SOMEDAY MY PRINCE WILL COME:

A FEMINIST CRITIQUE OF WOMENPORTRAYED IN DISNEY ANIMATED FILMS

By:Arielle Warner

December 22, 2013

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SOMEDAY MY PRINCE WILL COME:A Feminist Critique of Women Portrayed in Disney

Animated Films

Almost every young girl has been exposed to Disney’s

brightly coloured animation, mixed with witty lyrics, and

topped off with a happy ending. Disney has a reputation for

creating the “princess ideal,” which is a representation of

gender that young females should idolize. Disney portrays

women in a negative light and feminists argue that this is

an unrealistic and inappropriate promotion of harmful body

images and a narrow ideal of marriage as a happy ending for

women. During Disney’s establishment, women were especially

portrayed as being domestic, passive, and subjected to the

patriarchal ideals of men. This essay begins with an

analysis of Snow White, Sleeping Beauty, and their historic

appearance as Disney’s quintessential women. With the

resurgence of the “new” Disney woman in the 1990s, including

Ariel and Belle, Disney tries to coincide their modern

portrayal of women with the changing views on feminism.

From a feminist point of view, while these heroines appear

more independent and autonomous than women previously

depicted by Disney, they are stereotyped in an objectified

nature and still represent elements of anti-feminism that

disempowers the female image.

The Walt Disney Company was created in 1923 in Los

Angeles, California and has become one of the largest media

corporations in the world. The major success of the Disney

Company is evident with Disney’s record annual revenue of

approximately US$42 billion in the 2012 financial year (The

Walt Disney Company Reports…). Walt Disney himself is

recognized as an international icon for his contribution to

the animation and entertainment industry during the 20th

century. It is apparent, however, of the

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cultural impact Disney has had upon mass audiences to

transform and reinvent the ideological utopia concerning

political and social issues. “It would not be an

exaggeration to assert that Disney was a radical filmmaker

who changed our way of viewing fairytales, and that his

revolutionary technical means capitalized on American

innocence and utopianism (Bell, Haas, and Sells, 22). Due

to the success of the Disney Company, our society’s constant

emergence into Disney’s ideological world has become a part

of our culture’s common sense. Disney prides itself on

maintaining and promoting this status of innocence to the

point where criticizing Disney is a desecration to the

company’s well-loved reputation by millions of loyal fans.

The amount of people who have grown up, consuming the

messages promoted by Disney films cannot differentiate

between fantasy and reality. Audiences are shown the films

from such a young age that they end up acting as an

educational tool in the development of their adolescent

life. “Disney has so successfully blurred the border

between entertainment and pedagogy that it has become like a

“public school system”” (7). Without the ability of

critical assessment, children grow up exposed to Disney’s

pedagogical power because of their innocence and

susceptibility. Disney’s main target audience of young

girls is especially subject to the influence the films have

on their social upbringing including the social status of

women in society. Disney is so focused on producing films

that illustrate a perfect world that the portrayal of women

in these films becomes a cultural pedagogy for women as the

viewer of these films.

It is interesting to note Walt Disney’s relationship

with women throughout his life, and if these relationships

had any effect on the outcome of his animated feature

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films. Walt Disney’s attitude toward women is contradicting

and very little is known about the subject. Disney had a

lack of experience with women in his early life. There is

only one other recorded evidence of a romantic relationship

Disney had until his marriage in 1925 to Lillian Bounds.

According to Dr. Amy Davis, a lecturer in film studies,

Disney seemed to hold a bi-polar view towards women (Davis,

112). He had a good relationship with his mother who often

put down the patriarchal demands of her husband in favour of

her children. Disney has also stated that he has fond

memories of growing up with his sister, as well as a having

a supportive aunt and grade school teacher. Disney had a

contradictive attitude towards women because he held a

notion of women as either being loving and caring or a

notion of women as being dangerous. Disney came back from

working for the Red Cross in France to find out that the

woman he was dating got married to someone else without

informing him. These bi-polar views of women are evidently

seen in his animated feature films. The majority of films

made by Disney have an innocent, wholesome heroine (like

Snow White) and a wicked female villain (the Evil Queen).

