Race, Resistance and Violence in Cartoons

Sammond, Nicholas

doi:10.5040/9781501332647.ch-018

Cited by 3 publications

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“…Moreover, the gendered behaviors displayed in Disney animations are likely to be particularly influential because this corporation has been one of the most popular producers of children's animated content for over eight decades, meaning further research in this area is therefore warranted and beneficial. Further, while all animation has a sense of innocence, no other animation studio has situated itself as strongly in this way as Disney (Bell et al, 1995 ; Giroux, 1995 ; Wasko, 2001 ; Wells, 2002 ; Wynns and Rosenfeld, 2003 ; Giroux and Pollock, 2010 ; Sammond, 2019 ). Disney has transformed often violent or gruesome fairy tales into family-friendly, magical, and heart-warming feature films which is one way that its output has been perceived as “innocent.” However, critics argue that presenting idealistic versions of fairy tales and historical events is dangerous (Towbin et al, 2004 ; Giroux and Pollock, 2010 ; Heatwole, 2016 ).…”

Section: Introductionmentioning

confidence: 99%

“…Disney has transformed often violent or gruesome fairy tales into family-friendly, magical, and heart-warming feature films which is one way that its output has been perceived as “innocent.” However, critics argue that presenting idealistic versions of fairy tales and historical events is dangerous (Towbin et al, 2004 ; Giroux and Pollock, 2010 ; Heatwole, 2016 ). Therefore, although Disney animation has largely maintained its innocent reputation in the domestic and familial sphere, its innocence has been questioned in the academic sphere (Bell et al, 1995 ; Giroux, 1995 ; Wasko, 2001 ; Wells, 2002 ; Wynns and Rosenfeld, 2003 ; Giroux and Pollock, 2010 ; Sammond, 2019 ).…”

Section: Introductionmentioning

confidence: 99%

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The gendered behaviors displayed by Disney protagonists

Clarke,

Hine,

England

et al. 2024

Front. Sociol.

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Previous research suggests that the portrayal of male and female protagonists in Disney animations may be changing over time. The current study examined the portrayal of gendered behaviors displayed within some of Disney's most successful animated feature length films, including those beyond the Disney princess franchise. Extending the scope of the Disney animated films analyzed was important because both young girls and young boys report little personal interest in male characters within the Disney princess animations. This suggests that it is important to look beyond the Disney princess franchise to understand the gendered behaviors displayed by potentially influential male Disney protagonists. The current study also considered a greater number of masculine and feminine behaviors as well as some gender-neutral traits which had yet to be incorporated. A quantitative content analysis of 39 Disney protagonists from films released between 1937 and 2021 was conducted. The results revealed that male and female protagonists were statistically higher in feminine than masculine traits. Female protagonists from the earliest animations were the most feminine. However, there was no statistical difference in the gendered portrayals of females in the animations released in the 1990s and those released from 2009 to 2021 suggesting some continued stereotyping in females' profiles. Alternatively, male characters were more feminine relatively consistently across time-points. This study concludes that Disney is persistently portraying stereotyped female protagonists, and this could have implications on young females' behavioral profiles. However, the extent to which feminine traits are being celebrated when displayed by male protagonists needs to be examined, as well as the potential relationship between such messages and boys' behaviors and children's conceptualizations of gender more broadly.

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Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

The gendered behaviors displayed by Disney protagonists

Clarke,

Hine,

England

et al. 2024

Front. Sociol.

View full text Add to dashboard Cite

show abstract

“…Disney, as one of the largest and most influential creators of films and television series targeted towards children, has had its content widely analysed for the prevalence of gender stereotypes (England et al, 2011;Hine et al, 2018a;Towbin et al, 2004, Primo, 2018Dundes, & Streiff, 2016;Giroux & Pollock, 2010;Streiff & Dundes, 2017a;Streiff & Dundes, 2017b). Such studies have subsequently criticised the Disney corporation for portraying stereotypical depictions of gender, particularly within its animated feature length films (Sammond, 2019;Wells, 2002;Whitley, 2013). Many of these studies either focus on or at least include films which belong to the Disney princess franchise, created in 2001 to enable Disney to successfully market (and thus profit from) the oldest and much-loved Disney princess animations (such as Snow White and the Seven Dwarfs, 1937) alongside the more recent princess releases (such as The Little Mermaid, Clements & Musker, 1989).…”

Section: The Portrayal Of Gender In Disney Animated Feature Length Filmsmentioning

confidence: 99%

Investigating the Gendered Behaviours Displayed by Influential Disney, Marvel and Star Wars Protagonists and Examining the Link Between Children’s Engagement with these Franchises and their Play Behaviour.

Clarke

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This thesis reports a programme of research that explored the gendered messages within influential Disney feature length animations, a Star Wars animated television series, and a Marvel animated television series. It also examined extent to which engagement with these franchises statistically predicted children’s gendered behaviour and weapon play. The first study of this thesis was a quantitative content analysis of thirty-nine Disney protagonists. The results showed that some of the ‘earliest’ female Disney protagonists were the most feminine analysed, although almost all were more feminine than masculine. The male Disney protagonists seemed to adhere to less stereotypes, and were, generally, more feminine than masculine overall. Study two investigated how gender was portrayed in Marvel’s Avengers Assemble and Star Wars Star Wars Rebels animated television series, utilising Thematic Analysis. This was important as the Walt Disney Corporation recently acquired these franchises. The results revealed that stereotypical masculinity was portrayed by the male protagonists within each series, however, the female protagonists in Star Wars Rebels seemed more genuinely valued than the female superhero in Marvel’s Avengers Assemble. The third study of this thesis utilised parent report methodology to investigate whether engagement with the Disney, Marvel and Star Wars franchises statistically predicted children’s level of gendered behaviour and weapon play, as well as whether parental mediation and exposure to television violence moderated any established relationships. The results indicted that although each franchise did predict gender stereotypical behaviour and weapon play, there were some unexpected gender differences in the relationships. It was concluded that the producers of Disney, Star Wars and Marvel media should be made aware of the relationship between the gendered messages within their content and children’s behaviour. Additionally, parents and children should be educated on this topic, with the aim to reduce the relationships that were found. Chapter seven summarises the results of each study and considers the implications of the current findings.

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‘Black lines on white paper’: how comic artist Barbara Brandon-Croft draws on Where [she’s] Coming from

Degand

2023

Journal of Graphic Novels and Comics

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Race, Resistance and Violence in Cartoons

Cited by 3 publications

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The gendered behaviors displayed by Disney protagonists

The gendered behaviors displayed by Disney protagonists

Investigating the Gendered Behaviours Displayed by Influential Disney, Marvel and Star Wars Protagonists and Examining the Link Between Children’s Engagement with these Franchises and their Play Behaviour.

‘Black lines on white paper’: how comic artist Barbara Brandon-Croft draws on Where [she’s] Coming from

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