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Walt Disney studio has been recognized as the premier American animated studio with a series of popular animated movies about lifetime adventures of numerous lead female characters. These movies are not only entertaining, but also express the development of core women’s values in American society with the changes in the construction of female protagonists. Beside exploring the main features in the portrayal of lead female character in Disney animated movies, a closer look of how these portrayals reflect the differences in American women’s values between two periods of time, from 1900 to 1990 and from 1990 to 2013 is analysed in this paper. Observation of artifacts is the primary method for data collection. For data analysis, the two key methods of feminist analysis based on feminist film theory and content analysis are adopted. The changes in Disney’s depiction of lead female characters based on two main themes of identity and inequality vividly reflects the development in the perception of American women’s values from 20th century to early 21st century. Gender identity is significantly developed in terms of Disney character’s visual construction and the shift to the “new woman” model, breaking the conventional “woman sphere” of submissiveness and domesticity. The fight against inequality of Disney lead female characters also reflects the constant struggle of American women to diminish gender inequality in three main spheres of work, love and marriage, and education and training.
VIETNAM NATIONAL UNIVERSITY, HANOI UNIVERSITY OF LANGUAGES AND INTERNATIONAL STUDIES FACULTY OF ENGLISH LANGUAGE TEACHER EDUCATION GRADUATION PAPER CHANGES IN THE PERCEPTION OF AMERICAN WOMEN’S VALUES DEPICTED IN LEAD FEMALE CHARACTERS OF DISNEY ANIMATED MOVIES Supervisor: Ms Nguyễn Lê Hường (M.A.) Student: Trần Hà Ngân Course: QH2010.F1.E21 HANOI – 2014 ĐẠI HỌC QUỐC GIA HÀ NỘI TRƯỜNG ĐẠI HỌC NGOẠI NGỮ KHOA SƯ PHẠM TIẾNG ANH KHÓA LUẬN TỐT NGHIỆP THAY ĐỔI NHẬN THỨC VỀ NHỮNG GIÁ TRỊ CỦA PHỤ NỮ MỸ THỂ HIỆN QUA CÁC NHÂN VẬT NỮ CHÍNH TRONG PHIM HOẠT HÌNH DISNEY Giáo viên hướng dẫn: ThS Nguyễn Lê Hường Sinh viên: Trần Hà Ngân Khóa: QH2010.F1.E21 HÀ NỘI – 2014 DECLARATION I hereby state that I: (Tran Ha Ngan, QH2010.F1.E21), being a candidate for the degree of Bachelor of Arts (TEFL) accept the requirements of the College relating to the retention and use of Bachelor’s Graduation Paper deposited in the library In terms of these conditions, I agree that the origin of my paper deposited in the library should be accessible for the purposes of study and research, in accordance with the normal conditions established by the librarian for the care, loan or reproduction of the paper TABLE OF CONTENTS Page Acknowledgements Abstract List of figures, tables, and abbreviations i ii iii CHAPTER 1: INTRODUCTION 1.1 Statement of the problem and the rationale for the study 1.2 Aims and objectives of the study 1.3 Significance of the study 1.4 Scope of the study 1.5 Structure of the study 1 3 CHAPTER 2: LITERATURE REVIEW 2.1 Changes in American women’s values 2.2 Lead female characters of Disney animated movies 6 10 CHAPTER 3: METHODOLOGY 3.1 Method of data collection 3.2 Method of data analysis 12 12 17 CHAPTER 4: CHANGES IN THE IDENTITY AND INEQUALITY ISSUES AMONG DISNEY LEAD FEMALE CHARACTERS 4.1 Identity 4.1.1 Character’s appearance 4.1.2 Submissiveness 4.1.3 Domesticity 4.1.4 New Woman 4.2 The fight against inequality 4.2.1 Inequality at work 4.2.2 Inequality in love and marriage 4.2.3 Inequality in education and training 21 CHAPTER 5: CONCLUSION 43 References 46 21 23 25 28 30 37 37 40 42 ACKNOWLEDGEMENTS I wish to express my deep gratitude to my respectful supervisor, Ms Nguyen Le Huong (M.A.) for her hearty guidance and her valuable criticism in the course of my work My thanks are also due to teachers of the faculty of English language teacher education for their encouragement and assistance in the completion of my paper I also would like to thank my family, my friends and those who have helped me a lot with their expectation and hopes for my success ABSTRACT Walt Disney studio has been recognized as the premier American animated studio with a series of popular animated movies about lifetime adventures of numerous lead female characters These movies are not only entertaining, but also express the development of core women’s values in American society with the changes in the construction of female protagonists Beside exploring the main features in the portrayal of lead female character in Disney animated movies, a closer look of how these portrayals reflect the differences in American women’s values between two periods of time, from 1900 to 1990 and from 1990 to 2013 is analysed in this paper Observation of artifacts is the primary method for data collection For data analysis, the two key methods of feminist analysis based on feminist film theory and content analysis are adopted The changes in Disney’s depiction of lead female characters based on two main themes of identity and inequality vividly reflects the development in the perception of American women’s values from 20th century to early 21st century Gender identity is significantly developed in terms of Disney character’s visual construction and the shift to the “new woman” model, breaking the conventional “woman sphere” of submissiveness and domesticity The fight against inequality of Disney lead female characters also reflects the constant struggle of American women to diminish gender inequality in three main spheres of work, love and marriage, and education and