Fairytales, Femininity and Film:
Feminine Ideals in American and Japanese Children’s Animation
The nature of social expectations evident in children’s animated films is compelling. Socialization structures, values, morals, spirituality, gender expectations, and national culture and identity are all expressed through animated media and marketed toward children. Animation is more than entertainment, it is a major means by which children assimilate culture. Film is one of the most useful sets of products for investigating cultural motifs and values. Walt Disney Studios manifest a distinct American style and tone that reflect our national identity. Their films are immensely influential both in the US and around the world. Studio Ghibli is the …show more content…
Snow White sings, “I’m wishing for the I one I love to find me” at the beginning of Snow White and the Seven Dwarfs but when the prince appears she is startled and tries to run away. The prince begs her not to go and sings, “my heart keeps singing of one love only for you.” Love at first sight (or song, which is often the case) is a prevailing theme in Disney films. This theme continues even in contemporary Disney films. In Frozen, Princess Anna meets a prince, they sing a song together, fall in love, and agree to marry within minutes of meeting one another. The mature concepts of romantic love that are dominant in Disney films set forth unrealistic expectations for young …show more content…
Disney’s marketing is decidedly aggressive which necessitates a hefty profit. Additionally, the vast majority of Disney stories are unoriginal; pilfered from history or long standing fairy tales, Americanized and slanted to fit a pat formula. The message of nearly every Disney movie reinforces the static never changing patriarchal ideal where men shape the world and a woman’s only salvation is marriage. In fact, when Disney women step beyond their traditional subservient role, invariably, they are the villains. Further, these female villains are universally unattached so not only is a woman’s worth and good girl status linked to her ability to attract a male, if she is not married, she is
Feminine Ideals in American and Japanese Children’s Animation
The nature of social expectations evident in children’s animated films is compelling. Socialization structures, values, morals, spirituality, gender expectations, and national culture and identity are all expressed through animated media and marketed toward children. Animation is more than entertainment, it is a major means by which children assimilate culture. Film is one of the most useful sets of products for investigating cultural motifs and values. Walt Disney Studios manifest a distinct American style and tone that reflect our national identity. Their films are immensely influential both in the US and around the world. Studio Ghibli is the …show more content…
Snow White sings, “I’m wishing for the I one I love to find me” at the beginning of Snow White and the Seven Dwarfs but when the prince appears she is startled and tries to run away. The prince begs her not to go and sings, “my heart keeps singing of one love only for you.” Love at first sight (or song, which is often the case) is a prevailing theme in Disney films. This theme continues even in contemporary Disney films. In Frozen, Princess Anna meets a prince, they sing a song together, fall in love, and agree to marry within minutes of meeting one another. The mature concepts of romantic love that are dominant in Disney films set forth unrealistic expectations for young …show more content…
Disney’s marketing is decidedly aggressive which necessitates a hefty profit. Additionally, the vast majority of Disney stories are unoriginal; pilfered from history or long standing fairy tales, Americanized and slanted to fit a pat formula. The message of nearly every Disney movie reinforces the static never changing patriarchal ideal where men shape the world and a woman’s only salvation is marriage. In fact, when Disney women step beyond their traditional subservient role, invariably, they are the villains. Further, these female villains are universally unattached so not only is a woman’s worth and good girl status linked to her ability to attract a male, if she is not married, she is