...August 2014 The Disney Princess Effect on Young Girls and Their Gender Role Perception The Disney Corporation has been around since 1937 when it released the first Disney Princess movie, Snow White and the Seven Dwarfs. Since then, millions of young girls have fallen in love with these characters and often see them as role models. From the dresses to the tiaras, the beauty to the fairy tale, Disney Princesses have a direct effect on young girls and their behavior. The media has been a powerful resource through which many young girls develop their identity and come to understand gender roles in society. Research indicates that watching televised gender portrayals has an effect on individuals’ gender based attitudes, beliefs, and behaviors (Mastro & Morawitz 131). These are the attitudes and beliefs that young girls who watch Disney princess films would inherit. Girls enjoy watching these films and see the beautiful characters overcome difficult trials, as well as fall in love with a handsome prince in the end. The overall message is not a realistic one, leaving many girls feeling self conscious and unhappy. The idea that beauty equals good and ugly equals evil can negatively impact the way a girl looks at herself or others. Girls will ultimately learn that what is beautiful is good. Snow White and Cinderella were attractive and charismatic while the witch and two stepsisters were unattractive and vile. And in the end, the princesses lived happily ever after. The...
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...studio’s popular princesses. Ever since Snow White made her debut in 1937, Disney has cornered the market on princesses. One primary topic that critics have discussed in Disney’s films is the way princesses are portrayed. The roles of the female characters are especially drawing the interest of academic critics. Jack Zipes, author of Breaking the Disney Spell, believes that the Disney princesses have regressed. On the other hand, Libe Zarranz, author of Diswomen Strike Back? The Evolution of Disney’s Femmes in the 1990s, and Rebecca Do Rozario, author of The Princess and the Magic Kingdom: Beyond Nostalgia, The Function of the Disney Princess, believe that the Disney princess has progressed. Another aspect of Disney’s movies that catches the eyes of critics is the moral simplification in the films. They believe that the morals from the original fairy tales are being manipulated and simplified in the Disney films. A. Waller Hastings, author of Moral Simplification in Disney’s The Little Mermaid, and Finn Mortensen, author of The Little Mermaid: Icon and Disneyfication, both agree that Disney’s simplification of morals is giving viewers the wrong depiction of life. Disney’s portrayal of women and simplification of morals are giving viewers the wrong impression of life and women. Many critics call the process of simplification in Disney movies, “Disneyfication.” Disneyfication is especially shown in The Little Mermaid. In Disney’s version of The Little Mermaid, Disney retains elements...
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...1980s and 1990s, with the third wave of feminism introducing women to take actions to obtain their goals, the Disney Company experienced a renaissance by returning to its most successful genre—fairytales. After the huge success of The Little Mermaid in 1989, the Walt Disney Company released another well known story, Beauty and the Beast, in 1991. With the enormous success of the film, many scholars criticized that these princess films actually promoted an anti-feminist message and were worried that the films would influence the thoughts of young girls and women. However, these films in the late 80s and 90s evolved from previous films. In fact, Linda Woolverton, the first female Disney animation writer, was the script-writer of Beauty and the Beast. The Walt Disney Company always cared about what the fans wanted and thought. By hiring a female script writer, Disney could make audience better understand feminism, especially at the time of third-wave feminism. The 1980s and 1990s movies, especially Beauty and the Beast, convey a feminist message because of the themes of inner beauty, progressive gender roles and freedom of choice. Beauty and the Beast presents the importance of personality and ambition over physical appearance. Some people argued that the message that being pretty is very important in princess movies is anti-feminist. They thought the pretty princesses suggested to young girls that women’s appearances were the most important feature. In previous princess movies...