training LIST OF FIGURES, TABLES, AND ABBREVIATIONS Table 1: Image 1: Sample list Lead female characters of Disney animated movies prior to 1990 Image 2: Lead female characters of Disney animated movies from 1990 to 2013 Image 3: Visual construction of Snow White vs Merida Image 4: Snow White and Aurora’s true love kisses Image 5: Cinderella: Dress transformation Image 6: Snow White and Cinderella - Happy homemakers Image 7: The bookworm Belle Image 8: Snow White and Cinderella – happily ever after Image 9: Tiana: From a waitress to a businesswoman Image 10: Pocahontas’s journey to a new world Image 11: The warrior Mulan Image 12: Headstrong Merida 13 15 15 23 25 27 28 31 35 37 38 39 41 CHAPTER 1: INTRODUCTION 1.1 STATEMENT OF THE PROBLEM & RATIONALE FOR THE STUDY Since the introduction of the very first animated movie “Snow White and Seven Dwarfs”, Walt Disney has become one of the bestknown motion picture companies all over the world It has held a mass appeal to not only children but also adults as it “went beyond cartoons and theme parks” (Dakss, 2006) Numerous animated movie characters of Disney have exerted a strong influence on the audience, including lead female movie characters, such as Cinderella, Snow White, Mulan, Pocahontas, etc As the world changes, the portrayal of these lead female characters has gradually adapted accordingly to illustrate the changes in the perception of what makes a high value woman in the American society For example, the massive leap from the image of a traditional woman as a “homemaker, naive, and lacking in common sense” (Harrison, 2012) in “Snow White and Seven Dwarfs” to the contemporary image of American woman with princess Merida of “more independence and free will” (Zerlina, 2012) in “Brave” reflects significant changes in American women’s values Therefore, the images of gender in Disney animated movies can be considered the depiction of the developing process of perception of American women’s value The portrayal of gender in Disney movies has aroused the interest of some researchers in terms of both adverse and positive changes through time However, most of the previous studies primarily focus on movies released prior to 1990s instead of the modern context All these conditions, henceforth, offered the researchers a chance to conduct a study on “Changes in the Perception of American Women’s Values Depicted in Lead Female Characters of Disney Animated Movies (from 20th Century to Early 21st Century)” 1.2 AIMS & OBJECTIVES OF THE STUDY First, the paper is aimed to explore the main features of lead female character’s portrayals in Disney animated movies Next, a closer look will be taken at how these portrayals reflect the differences in American women’s values between two periods of time, from 1900 to 1990 and from 1990 to 2013 To gain a comprehensive understanding on this topic, two research questions will be considered: What are the major American women’s values depicted in lead female characters of Disney animated movies from 1900 to 1990? What are the major American women’s values depicted in lead female characters of Disney animated movies from 1990 to 2013, compared to the previous period? 10 Snow White and Cinderella – happily ever after Both Snow White and Cinderella dream of the marriage with the princes For Snow White, when “the wedding bells will ring” is the moment that her “dreams come true” (Script, n.d.) This illustrates that her dream is always oriented to marriage On hearing the announcement that any girl in the kingdom who fits the glass slipper shall be the prince’s bride, Cinderella no longer obeys her stepmother and her two daughters She refuses to her chores, knowing that she will become the prince’s bride since the slipper belongs to her Snow White and Cinderella share the common high priority for marriage with intense willing and longing Before marriage, their lives are portrayed as never-ending suffering from the step mother’s mistreat Consequently, marriage is considered a lifesaver and the husband is the only one that can determine a woman’s life happiness In response to the rapid changes in present American women’s values, there is a shift in the depiction of lead female characters whose top priority is no longer marriage This change is vividly illustrated with the modern attitude of Tiana towards the obligation of marriage 43 In contrast to Snow White with the dream of a happy ending, living “happily ever after”, Tiana focuses on her ambition of opening a luxurious restaurant by herself It remains her number one priority from her childhood to maturity Unlike Tiana, her mother supports the oldfashioned belief that women’s top priority is getting married to a good husband However, being an assertive woman, Tiana affirms that “that is just going to have to wait a while” (Princess and the frog script, n.d.) Tiana’s refusal to fulfill her mother’s expectation exemplifies the current view of American women towards marriage Previously, marriage has been considered the main life’s purpose Nowadays, American women tend to place top priority to pursue their own dreams and ambition In case of Tiana, it is the priority for career development instead of marriage 44 4.2 THE FIGHT AGAINST INEQUALITY The fight against inequality of Disney lead female characters reflects the constant struggle of American women to diminish gender inequality in three main spheres of work, love and marriage, and education and training 4.2.1 Inequality at work In movies from 1990 onwards, the fight of contemporary women against the restricted work sphere and gender inequality is vividly presented