Becoming a Princess:
The Transition From Individual to Sex Object
(Ali Wachutka(

rince Charming did not kiss Snow White to wake her. Ariel never really loved Eric. The Beast was not angry and violent. Mulan never fell in love with her general. At least not in the original versions of the stories; all these 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 admits that the company does not merely want their viewers to watch the movies and play with the toys. The company believes that the Disney Princess brand has “gone beyond the dress-up and toys, and begun to look at the brand as a lifestyle, filling out all the other things girls need in life” (Healy). There goal of lifestyle domination is very successful, at least according to parent, writer, and photographer Josh Levine who witnessed first-hand the outlandish power the Disney princess movies and their characters had on his daughter. He relates, “People always talk about the ‘magic of Disney.’ Well, that’s the magic of Disney: it’s addictive. It’s like crack for 5-year-olds”(Healy). Likewise Christopher Healy, writer and father, personally testifies to the power of Disney. Having intentionally kept his daughter from the movies for the first two years of her life, Healy had all his efforts ruined after his daughter watched Sleeping Beauty at a friend’s house and was

People always talk about the ‘magic of Disney.’ Well, that’s the magic of Disney: it’s addictive. It’s like crack for 5-year-olds

immediately transformed from a regular girl to a princess. In addition, Disney actually profits off of and relies on young girls’ false illusions through their various marketing strategies including the sales of princess classes given in the New York Disney Store. During these classes the princesses-in-training participate in lessons “involving everything from ‘teamwork, table manners, and truthfulness to courtesy, compassion, curtseys and kindness’”(Healy). Research done by Arthur Applebee has conclusively shown that “story characters become part of a child’s ‘real world’ and form part of their cultural heritage”(Zipes, “Preface” xii). In that case, these movies are teaching sexism as part of America’s cultural heritage. That certainly is not the type of equality our country was founded on. Applebee further shows that “the fairy tale enables the child to discover his or her place in the world and to test hypotheses about the world”(xii). Tatar also worries about the message the Disney movies present to young girls especially since they change the folk tales to express “the importance of beautiful dress and gorgeous good looks. But in many of the original versions of these fairytales, the girls are feisty and cunning; they use their intelligence and work very hard to liberate themselves”(Healy).

But in many of the original versions of these fairytales, the girls are feisty and cunning; they use their intelligence and work very hard to liberate themselves

The Disney Corporation has done an immaculate job of marketing their “Disney Princess” line to reach young girls. The girls idolize the princesses and look to them as perfect role models to follow in order to achieve perfect lives. Disney opened their princess line in 2000 and in just one year they reached $300 million in sales, after three years their sales reached $2.5 billion (Healy). There is no doubt that they are reaching their target audience and their message is being made available to young children around the world. The Little Mermaid alone grossed more then $84 million dollars shortly after it’s release through the sales of 9 million VHS tapes and a variety of other merchandise promoted outside the film (Grover 132).

The Added Kiss

The origin of Disney’s sexist portrayal of women can be traced to their first full-length animated feature, Snow White, which was released in 1937. The sexist message in this film is apparent through the characterization of the leading character and the effect she has on other people. Her only emphasized qualities throughout the entire movie are her appearance and housekeeping skills. The evil queen is jealous of her because Snow White is the “fairest one of all” and the only reason the hunter, who was supposed to kill her, spares her life is because she is too pretty to kill. These scenes present the message that the greatest quality a woman can possess is beauty. Besides her beauty, Snow White is characterized as an innocent and perfect housewife whose talents and worth lie in her abilities to cook and clean, which she does on impulse upon entering the dwarfs’ cottage. The filth and disorder of the cottage makes it apparent to Snow White that who ever lives in the house does not have a mother (Maio), because, after all, if they did, it would be the mother’s role to keep the house in order as that is a female’s one true calling in life, which she is drawn

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This modern day Snow White has learned her role as housekeeper from the actions of Disney’s character. to as Snow White was compelled to clean the cottage upon her arrival. In the movie, Disney altered the original story to have Snow White clean the house before ever meeting the dwarfs, whereas in the original story recorded by the Grimm Brothers Snow White used her cooking and cleaning abilities as a bartering tool (Zipes, “Breaking” 37). While both instances depict females in a sexist role, Disney’s version does so to a greater extent because they suggest that domestic chores are part of female nature. In the Grimm’s record Snow White is at least capable of using her limited abilities to negotiate with men on an intellectual level and her shelter is won through her own conscience actions, not her impulses and good looks. However, regardless of her means of attaining shelter, it is apparent that the women’s role is at home keeping the house in order while “it’s off to work [the men] go.” Disney’s alterations further lead to the increased sexism in the story through the role of the prince. By adding Snow White’s interaction with the prince early in the movie, as opposed to just at the end, Disney places the prince in a role that frames the movie (Zipes, “Breaking” 36). The combination of his and the dwarfs’ roles become a staple to the movie making it about a woman in a man’s world as opposed to a woman’s story of survival. Disney also magnifies the prince’s role through his