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...Gender Roles in Disney Movies It is undeniable that the company that is leading to many generations in their child age is Disney. Who does not remember Mickey and Minnie Mouse?, Who has not thrown a tear when Snow White was poisoned by the evil witch?, Who did not want to ever be in the place of handsome John Smith or Pocahontas herself to revive their love story?, that tender these films, is not it, for example the Little Mermaid and Sebastian the crab song, who does not remember that song from "under the sea”? Has anybody ever wondered why the dwarves themselves did not do the housework when they came home once Snow White "moved in" with them? Or why an Indian as Pocahontas, falls for a murderer of thousands of his countrymen as was John Smith? Or why witches are always bad? Or why women are always in the background in these films (Hubka, Hovdestad & Tonmyr, 2009)? The world of Disney Princess began in 1937 when Snow White entered the world with the Seven Dwarfs (McRobbie, 2008). Since then it continued to add princesses in this world and the most recent movie was Tangled (Rapunzel) in 2011. In the past years, due to the lack of portraying ethnicity, Disney movie makers were highly criticized by their audience. Therefore, Pocahontas appeared in 1995 and after three years in 1998 came Mulan, which created a racially diverse collection of Disney princesses. After a decade The Princess and the Frog was released in 2009. It is important to understand that Disney plays an important...
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...Disney characters : the reflect of women's place in the society Walt Disney, under his real name Walt Elias Disney was born in 1901 in Chicago. He founded in 1923 the famous Walt Disney Company with his brother Roy as the Disney Brothers Studios. After three years, the studios take the name Walt Disney Company. Their first animated film came out in 1937 "Snow White" inspired by a famous children's story by the Brothers Grimm. Thereafter follow many animated films like Cinderella, Mulan, or Rebel. One of the most important question in recent years is : What image Disney returns with respect to the role of women and the role that women play in society in the twenty-first century? In fact, Disney is primarily a media and integrate media stereotypes and habits of society to which they belong in their history or animated movie. Disney is the reflects of the habit of society to which they belong in their history or their short films. Thus heroines like Snow White, Cinderella, Aurora are submitted to wish than others, especially men, have chosen for her. They are docile women who spend their time dreaming. They are always save by men from a evil spell and are submit to the will of men. Instead, the heroines of the late twentieth century are beginning to take their lives and rebel against the male authority . In the twenty-first century heroines are increasingly rebelling and advocate of feminist principles : women are the equals of men. This analysis allows us to see a marked increase...
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...changes were added by Disney to make a more interesting movie, or to forward a sexist agenda. A multitude of sexist messages are present in Disney movies teaching young girls that they are expected to fill a submissive role in society. The fairy tales are symbolic of women’s lives being shaped by male influences. Over time, the sexist message in Disney movies has become less apparent, but it has never disappeared; it is merely buried within a classic fairy tale that the “magic of Disney” has transformed into a sexist lesson. Naturally, these movies must not have a traumatic affect on little girls. Parents are not actually harming their daughters by allowing them to indulge their fairy tale fantasies. Not according to Jack Zipes, leading expert on fairy tales and German professor at the University of Minnesota, the movies have “a type of gender stereotyping . . . that has an adverse effect on children, in contrast to what parents think . . .. Parents think they’re essentially harmless – they are not harmless” (Giroux, “Roared” 103). Maria Tatar, Harvard folklorist, also sees harm in the movies since “[Disney] capitalizes on the worst part of fairytales” placing the focus on the material world and removing the cunning and intelligent roles that the females once played (Healy). However, these messages surly must not be intentional, and they are open to interpretation, right? Not according to Mary Beech, director of franchise management for Disney Consumer Products, who...
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...Is she a real new “Princess”? Media has grown into the ultimate medium of mass communication, a popular agent used to illustrate a “reflection” of the societies throughout the ages. In general, media has overcome multiple issues of representation of different genders, sexuality, classes, ethnic and racial groups (Hoynes and Crouteau). Nevertheless, these matters are not completely evolved yet. Media producers substitute the blunt way of displaying their demeaning opinions, into a subtler version of prejudice defined as: “modern” racism and sexism. Fundamentally, rather than discriminating and showing direct hatred towards who they claim are “genetically inferior”; producers present a positive evaluation and acceptance towards the “minorities”...
