Gender Role Portrayal and the Disney Princesses

England, Dawn E.; Descartes, Lara; Collier‐Meek, Melissa A.

doi:10.1007/s11199-011-9930-7

Cited by 196 publications

(370 citation statements)

References 30 publications

(50 reference statements)

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“…Each time the main characters of the story were mentioned to have a stereotypical characteristic or exhibited that trait in their speech, it was coded and tallied. The coding themes were identified as traditionally masculine or feminine based on the past content analysis literature (Taylor, 2003;England et al, 2011;Bayat, 2010, Bagheri, 2013. The intrarater/intracoder reliability was measured with Pearson Product-Moment Correlation Coefficient.…”

Section: Methodsmentioning

confidence: 99%

Gender Representation in Persian Folktales for Children

Hosseinpour¹,

Afghari²

2016

TPLS

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Abstract-the present study was an attempt to add to the understanding of gendered content in Persian folklore stories for children. A deductive content analysis was performed to identify and record gender representation in titles, central roles, and the total number of characters. Traditionally feminine and masculine stereotypes were also investigated based on a coding scheme. The sample included 50 popular Persian folktales for children. The results indicated significant under-representation of females regarding the overall number of characters in the sample. Additionally, there were disparities in the portrayal of the two groups: females were significantly portrayed as being sex object and attractive due to their physical appearance. On the other hand, males were illustrated as being more independent, rational, strong, sexually aggressive, and attractive due to their achievements.

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Section: Methodsmentioning

confidence: 99%

Gender Representation in Persian Folktales for Children

Hosseinpour¹,

Afghari²

2016

TPLS

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“…Perhaps most well-known are the numerous studies looking at the Disney princess phenomenon (e.g. Cummins, 1995;England et al, 2011;Lieberman, 1972;Orenstein, 2014;Wohlwend, 2009). …”

Section: Organization and Cultural Representationmentioning

confidence: 99%

Whistle While You Work? Disney Animation, Organizational Readiness and Gendered Subjugation

Griffin¹,

Harding

Learmonth

2016

Organization Studies

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This paper introduces the concept of ‘organizational readiness’: socio-cultural expectations about working selves that prepare young people (albeit indirectly and in complex and multi-faceted ways) for their future life in organizations. This concept emerges from an analysis of Disney animations and how they constitute expectations about working life that may influence children through their representations of work and gendered workplace roles. The paper’s exploration of Disney’s earlier animations suggests they circulated norms of gender that girls should be weak and avoid work. In contrast, its contemporary productions circulate gender norms that suggest girls should be strong and engage in paid work. In this reading, the continued circulation of earlier alongside contemporary animations may convey to young viewers a paradox: girls must and must not work; they must be both weak and strong. We thus offer new insights into the puzzle of the continued relegation of women to the sidelines in organizations; more optimistically, we also point to ways in which future generations of employees may forge ways of constituting forms of gendered selves as yet hardly imaginable.

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“…The movie won acclaim for its absence of a male savior and its promotion of sisterly love rather than nuptial bliss. At first glance, the familial theme seems to be an antidote to the commonplace female preoccupation with marriage and other gender stereotyping found in Disney movies (Coyne et al 2016;England et al 2011;Henke et al 1996;Do Rozario 2004). Frozen ostensibly departs from gender-circumscribed plots.…”

Section: Introductionmentioning

confidence: 99%

Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess

Streiff

Dundes

2017

Social Sciences

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Disney's animated feature Frozen (2013) received acclaim for presenting a powerful heroine, Elsa, who is independent of men. Elsa's avoidance of male suitors, however, could be a result of her protective father's admonition not to "let them in" in order for her to be a "good girl." In addition, Elsa's power threatens emasculation of any potential suitor suggesting that power and romance are mutually exclusive. While some might consider a princess's focus on power to be refreshing, it is significant that the audience does not see a woman attaining a balance between exercising authority and a relationship. Instead, power is a substitute for romance. Furthermore, despite Elsa's seemingly triumphant liberation celebrated in Let It Go, selfless love rather than independence is the key to others' approval of her as queen. Regardless of the need for novel female characters, Elsa is just a variation on the archetypal power-hungry female villain whose lust for power replaces lust for any person, and who threatens the patriarchal status quo. The only twist is that she finds redemption through gender-stereotypical compassion.

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Gender Role Portrayal and the Disney Princesses

Cited by 196 publications

References 30 publications

Gender Representation in Persian Folktales for Children

Gender Representation in Persian Folktales for Children

Whistle While You Work? Disney Animation, Organizational Readiness and Gendered Subjugation

Frozen in Time: How Disney Gender-Stereotypes Its Most Powerful Princess

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