There was definitely a paternalistic value held at the Walt

Disney Studio. Joan Scott, who was hired as a writer by

Disney, notes that there was obvious sexism displayed by the

executives who worked at Disney and they projected their

views upon Walt. When they hired women, they made sure they

hired the “right” women. Meaning, they made sure to hire

someone younger because they thought someone more mature

might be tempted to argue with Disney. Walt Disney does

have a reputation for being chauvinistic due to the

portrayal of women in his films and the paternalism found at

the Disney Studio. Davis states that, “Walt believed in the

over-riding view of women in the

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1940s and 1950s as characterized by such traits as

emotionalism, domesticity, maternal concerns, an over-all

emphasis on beauty and romance” (116). During this time,

women were seen as softer and more delicate. In Disney’s

eyes, he did not see equality among women and men, but saw

them as being completely different. Disney never stated

that these traits promoted female inferiority, but he saw

them as an important function to the needs and goals of men

and masculinity. Without one to support the other, there

would be an unbalance in society. This explains the

portrayal of women in Disney’s films and the endings always

consisting of the woman finding a husband.

In the period leading up to the second-wave feminist

movement, Disney’s female heroines were portrayed as

voiceless damsels, conforming to conventional gender

behaviours. During the 19th and 20th centuries, society

separated and defined the sexes. In her essay “Damsels and

Heroines” Cassandra Stover writes, “These definitions of

what it means to be male or female reinforces stereotypes,

and suggests to viewers that there are proper and/or

appropriate ways to act as a male or female” (Stover, 7).

Women were placed in the role of housekeeper and consumer,

while the males were deemed as the breadwinner and protector

of the family. Snow White and the Seven Dwarves (1937) was

released during the first-wave feminist movement. The

first-wave suffrage movement gained women the right to vote

and introduced them to the labour force, however, feminists

were angry about the traditional femininity portrayed by

Disney’s first princess. Feminists wanted a film about a

hardworking, independent woman, and not a gender

stereotypical housewife.

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The domestication of women is blatantly evident in Snow

White’s persona. In the film, she notices that the cabin is

filthy due to the seven dwarves (men) that inhabit the

residence, indicating the need for the woman to clean up

after the man. In referencing the stereotypical notion of a

female maintaining a clean household for the male when he

arrives home from work, Snow White cleans the cabin so that

the dwarves will allow her to stay with them. She convinces

the animals to help her clean while singing, “Just whistle

while you work, and cheerfully together we can tidy up the

place” (Snow White). The lyrics suggest that Snow White is

trying to convince the animals, as well as herself, that

women should take pride in their domestic role in life and

enjoy cleaning up after the man. Douglas Brode is one of

the very few who writes in defense of Disney. In his book

“Multiculturalism and the Mouse” he states, “In a woman’s

life, housework is equal in value to any labour performed

“in the world” – that, in fact, the home is a part of that

world, and that work done there equals in validity to

anything achieved in an office” (Brode, 179). Firstly,

Brode is gender stereotyping by saying “in a woman’s life”,

alluding to every woman feeling satisfied by doing domestic

work and that housework is solely a woman’s duty. He is

basically stating that women do not need a job because they

should feel fulfillment by staying at home. In reality,

most modern 21st century women do not live or think in that

manner, making this an unrealistic argument. These

stereotypes need to be lessened in the real world to gain a

more realistic view of equating gender roles.

The power of the prince and patriarchal domination is a

defining theme in Snow White and the 1959 release of Sleeping

Beauty. Women were seen as subordinate, while

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the men were given all of the power and assertiveness as

characteristics to live up to. Ironically, in both films,

both men play a very large role in the heroines’ lives and

resolution of the story, yet physically, they are barely in

the film. In Snow White, we only become acquainted with the

Prince twice and he does not speak any dialogue, but in the

conclusion, he is the one who saves the day. We are first

introduced to the Prince when Snow White is singing “One Day

My Prince Will Come.” We are aware that Snow White leads an

unfortunate life due to the Evil Queen’s jealousy of her

beauty. Snow White believes that the only solution to her

problems is in the hands of a prince who will come and save

her from this miserable life. Suddenly, the Prince appears

out of nowhere and sings with Snow White, leaving the

audience confused and curious to whom this person is. Brode

writes, “Prince Charming’s fascination with Snow White – his

ability to at once see beyond the drab surface of her

current existence, appreciating her greater appeal as a

person – qualifies him as an early rendering of Disney’s

ideal male (173). As the audience, we know nothing about

the history between Snow White and the Prince. There was no

dialogue exchanged between the two characters, therefore,

for all the audience knows, this is the very first time they

are meeting. This constitutes a sexual victimization of a

woman by a man’s obsession with physical beauty. The prince

was clearly drawn to Snow White by her singing voice and

beauty and because there was no dialogue spoken by either

one of them, this promotes female passivity to the audience.