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...Part 1: Defining Marketing and the Marketing Process (Chapters 1–2) Part 2: Understanding the Marketplace and Consumers (Chapters 3–6) Part 3: Designing a Customer-Driven Strategy and Mix (Chapters 7–17) Part 4: Extending Marketing (Chapters 18–20) 4 Marketing Information to Gain Managing Customer Insights Chapter Preview In this chapter, we continue our exploration of how marketers gain insights into consumers and the marketplace. We look at how companies develop and manage information about important marketplace elements: customers, competitors, products, and marketing programs. To succeed in today’s marketplace, companies must know how to turn mountains of marketing information into fresh customer insights that will help them deliver greater value to customers. Let’s start with a good story about marketing research and customer insights in action at P&G, one of the world’s largest and most re- spected marketing companies. P&G makes and markets a who’s who list of consumer megabrands, including the likes of Tide, Crest, Bounty, Charmin, Puffs, Pampers, Pringles, Gillette, Dawn, Ivory, Febreze, Swiffer, Olay, Cover Girl, Pantene, Scope, NyQuil, Duracell, and dozens more. The company’s stated purpose is to provide products that “improve the lives of the world’s consumers.” P&G’s brands really do create value for consumers by solving their problems. But to build meaningful relationships with customers, you first have to understand them and how...
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...The 2012 The Cathedral & John Connon Alumni Magazine Founders’ Day Brunch 2011 EVENTS Rumble in the Jungle OFF THE SHELF Amish Tripathi and Akash Shah OUT OF THE BOX Dhanya Pilo Contents 9 President’s Message Events Founders’ Day 2011 Rumble in the Jungle Memories and Mayhem School Update Summer School Spotlight Keshav Desiraju Sudha Shah Off the Shelf Amish Tripathi and Akash Shah Out of the Box Vijaya Pastala Dhanya Pilo Nostalgia Reunions First Citizen In Memoriam Mrs. Irene Saldanha Mr. Anthony Dias Class Notes The Quiz 2 5 7 9 10 13 15 17 18 21 22 25 27 29 31 33 36 68 15 13 18 Editorial Team Udita Jhunjhunwala (ICSE 1984) Miel Sahgal (ISC 1989) Shyla Boga Patel (ISC 1969) Mukeeta Jhaveri (ISC 1983) Mitali Anand Kalra (ISC 1989) Business Rohita Chaganlal Doshi (ISC 1975) Editorial support, Design and Printing 22 Kirtana Shetty Minaal Pednekar and Nikunj Parikh Spenta Multimedia This magazine is not for sale and is intended for internal circulation only. Any material from this magazine may not be reproduced in part or whole without written consent. Views and opinions expressed in this magazine are those of the individual authors and not necessarily those of the Publishers. Published by The Cathedral and John Connon Alumni Association, 6, P.T. Marg, Mumbai 400 001 and printed at Spenta Multimedia, Peninsula Spenta, Mathuradas Mill Compound, Lower Parel, Mumbai 400 013. www.spentamultimedia.com 21 36 Special...
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...Copyediting & Proofreading FOR DUMmIES by Suzanne Gilad ‰ Copyediting & Proofreading For Dummies® Published by Wiley Publishing, Inc. 111 River St. Hoboken, NJ 07030-5774 www.wiley.com Copyright © 2007 by Wiley Publishing, Inc., Indianapolis, Indiana Published by Wiley Publishing, Inc., Indianapolis, Indiana Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-646-8600. Requests to the Publisher for permission should be addressed to the Legal Department, Wiley Publishing, Inc., 10475 Crosspoint Blvd., Indianapolis, IN 46256, 317-572-3447, fax 317-572-4355, or online at http://www.wiley.com/go/permissions. Trademarks: Wiley, the Wiley Publishing logo, For Dummies, the Dummies Man logo, A Reference for the Rest of Us!, The Dummies Way, Dummies Daily, The Fun and Easy Way, Dummies.com, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc., and/or its affiliates in the United States and other countries, and may not be used without written permission. All...
