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Criticisms and the development in the image of a Disney princess

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With such an impact on society, Disney often receives a lot of criticism for the potential harmful effects of their content on cultures[1]. However, the development in the image of the Disney princesses shows that Disney company has tried to build their image consistent with the values ​​of modern society. Maturity in the image of the Disney princesses is clearly manifested in three aspects.

First, there is a remarkable improvement in gender roles in Disney princess films. In early princess movies, the images of princesses associated with jobs that were supposed to be for women[2]. There is a Cinderella who was always cleaning to serve her stepmother and her two stepsisters, a Snow White who cleaned the house while waiting for the dwarfs to come home from work. In the 1930s, Snow White - the first Disney princess - appeared on screen, showing the measure of society of a model woman at that time: worthy and dependent. This pattern has remained the same for almost 30 years while most of the following princesses still need a prince to help them. It was not until Pocahontas' time that the first signs of the influence of gender equality activities appeared. Pocahontas is considered the character with the biggest difference from previous princesses as she is less represented through romantic relationships, and she is the first princess who truly has a voice in the film. Mulan strongly followed this change. She is the first princess to truly escape the image of a sweet, feminine girl. Mulan was engaged in jobs that were supposed to be for men, she joined the army to defend the country. However, the film still received negative reviews from feminist critics. They consider the film to poke fun at gender roles when Mulan has to pretend to be a boy to get what she wants[3]. Until 2012, Disney released Merida, a completely independent and powerful princess. Merida was very fond of archery and horse riding, and she beat all the other princes in archery competitions. Merida is said to have more masculine traits (62%) than other Disney Princesses[4]. Merida's image marked a milestone in the development of gender roles in Disney princess films. Princesses are no longer just weak women waiting for help from the prince, they have become strong, empowered girls.

Second, the evolution of Disney Princesses is also reflected in ethnic diversity. Most of the early princesses were depicted as a white-skinned girl. It was not until 1992 that we saw racial diversity in Aladdin, starring Jasmine. Although this is considered a turning point in the cultural diversity of Disney princess films, the image of this character has been criticized that the character's personality has been westernized[5]. Disney continues to expand the promotion of ethnic diversity by releasing three consecutive films in its princess franchise featuring the princesses of color, Pocahontas (1995), Mulan (1998) and The Princess and the Frog (2009).

Last, the princesses are gradually portrayed with their own personalities and ideals. Early princesses were depicted primarily in terms of beauty[6]. The common strengths of these princesses are innocence, kindness, tenderness, selflessness and beauty. These are all traits that are hailed as female standards. It is only a problem when it lacks diversity, misleads that girls are only appreciated when they are beautiful, kind and sweet. Strong and personality princesses are equally worthy of honor just as much as charming and feminine girls. More interesting developments in personality can be seen in modern princesses. They have the opinions, the desires and the purpose of life. Belle in Beauty and the Beast (1991) is an intellectual girl who loves to read and she is not content to just live a peaceful life in the boring countryside. Tiana in The Princess and the Frog (2009) is a hardworking girl who dreams of opening her own restaurant. The princesses' ego is shown more clearly and vividly through each Disney Princess movie.

  1. ^ Forman-Brunell, Miriam; Hains, Rebecca C., eds. (2015-01-01). "Princess Cultures". doi:10.3726/978-1-4539-1322-2. {{cite journal}}: Cite journal requires |journal= (help)
  2. ^ England, Dawn Elizabeth; Descartes, Lara; Collier-Meek, Melissa A. (2011-04). "Gender Role Portrayal and the Disney Princesses". Sex Roles. 64 (7–8): 555–567. doi:10.1007/s11199-011-9930-7. ISSN 0360-0025. {{cite journal}}: Check date values in: |date= (help)
  3. ^ Nguyen, M. "PopPolitics.com - Who's Your Heroine?". {{cite web}}: Check |archive-url= value (help)
  4. ^ Hine, Benjamin; Ivanovic, Katarina; England, Dawn (2018-09-14). "From the Sleeping Princess to the World-Saving Daughter of the Chief: Examining Young Children's Perceptions of 'Old' versus 'New' Disney Princess Characters". Social Sciences. 7 (9): 161. doi:10.3390/socsci7090161. ISSN 2076-0760.{{cite journal}}: CS1 maint: unflagged free DOI (link)
  5. ^ Hains, R. C. (2014). The princess problem : guiding our girls through the princess-obsessed years. Sourcebooks.
  6. ^ Lasri, S. (2020). "Ce que Disney donne à voir du genre aux enfants. Dans : Florence Benoit-Moreau éd., Genre et marketing: L'influence des stratégies marketing sur les stéréotypes de genre (pp. 79-97). Caen: EMS Editions".