You’ll have your looks, your pretty face, and don’t underestimate the importance of body language.

power in waking Snow White. In the movie, Snow White helplessly awaits his kiss while trapped in a death-like slumber. The prince becomes a hero, and is depicted as the only means for the female character to live. In contrast, the original German fairy tale details Snow White’s awakening after a dwarf stubbles over a tree root while carrying the coffin (36). This disturbance dislodges the chunk of poison apple from Snow White’s throat and she wakes up, alive and well. In this telling of the story, Snow White’s fate does not rely on a man’s direct actions, but rather chance. This alteration places a significant emphasis on a man’s role in a female’s life. She cannot live without him.

The Added Love

In The Little Mermaid, even once Ariel has achieved human form by her own means, trading her voice for legs, she cannot truly fulfill her desire to remain human with out the help of Eric, the dominant male. In addition, Ariel’s trade itself represents blatant sexism in that she trades her means of communicating and expressing her intellect and personality for the physically sexual symbol of human legs making her into a “woman as man wants her to be” (Sells 180). Even the sea witch, Ursula, quells Ariel’s worry over her potential lack of communication skills by counseling her, “you’ll have your looks, your pretty face, and don’t underestimate the importance of body language.” The message being presented to young girls is that they should sacrifice in order to achieve the perfect body since, after all, that is their most important attribute. Not only does Ariel’s transformation supply this message, but also does her image as a “slightly anorexic Barbie Doll . . . ” (Giroux 99). Her body, which many see as “eroticizing of the pubescent female so common in western advertising and popular culture”(Maio), teaches girls from an early age one of the most dangerous messages of our society: you have to be thin to be pretty. The only other main female character in the movie, Ursula, is characterized as a shapely, ugly and evil villain (Bell 115). When Ursula transforms to human in attempts to steal Eric’s love, she does so by becoming tall and slender, presenting the message that a physical transformation is the best way to win a man’s love.

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Ursula’s shapely curves are characteristic of Disney villainesses. Only once she transforms into a slender woman can she succeed at stealing Eric’s love.

Disney also furthered the message of male dominance in the story through their alterations of Hans Christen Anderson’s original story. In Anderson’s story, the only reason Ariel needed to win Eric’s love was to make her human so she could achieve her true desire: an immortal soul (Maio). Ariel was attempting to take control of and alter her fate of living 300 years and then turning in to sea foam (Ross). In Anderson’s version, Ariel pays for her change with more than her voice; she has pains that stab at her feet with every step she takes until they begin to bleed. Anderson was creating a metaphor for the pain he suffered through the loss of integrity he endured in order to get into the upper aristocratic circles (Sells 180), or in Ariel’s case the world of the white man. Disney’s alteration to the allegory makes Ariel’s struggle for the role of wife as opposed to recognized citizen in the male dominated system. Even once Ariel achieves a place in the system she loses her voice, in Anderson’s story permanently since Ursula cuts out Ariel’s tongue (Ross), a further allegory that females can have an access to the system or a voice in it, but never both (Sells 177). But, as Ursula reminds us, “on land it’s much preferred for ladies not to say a word, it’s the one that holds her tongue that gets her man.” Another classically sexist message is that Ariel transitions from being under the control of her father directly to being Eric’s wife, she is never independent. After she fails to win Eric’s love, as was specified in her deal with Ursula, the movie Ariel still achieves her dream through her father’s magic and his approval for her to marry Eric. This version overlooks Anderson’s message of self-actualization, where Ariel had to earn her soul through 300 years of service to the daughters of the air (Ross, Sells 180). After a series of protests to the blatant sexism presented in The Little Mermaid, as well as previous movies, Disney claimed to eliminate the sexist messages that were being taught through their films. Many viewers were pleased with the change, but in reality the sexist messages of the films were merely buried a little deeper. The leading female characters in the films where undoubtedly given new qualities that did not fit the previous mold for the “Disney princess,” but the price they paid for these qualities was the ridicule of their towns and peers. While Disney sides with their “heroine,” the citizens massages still show that in order to be excepted females can not push feminist boundaries. In addition, the endings of the stories never changed; for a woman to achieve true happiness she has to find the perfect man.