Disney is saying that women need not put any effort in

meeting a man because they will come to her. There is a

“framing of women’s lives through a male discourse” (Bell,

Haas, and Sells, 36) throughout the film. Brode states that

Walt Disney’s version of

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Snow White makes her own decisions and is not influenced by

a man. However, both Snow White and the Evil Queen cannot

make their own decision without a male intervention. The

Evil Queen needs constant male approval (the magic mirror)

that she is the fairest in the land. Also, Snow White’s

entire life is dreamt on the hopes that a man will intervene

in her horrible life and take her away to marriage bliss.

The damsel in distress is also distinct in the comparable

storyline of Sleeping Beauty.

Similarly, Sleeping Beauty follows the same model as Snow

White. Released during the second-wave feminist movement,

women were fighting for legal, sexual, family, and workplace

equality. Feminists wanted to see a heroine who could fend

for herself and end up being equal to the prince. They did

not want to see the heroine waiting for the prince to save

her like in Snow White, yet we are fed the same formula.

Instead of portraying a woman with the domestic desire of

taking care of a man, Aurora does not do any work at all in

the film. Aurora is seen in the forest with the intention

of picking berries (but never does) and daydreams the entire

time while singing “If my heart keeps singing/Will my song

go winging/To someone who will find me” (Sleeping Beauty)

hoping that one day she will meet her prince charming. Just

like in Snow White, Prince Philip hears Aurora singing, and

is instantly attracted to her, yet again, reinforcing the

inactivity of Aurora’s character. She does not have to

worry about putting in any effort to meet a man, because he

is placed right in front of her. Brode writes about a

feminist who argues that Disney women do not have the

ability to love freely, but he believes that each heroine

chooses for herself (188). Prince Philip was probably the

first male Aurora had come across since her being isolated

for sixteen years. It is ironic, too,

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that this man is her betrothed since birth. Either way,

Prince Philip is the man Aurora is supposed to marry,

leaving her with no choice for herself. Disney portrays the

idea of girlhood and domesticity as the waiting and dreaming

of marriage and cultural ideals for human relationships.

The scene where Philip and Aurora are dancing in the forest

is dramatically fantasized when the atmosphere shifts to a

dream-like state of them dancing on clouds. This

metaphorically emphasizes the fantasy and unrealistic aspect

of love. Even though Aurora tries to resist Philip at

first, she gives in to her passivity and desires, which

categorizes Philip’s role as the dominant male in the

relationship.

Disney has a reputation of creating male characters

that uphold the role as “alpha-male” and they stand for all

things that are stereotypically patriarchal. The alpha-male

is known for having physical power, social dominance, as

well as status and leadership. With the female heroine’s

inability to act assertively, she has to rely on external

rescues and this makes female subordination romantically

desirable. Prince Philip from Sleeping Beauty is the

definition of a stereotypical leading male character in a

Disney film. He is wealthy, regal, and saves Aurora from

eternal sleep – or does he? Brode argues that Sleeping Beauty

does portray strong, independent women with the depiction of

the three good fairies. He says, “Prince Philip, locked

away in a dungeon by Maleficent, cannot perform his princely

duties without help from the three good women” (189).

Flora, Fauna, and Merryweather, the three fairies who look

after Aurora, are the ones who break Philip’s chains in the

dungeon. They provide a bridge for him to cross over the

moat, they cut through the thorn hedge, and they transform

Philip’s weapon into a magic sword. Philip was ultimately

handed victory on a silver platter and his only use in the

rescue of

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Aurora was to wake her up with true love’s kiss. If the

fairies could provide all the help Philip needed, it seems

like they could be perfectly capable of saving Aurora

themselves. Yet, Disney loves to highlight the male

protagonist’s patriarchal attributes. Even though he was

guided the entire way, Disney needs the stereotypical male

to save the princess in the end.

