a film that attempts to stereotype and westernize Arab culture. Using racially inaccurate stereotypes, an inaccurate depiction of The Middle East, as well as countless cultural generalizations, Aladdin creates a setting of “exotic orientalism” and Islamaphobia. “[Aladdin depicts…] the Arab world as backwards and irrational, the film’s distorted ethnic representations fuel the western world’s fear of alternity and perpetuates dangerous stereotypes.” (Heydt).

to 100 Years of Anti-Arab and Anti-Muslim stereotyping by Mazin B. Qumsiyeh “Arabs in TV and movies are portrayed as either bombers, belly dancers, or billionaires in reference to Arab men being portrayed as terrorist or as wealthy oilmen and Arab women being portrayed as sex objects...these stereotypes don 't only cause psychological harm (culture, insult) but also helps feed into actions that are physically harmful by dehumanizing a group first before attacking it.”

How Arabian Nights redactors borrowed love-story motifs from pre-Islamic Iraq and applied them to historical personages such as the caliphal vizier Jafar the Barmecide and Abbasa, sister of Harun al-Rahid. Jafar and Abbasa are then made to behave

The world of Disney it is not necessarily magic for everyone. In Western popular culture there is an endless buffet serving stereotypical ideologies for racially marked women. The media often relies on representation of articulation of ethnic women as animalistic, inferior and outside the natural. Films tend to utilize signifiers that express race, class and gender to develop characters. For this assignment, I have chosen to critically analyze Disney’s (1992) Aladdin; this movie exemplifies the racialization of female bodies through visual illustrations that reinforce ideas of stereotypical roles of Middle Eastern that have been over-looked through the eyes of children. Aladdin; is considered a modern example of Edward Said’s concept of orientalism from a Western perspective. In this paper I will examine how Disney’s Aladdin perpetuates ideas of ‘othering’ through orientalism, over-sexualized characters and reinforces islamophobia.

The world is filled with different races, cultures, religions and beliefs; everyone has a different opinion and perspectives on life. Unfortunately not everyone respects other peoples personal opinions, this had led to discrimination, stereotyping, hatred and even war. After many incidents that affected the world; Arabs started being discriminated by many people. People were stereotyping the Arabs and they had the wrong image about them.

Edward Said describes ‘the Orient’ as people who are from the East; particularly Asia and the Middle East (Said, 2001). Oriental culture is often represented as ‘exotic’ or ‘other’ in some cases; this is because the West believes the East is to be feared. I will explore the key elements of Orientalism and explain how this functions in the film Aladdin (Ron Clements, John Musker: 1992). In Aladdin, there are distinctive differences between the ‘East’ and the ‘West’ which Said states, creates binary oppositions between them. This is demonstrated through the exploration of characters Aladdin and Jaffar. The key elements of Orientalism I will be exploring are: representations of race, sexualisation of the Orient and the exoticisation of

In this movie we follow common thief named Aladdin who wants a better life for himself and ultimately falls in love with the princess. We learn about his backstory and how he was abandoned as a child and left for the streets. Since then he has made a life for himself along with his companion, a monkey named Abu. We also learn about the princess Jasmine and how she isn’t happy living in the palace so she goes to the streets and there she meets Aladdin. Shortly into the movie Aladdin is helping out Jafar and is taken down and eventually stranded in ‘The Cave of Wonders’ where he stumbles upon a lamp. However this is no ordinary lamp, there is a genie bound to it who appears when someone rubs his lamp they summon the “genie of the lamp”. Aladdin then begins his journey to the top of the food chain with the help of genie who turns him into a prince. Aladdin then competes for Jasmines heart but is turned away when she learns the truth. Jafar then tries to take over Acraba and begins to control the Sultan with magic. He then tries to have Aladdin killed but fails when genie saves his life. The Sultan then discovers, thanks to Aladdin, that Jafar was controlling him and the Sultan has him arrested. The climax of the movie, the battle between Jafar and Aladdin, happens and in the end Aladdin wins and earns Jasmines love.