In “The Princess and the Frog” (2009), Tiana works as a waitress, which seemingly affirms the social stereotype that African American women are likely to be employed for household responsibilities Tiana’s dream of opening and running a restaurant with her ownership is thus considered impracticable by the society However, she strongly holds her faith of making her dream come true, which is reflected in her singing out the I-don’t-care attitude -“people down here think I’m crazy but I don’t care” (Princess and the frog script, n.d.) Tiana: From a waitress to a businesswoman 45 Pocahontas’s journey to a new world For Pocahontas, in the first movie released in 1995, her portrayal remains in the role of a daughter in the family In “Pocahontas II: Journey to a New World” (1998), she has gained trust from her father, chief Powhatan, to become the representative for her tribe in negotiating for peace Hence, she acts as an ambassador, a compatible position with an English man, Rolfe However, the change in higher appreciation of women in her tribe does not sustain when she comes to a new world, England Pocahontas are looked down on and jeered by others for being an “uncivilized” Native American Yet, she manages to adapt to the new culture, proving that inspite of skin color and gender, Native American women also have the ability to become members of the western civilized society The main character of “Mulan” (1998), as a Chinese woman, lives in the deep-rooted masculinity culture Gender inequality creates the prejudice that a virtuous woman must devote herlife to familial responsibilities Therefore, women are forbidden from doing certain jobs 46 that are exclusively for men, including jobs in the army Going against the masculinity culture, Mulan disguises as a man and joins the army in the place of her elderly father Initially, she is depicted as the worst solider but with hard training and strong will, she becomes one of the leading warriors The climax of the movie is when Mulan’s disguise is revealed, leading to her extrusion from the troop This scene embeds the archaic prejudice that women must stay in her domestic sphere Though her ability is acknowledged, Mulan is still forced to go back to the life of a Chinese virtuous woman, which demonstrates the extensive gender inequality in the past Not submitted to this gender inequality, Mulan has changed the perception that women are inferior by her brave action that saves the country In “Mulan II” (2004), her former captain Shang is also filled with tremendous admiration for her, praising, “you’re a far better military strategist than I.” (Mulan the completed script, n.d.) The fact that she is honored by the emperor, the people and captain Shang clearly shows the change in a woman’s value and the acknowledgement of a woman’s ability at social work The warrior Mulan 47 4.2.2 Inequality in love and marriage In movies prior to 1990, the marriage of princess Aurora and Ariel deprive them from their true ego and feelings On getting married to the prince, princess Ariel has to abandon her identity as a mermaid to have the appearance of a human Moreover, after marriage, she lives with the prince on the mainland so the contact with her family and friend under the sea becomes restricted The marriage of Ariel reflects the role of American women after marriage that they have to adapt to the family life with more devotion to husband and family instead of their own need and interest Similarly, in “Sleeping Beauty” (1959), Princess Aurora is depicted as a woman with no right for decision-making in marriage Though she finds the person she genuinely loves, she is escorted to the palace for a pre-arranged marriage The moment that Aurora is granted the last gift from the Fairy God Mother, the crown, the symbol of royalty, is the time she realizes that she has no choice in this undesirable marriage because it is the royal right and duty that she must adhere to In this movie, marriage is manifested as the duty women must fulfill Hence, these lead characters represent for the traditional American women being restrained in the woman’s sphere of devotion to and reliance on men in general and husbands in particular They suffer from the inequality that emphasize the indispensable duty of women’s life in marriage 48 Headstrong Merida Facing a similar dilemma to princess Aurora’s, princess Merida in “Brave” (2012) encounters the pre-arranged marriage differently She strongly disapproves of the marriage that is set by her parents Headstrong Merida shows no sign of fear or surrender to the expectation She consequently breaks the tradition of the clans, claiming that the choice of marriage can only be made by the two subjects of love Her struggle to revere the conventional stereotype of women’s duty in marriage is toilsome; however, women in the clans are finally granted with the right to make their own decision about to whom and when they will marry Merida is an outstanding example for the modern free spirited American women who dare to take actions to enhance women’s values and status, diminishing the inequality based on gender 49 4.2.3 Inequality in education and training In “Beauty and the Beast”, even when the whole town think that “it is not right for a woman to read” (Beauty and the beast script, n.d.), Belle’s passion for books does not dilute The thought of people in town is the implication for the restrain of society towards American women’s education in the past Due to gender inequality, the society dictates no need for women to have critical thinking and ideals Belle is also the only female protagonist to be