The Added Anger

Two years after The Little Mermaid, Disney made their first attempt to quell the sexist images presented by their females with Beauty and the Beast’s leading character, Belle. They failed miserably. While Belle had a passion for reading, she still presented the same messages on body

It’s not right for a woman to read, soon she starts getting ideas, thinking.

image and the ideal role for females in society. Belle is portrayed as a “self-sacrificing” daughter (Maio) who may like to read, but still possesses classic characteristics of stereotypical females. In addition, her interest in books won her the title of “a funny girl” who the townspeople gossip (and sing) about behind her back. The most admired man in the village, Gaston, confronts Belle about her interest in books and clearly illustrates that it is not a female’s role to be interested in reading and intellectual pursuit when he tells Belle, “It’s not right for a woman to read, soon she starts getting ideas, thinking.” Once again Disney alters the movie by taking the original gentle and kind character of the Beast and turning him into a violent and uncontrollable monster (Maio). This change alters the moral of the story from “Don’t judge a book by its cover” to, as stated by Kathi Maio, author of Feminist in the Dark and Popcorn and Sexual Politics, “women are responsible for controlling male anger and violence.” Maio also suggests the possibility of physical abuse in Disney’s rendition of the tale. If so, Belle’s character further presents a damaging role model showing that a female is obligated to stay loyal to the males in her life and if she is good enough she can change the unwanted qualities the males possess. The only method Belle had for changing the Beast in to a young and handsome prince was through her proper love, but in the words of Henry Giroux, Waterbury Chair Professor of Education at The Pennsylvania State University, “Belle not only falls in love with the beast, she civilizes him by instructing him on how to eat properly, control his temper and dance. Belle becomes a model of etiquette and style . . .”(“Roared” 100). As with both Snow White and The Little Mermaid, Disney’s alterations make the dominant male figures the staple of the movie. In Beauty and the Beast, Belle’s character falls into the background,

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Disney changed the character of the Beast to be angry and violent, whereas in the original story only his appearances are beastly.

becoming a pawn in Gaston’s battle against the Beast. The climax of the movie is a battle scene between the male characters while Belle is a mere bystander. According to Jack Zipes, “In the end, Belle simply becomes another woman whose live is valued for solving a man’s problems.” (Giroux, “Roared” 101).

The Eliminated Independence

In 1998, Disney once again attempted to present females in a more independent and valuable role the corporation’s newly released film, Mulan. Despite their valiant goal, Disney once again failed to fix the problem. They merely buried the sexism in their film; they did not extinguish it. Unarguably, Disney’s Mulan is not as blatantly sexist as its preceding movies.

How about a girl who’s got a brain and always speaks her mind?

Mulan can do more than cook, clean and look beautiful. She takes a direct role in her attempts to enter the world of man as opposed to passively waiting to be saved. Yet the men in her life still mold her actions. Her decision to join the army was clearly for the benefit of two men: her father and the emperor (Maio). When the emperor requires that one male from each family must join the imperial army only child and daughter Mulan takes her sick father’s place after she has recently disgraced her family by failing to impress the matchmaker in order to secure an honorable marriage. Mulan trains, fights, leads, and brings her family honor; however, her fellow army members present a clear message by dreaming of the perfect wife who is beautiful, a good cook, and worships her husband. When Mulan suggests “how about a girl who’s got a brain and always speaks her mind?” her proposition is seen as preposterous by her fellow soldiers, making it quite clear that the value of a female does not rest in her intelligence. However, the most significant failure to the feminist message comes, once again, through the changes made to the original fable by Disney. While the original story is about a strong and independent female who saw joining the army as a way to bring meaning into her live, Disney uses the same “self sacrificing” daughter role that is present in Beauty and the Beast. Disney actually added an entire character to the movie in the form of a handsome, attractive army general, Shang (Maio) making Mulan “still just enough fairy tale to need Mr. Right”(Giroux, “Roared” 102). After the independent and strong Mulan has become a successful warrior, her true happiness and honor comes through the implied marriage to a dominant male figure, which is her