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...Table of Contents Title Page Copyright Page Dedication Introduction Chapter 1 - Priming Chapter 2 - Confabulation Chapter 3 - Confirmation Bias Chapter 4 - Hindsight Bias Chapter 5 - The Texas Sharpshooter Fallacy Chapter 6 - Procrastination Chapter 7 - Normalcy Bias Chapter 8 - Introspection Chapter 9 - The Availability Heuristic Chapter 10 - The Bystander Effect Chapter 11 - The Dunning-Kruger Effect Chapter 12 - Apophenia Chapter 13 - Brand Loyalty Chapter 14 - The Argument from Authority Chapter 15 - The Argument from Ignorance Chapter 16 - The Straw Man Fallacy Chapter 17 - The Ad Hominem Fallacy Chapter 18 - The Just-World Fallacy Chapter 19 - The Public Goods Game Chapter 20 - The Ultimatum Game Chapter 21 - Subjective Validation Chapter 22 - Cult Indoctrination Chapter 23 - Groupthink Chapter 24 - Supernormal Releasers Chapter 25 - The Affect Heuristic Chapter 26 - Dunbar’s Number Chapter 27 - Selling Out Chapter 28 - Self-Serving Bias Chapter 29 - The Spotlight Effect Chapter 30 - The Third Person Effect Chapter 31 - Catharsis Chapter 32 - The Misinformation Effect Chapter 33 - Conformity Chapter 34 - Extinction Burst Chapter 35 - Social Loafing Chapter 36 - The Illusion of Transparency Chapter 37 - Learned Helplessness Chapter 38 - Embodied Cognition Chapter 39 - The Anchoring Effect Chapter 40 - Attention Chapter 41 - Self-Handicapping Chapter 42 - Self-Fulfilling Prophecies Chapter 43 - The Moment Chapter 44 - Consistency...
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...The New Astrology by SUZANNE WHITE Copyright © 1986 Suzanne White. All rights reserved. 2 Dedication book is dedicated to my mother, Elva Louise McMullen Hoskins, who is gone from this world, but who would have been happy to share this page with my courageous kids, April Daisy White and Autumn Lee White; my brothers, George, Peter and John Hoskins; my niece Pamela Potenza; and my loyal friends Kitti Weissberger, Val Paul Pierotti, Stan Albro, Nathaniel Webster, Jean Valère Pignal, Roselyne Viéllard, Michael Armani, Joseph Stoddart, Couquite Hoffenberg, Jean Louis Besson, Mary Lee Castellani, Paula Alba, Marguerite and Paulette Ratier, Ted and Joan Zimmermann, Scott Weiss, Miekle Blossom, Ina Dellera, Gloria Jones, Marina Vann, Richard and Shiela Lukins, Tony Lees-Johnson, Jane Russell, Jerry and Barbara Littlefield, Michele and Mark Princi, Molly Friedrich, Consuelo and Dick Baehr, Linda Grey, Clarissa and Ed Watson, Francine and John Pascal, Johnny Romero, Lawrence Grant, Irma Kurtz, Gene Dye, Phyllis and Dan Elstein, Richard Klein, Irma Pride Home, Sally Helgesen, Sylvie de la Rochefoucauld, Ann Kennerly, David Barclay, John Laupheimer, Yvon Lebihan, Bernard Aubin, Dédé Laqua, Wolfgang Paul, Maria José Desa, Juliette Boisriveaud, Anne Lavaur, and all the others who so dauntlessly stuck by me when I was at my baldest and most afraid. Thanks, of course, to my loving doctors: James Gaston, Richard Cooper, Yves Decroix, Jean-Claude Durand, Michel Soussaline and...
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