portrayed with the aspiration for better education In contrast, most princes are portrayed as knowledgeable men Similarly, teachers in training field are exclusively men like Merida’s father, king Fergus and Mulan’s captain Shang regardless of women’s compatible ability, which shows a serious gender inequality in education and training In “Brave” (2012), dismaying with her daughter’s aspiration in archery, Queen Eleanor attempts to convince Merida that “a lady enjoys elegance pursuits” (Brave movie transcript, n.d.), but headstrong Merida remains her great passion for it It is the implication for the archaic gender inequality that training in fields that are monopolized by men is uncommon and inappropriate for women The main purpose of women’s training is to help them become competent in their domestic role Hence, it emphasizes the importance to mould ‘graceful, polite, delicate, refined, poised” (Mulan the completed movie transcript, n.d.) women instead of training them to be assertive and independent ones 50 CHAPTER 5: CONCLUSION 5.1 Summary of findings The changes in Disney’s depiction of lead female characters are portrayed mainly based on two themes of identity and inequality This has vividly reflected the development in the perception of American women’s values from 20th century to early 21st century The notion of true gender identity is significantly developed in terms of character’s visual construction and the shift to the “new woman” model, breaking the conventional “woman sphere” of submissiveness and domesticity Most of Disney traditional female protagonist’s appearances are restrained in the motif of beauty and sensuality However, Disney contemporary character’s construction gradually promotes new trend of tomboyish and chubby appearance eschewing the sexist tradition of women’s look that highly values women’s fragility and naiveté Disney lead female characters also flee from the image of damsel-in distress, waiting for the rescue of Prince Charming Instead, they become the rescuers of their own and even the rescuers of the Prince The role of women as obedient and happy homemakers is remarkably less portrayed in movies from 1990 onwards It is replaced by the image of strong workingwomen with outstanding career development, even in fields that used to be monopolized by men They are also portrayed with elevated exposure to education and training In addition, female protagonist’s top priority for marriage in movies prior to 1990 is radically substituted by the focus on career development 51 The fight against inequality of Disney lead female characters reflects the constant struggle of American women to diminish gender inequality in three main spheres of work, love and marriage, and education and training Female protagonists including Tiana, Pocahontas, and Mulan in movies from 1990 onwards confront inequality at work, which is resulted from deep-rooted masculinity culture associated with racism for African-American, Native American, and Asian-American women In terms of love and marriage, Disney lead female characters face the conflicts of abandoning true egos and holding no right for decision-making in marriage Gender inequality is also reflected in education and training Unlike female protagonist, male characters are depicted as knowledgeable men, demonstrating education and training is exclusively for men Hence, female protagonist attaching higher importance to education and training like Belle and Merida encounter strong social’s prejudice in the movies Despite gender inequality, Disney lead female characters successfully obtain outstanding achievements in these fields, and thus, gain more recognition for women, illustrating the assertive American women in feminist movements to diminish gender inequality With the depiction of Disney lead female characters in two themes of identity and inequality, changes in American women’s values are lively demonstrated Traditionally, the perception of American women values strongly linked with their inferior status to men This archaic perception shifts to the 21st-century contemporary American women’s image of more self-reliance and freedom shaped in lead female characters from 1990 onwards 52 5.2 Limitations and suggestions for further research In the paper, some characters like Snow White, Cinderella, and Merida have higher frequency of analysis than others This is resulted from the prominent role of these characters in setting the core motifs of Disney female protagonists that demonstrate the character’s identity and their fight against inequality Hence, further research may focus on an indepth analysis for a smaller scale of research subjects, for example, character’s development in particular movies or movie-sequels As the thesis concentrates on the changes in the perception of American women values depicted in Disney lead female characters, the depiction of gender issues is in the center of analysis Other issues like races, ages can also be a 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SƯ PHẠM TIẾNG ANH KHÓA LUẬN TỐT NGHIỆP THAY ĐỔI NHẬN THỨC VỀ NHỮNG GIÁ TRỊ CỦA PHỤ NỮ MỸ THỂ HIỆN QUA CÁC NHÂN VẬT NỮ CHÍNH TRONG PHIM HOẠT HÌNH DISNEY Giáo viên hướng dẫn: ThS Nguyễn Lê Hường... 4.1.3 Domesticity 4.1.4 New Woman 4.2 The fight against inequality 4.2.1 Inequality at work 4.2.2 Inequality in love and marriage 4.2.3 Inequality in education and training 21 CHAPTER 5: CONCLUSION... 4.2 THE FIGHT AGAINST INEQUALITY The fight against inequality of Disney lead female characters reflects the constant struggle of American women to diminish gender inequality in three main spheres