Ideological Assumptions

“…many people worry that these films contain traditional and, they hope, outmoded gender stereotypes and reinforce the limiting idea that marriage between attractive people with large incomes is the ultimate and only acceptable form of happiness. Other stereotypes occur also” (Nodelman and Reimer 142).

Disney movies repeat the same roles in many (if not most or even all) of its films. These common gender roles include the following:

The Beautiful, Innocent Heroine:

The heroines in Disney films are typically beautiful, young (usually teenagers), have beautiful singing voices, are sensitive, friendly to animals, and are dreamers. They are also naive and innocent enough that it generally gets them into trouble. The emphasis on these qualities is the superlative: for instance, the evil queen in Snow White and the Seven Dwarfs is jealous because Snow White is the most beautiful in the land. Ariel has the most beautiful voice.

Speaking of Cinderella specifically, Davis says, "Like most Disney heroines, Cinderella is ... 'the typical American girl.' She is cute, lively, of medium build, weighing about 120 pounds - and with a tender heart for boys and animals" (92). These average builds include other heroines, such as Snow White, because models (dancers, as can be seen in the way the animated girls walk) were used in many cases to draw them.

“Although the actresses and singers who voiced the characters are given screen credits in the latter films, the live-action models for the teenaged heroines are lesser known and remain largely unacknowledged outside Disney histories. Marjorie (Belcher) Champion at 18 years old modeled for Snow White, and Helene Stanley for Cinderella; the entire film of Sleeping Beauty was filmed in live action before drawn. Disney’s early teenaged heroines were constructed on the bodies of professional dancers” (Bell 110).

Although Aurora is included in the list of heroines whose body was based off of a real person, she is unrealistic comparatively. She looks more like a Barbie doll with her exaggerated proportions; she does, however, have the dancer's step. These heroines are molded from a history of this pattern... females are often only “foils for the male heroes of the cartoons: Minnie was there to support Mickey…” (Davis 83). Even Belle from Beauty and the Beast, although she was supposedly a breakthrough in Disney's portrayal of women, was ultimately helpless. Though uniquely smart and opinionated, Belle still represented that kind, sensitive girl that the others did. She was also powerless around men. Though she tries to escape on her own, Belle is never able to leave the Beast until he releases her.

The Helpful Grandmother Figure - "White Witch"

“Disney’s older women are godmothers, fairies, and servants… They are asexual and their bodies are ‘nonthreatening, unavailable, and harmless.’ These women possess the powers of ‘white magic.’ Because their powers are magical, little girls may not aspire to become a Disney grandmother. Instead, they are encouraged to identify with the innocent heroine” (Hoisington).

These recurring grandmother figures include the Three Good Fairies in Sleeping Beauty, the Fairy Godmother in Cinderella, Mrs. Potts in Beauty and the Beast, etc. They embrace the heroine and take care of them in place of their often-missing mother (sometimes, as in Aurora's case, even raising her.). Although they are easily in the same age group as some, if not most, of the evil witches/stepmothers, they are plump and unattractive, but pleasant, like a stereotypical grandmother figure. They're kind and sensitive, their worlds revolving around helping others (specifically the heroine.). Even Mrs. Potts, who is a mother with her own children to look after, immediately takes Belle in, treating her as one of her own. She clothes her, feeds her, and comforts her, even against the Beast's wishes.

The Evil Witch/Stepmother - The Femme Fatales

“…the idea of the evil stepmother is tied to teenage fantasies of the bad mother ... It is an archetypal use of the “good” and “bad” mother, and to be found in fairy tale and film alike. The common interpretation is that of the stepmother, who sees her step-daughter as a rival/threat” (Davis 109).

Examples of this common Disney role include the evil stepmother in Cinderella, the queen in Snow White, Ursula in The Little Mermaid, Maleficent in Sleeping Beauty Cruella De Ville in 101 Dalmations, etc. Most of these women are beautiful, or are at least obsessed with the idea of being beautiful. One thing they all have in common is that they have power: the only independent, strong, and powerful women in Disney films make for the most evil villains. This portrayal, more so than the delicate, helpless representations of the heroines, is demeaning to women; those women who take charge and have authority are ultimately the most evil characters, certainly more so than the men in power.

Another distinctive characteristic of the women in these roles is that they are offended so easily. For instance, Maleficent curses Aurora with a premature death as an infant because she wasn't invited to her Christening. Aurora had nothing to do with that, and yet she was punished for it. The wicked stepmother in Cinderella was offended just by the threat of Cinderella's beauty. Being in the role she was, she was clever and had to know her daughters had no chance to become the prince's bride. This is possibly what offended her so much about Cinderella's beauty and kindness.

The Parents

“The lack of the mother in particular has been noted and may signify the lack of ‘importance attached to a mother’s heritage.’ Thus ... fathers are generally the only parent [and] the patriarchal order is legitimized and strongly reaffirmed” (Hoisington).

Most Disney heroes and heroines are orphans and have no parents at all. Those who do have parents are most likely to only have a father. Those very select few (such as Aurora) with a mother have a mother who is helpless and has little role. In Aurora's case, her mother is clearly concerned about the curse Maleficent bestows upon her daughter, but her feeble, "Oh, no," is drowned out by King Stephan's resounding, "Seize that creature!" Aurora's mother only spoke one other line besides that: "Then you're not offended, Your Excellency?" That line is submissive and meek. She uses none of her power as a queen, but submits to Maleficent's powers and allows her husband to take charge of the situation.

Disney fathers are generally there for the development of the heroine. Belle from Beauty and the Beast took care of her father to show her caring and sensitivity. Simba from The Lion King learned some valuable lessons from Mufasa before his death. Simba, however, must learn these lessons for himself through the film and Mufasa is unhelpful in Simba's confrontation and conquering of his uncle, Scar. Simba's mother, Sarabi, was a great example of the typical role of a Disney mother. She had very few lines, and little more of a role. The most she does for her son is bathe him. The women in that film are all examples of the roles Disney women are expected to fill: when Scar takes over the kingdom, he and the hyenas (all male) are in power while the lionesses are in charge of the food.

Prince Charming

"Perhaps because the heroine spends a substantial section of the second half o the film in a trance, this is the first of the films featuring a princess in which her prince actually contributes a substantial portion of the film's action and dialogue" (Davis 101).

Princes, as the quote indicate, have very little role in these films. They rarely show any indication of their characters whatsoever, and yet the heroines are smitten with them without question - from them or the audience. The audience is expected to understand the draw: these men are handsome and rich with beautiful voices and romance. Prince Philip in Sleeping Beauty contributed to much of the story, however. He had relatively little dialogue, but he was responsible for rescuing Aurora from Maleficent and the trance she was under. Being the man in the film, he ultimately did the fighting and defeating; the three fairies helped where they could, but Philip delivered the blow, and even the magical women were unable to contribute much to that.