Gillam And Woods's Argumentative Analysis

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Since the conception of Disney, Disney has maintained a consistent canon that expresses traditional forms of gender; from its debut release of Snow White and the Seven Dwarfs (1937) to its box office hit Frozen (2013). These films tend to have female protagonists, following their journey into adulthood vis-à-vis the idea of “love.” It was not until 2006 when Disney began to collaborate with Pixar to create films that challenge traditional notions of gender within a progressive society—shifting from a traditional “conservative” to progressive “modernist” ideology. Ken Gillam and Shannon R. Woods argue, as titled in their essay, a “Post-Princess Model of Gender: The New Man in Disney/Pixar,” which highlights the arrival of the “beta-male” who challenges the infamous alpha-male. However, what Gillam and Woods overstimulate in their argument is the necessity of emasculation and the homosocial bond as mechanisms that brings out inner male femininity—primarily in their evaluation and discussion of Pixar’s Toy Story (1995). …show more content…
[F]or his need of communal support to his deep, abiding (and, later maternal) love of a boy” (Gillam and Shannon) which is seen primarily in the instance when Woody’s masculinity has reached its limits. Although this contentious relationship provides good reviews and teaches the next generation to accept their feminine side; this type of relationship should not be the influence that fosters change. For instance, in Pixar’s Finding Nemo (2003), protagonist, and father Marlin’s experience of losing his son reinforces the idea that men already understand their feminine/maternal side. There is no need for a “same-sex relationship [that] demands social opportunities for a man to insist on, or prove, his

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