It has been demonstrated by psychologists and educators time and again that stories and fairy tales do influence the manner in which children conceive the world

means to truly securing a “happily ever after.” While it is true that many females do seek and find happiness through love, the reality is Mulan had no interest in romance, she lived alone until her death (Maio). However, in the movie Mulan’s Grandma’s excitement to “sign me up for the next war!” clearly shows that she, and perhaps the audience, sees Mulan’s finding a husband, not saving China, as the real victory of the. Her character serves as a reminder to the viewers that while Mulan could save China, she “is still just a girl in search of a man . . . ” (Giroux, “Roared 102-103”). The movie’s ending is also drastically different then the original ending to the fable. There are two different endings recorded for the original Chinese fable of Mulan, and in neither one

does she end up married, or in anyway submissive to a dominant male. While in the Disney movie Mulan is discovered as being female during her time in the army, placing her life in the hands of her macho general, Shang, in the original fable Mulan was not discovered until after the war when her companions came to visit her and found her dressed in female’s clothing (Maio). There is also another Chinese ending that illustrates Mulan’s reluctance to become submissive to a dominant male. In this ending she is repeatedly asked to become a concubine by the emperor and she persistently refuses until she is driven to commit suicide (“Mulan”), illustrating the ultimate control over her own live.

In today’s society sexism does exist. It is very true that woman and man are very different and possess different abilities and qualities. However, it is also true that females are capable of being strong and independent and do not need a man or marriage to live a fulfilling live. When Disney allows the actions of their female antagonists to be shaped by men they make their movies about the men. Through their actions, Disney teaches young girls that they live in a male dominated world where they most a female can hope for is to fall in love and even then she must rely on males for assistance in life. In each of these movies the only way for the female character to be freed from her undesirable future, whether it be as a servant, under the sea, or a curse, was through assistance from a male love interest, not via any action that she personally took to create a better future for herself. These messages do reach and effect the children watching the films, Jack Zipes, leading expert of fairy tales admits, “it has been demonstrated by psychologists and educators time and again that stories and fairy tales do influence the manner in which children conceive the world . . . ”(“Preface” xii), and yet parents continue to allow their young children to watch and learn form these sexist films. While many people feel that Disney is merely expressing the role society wants females to take it must also be considered that the gender roles expressed in the film impact the views and opinions of future generations, leading to a hopeless spiral of societies based on gender rather than ability.

Works Cited

Bell, Elizabeth. “Somatexts at the Disney Shop: Construction the Pentimentos of Women’s Animated Bodies.” From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Ed. Elizabeth Bell, Lynda Haas, Laura Sells. Indianapolis: Indiana University Press, 1995. 107-24.
Giroux, Henry A. “Are Disney Movies Good for Your Kids?” Kinderculture: The corporate Construction of Childhood. Ed. Joe L. Kincheloe, Shirley R. Steinberg. Cambridge, MA: Westview Press, 2004. 164-80.
------. The Mouse That Roared: Disney and the End of Innocence. Lanham, Maryland: Rowman & Littlefield, 1999.
Grover, Ron. The Disney Touch: How a Daring Management Team Revived an Entertainment Empire. Homewood, Illinois: Business One Irwin, 1991.
Healy, Christopher. “A Nation of Little Princesses: The wild success of the Disney Princess brand means that my daughter is obsessed with all things pink and sparkly. What’s an enlightened father to do?” Salon.com. 24 November 2004. 5 October 2005 .
Maio, Kathi. “Disney’s Dolls.” The Mousetrap: Inside Disney’s Dream Machine. Issue 308, December 1998. The New Internationalist. 28 September 2005. .
“Mulan.” Wikipedia: The Free Encyclopedia. 2 October 2005. 7 October 2005. .
Ross, Deborah. “Escape from Wonderland: Disney and the Female Imagination.” Marvels & Tales 1 November 2004:53-66. Project Muse. Arizona State University. 13 October 2005 < http://muse.jhu.edu/>.
Sells, Laura. “’Where Do the Mermaids Stand?’: Voice and Body in The Little Mermaid.” From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Ed. Elizabeth Bell, Lynda Haas, Laura Sells. Indianapolis: Indiana University Press, 1995. 175-92.
Zipes, Jack. “Breaking the Disney Spell.” From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Ed. Elizabeth Bell, Lynda Haas, Laura Sells. Indianapolis: Indiana University Press, 1995. 21-42.
------. “Preface.” Don’t Bet on the Prince. Ed. Jack Zipes. New York: Methuen, 1986. xi-xiv.
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Mulan “happily ever after” is dependent on her implied marriage to Shang.

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Ariel relies on Eric’s kiss to make her dreams come true.

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