The “postmodern resurgence” (Stover, 1) of women

portrayed in Disney films began during Disney’s renaissance

era – the era beginning in 1989 where public interest was

restored due to the success of animated films being

released. The recent representations of what Stover calls

“New Wave” Disney heroines may appear to be a positive

change for women fighting for gender equality. However, the

resurgence of these characters in the early 1990s does not

fit with the increase of independent women in our culture.

Audiences seem to still be attracted to the idea of

beautiful damsels. The period between 1960 and 1989 saw no

princess films. Stover writes, “A time of experimentation

in social life as well as in cultural media, this era of

American filmmaking coincided with massive campaigning for

gender equality as well as questioning of previously

unchallenged gendered images” (3). More powerful and

independent women emerged during the second-wave feminist

movement and they would have rejected a film with the

passive princess image traditionally seen in the 1960s. The

Walt Disney Company had to take some time to update the

narrative of femininity in response to demand for social

change. This encouraged their reintroduction in the late

1980s with the “new” Disney female. With the release of The

Little Mermaid (1989), there began a shift to the “New Wave”

Disney woman. This was a major improvement

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compared to traditional representations of women like in

Snow White and Sleeping Beauty. The new Disney heroines appear

more assertive, rebellious, and they constantly crave

adventure, which are traits that can be applicable to the

Disney male hero. In analyzing The Little Mermaid and Beauty and

the Beast (1991), we can see a dramatic change from the

traditional, passive female. However, the “new” Disney

heroines still fulfill the same plot and personality

fundamentals as the traditional females were portrayed.

Stover says, “…the content of the films acknowledge the

gains of feminism, while marketing strategies paradoxically

reverse the message to convey post-feminist ideals” (4).

Disney still continues to reproduce traditional gender

roles, rather than change the existing representations of

gender, which shows a decline in the change of gender

ideology in the Disney Company.

In accordance with the changing views on feminism by

society, the new Disney woman is supposed to be more

autonomous – acting on values that are one’s own. In The

Little Mermaid, the film’s heroine, Ariel, expresses these

feminist ideals of autonomy. Early in the film, she is

presented as a rebellious teenager, always getting in

trouble with her father due to her adventurous nature.

Gradually, her representation as a strong and independent

female heroine shifts into Ariel as a subordinate female

character. Initially, her fascination is with the land and

wanting to leave the ocean in order to be accepted among

people where she is valued for her curiosity and intellect.

She sings, “Bet ya on land, they understand/ Bet they don’t

reprimand their daughters/ Bright young women, sick of

swimmin’, ready to stand” (The Little Mermaid). Yet, she says

all of these things before she lays her eyes on Prince Eric

and suddenly her goals shift from wanting

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independence to wanting true love and a husband. Stover

writes, “The film reorders her goals much in the way post-

feminism reordered American women’s goals” (Stover, 5).

Ariel loses any independent qualities she originally

possessed in order to gain the love of a man. In her essay

about race and gender in Disney films, Vanessa Matyas says,

“She [Ariel] is silencing herself in order to live in a

masculine society” (Matyas, 32). By forfeiting her voice

and body, Ariel is conforming to the patriarchal system.

The only other women in the human world are the housekeepers

and maids, who are of a lower class. Ariel is the only

other woman equal in status to Eric, yet she does not have a

voice. This is metaphorically comparable to women not being

able to speak their mind or make their own decisions. The

“New Wave” Disney heroines are supposed to be a positive

change for fighting gender equality. Women were starting to

be able to express their own opinions and feminists are

angry that Ariel is not forced to be silent; she chooses to be

silent in order to find happiness.

Similarly to Snow White and Sleeping Beauty, beauty is

categorized as the only necessity to finding a husband. At

first, Ariel’s sisters mock her for wanting to live an

independent life. It is only after Ariel abandons the

characteristics that feminists wanted to see in the film,

including strength of will, determination, and being true to

yourself, does she win the heart of Prince Eric. When Ariel

is making a deal to become human with Ursula, the evil sea

witch, Ursula contrives false ideals of women so Ariel will

agree to give up her voice. She says, “You’ll have your

looks, your pretty face/And don’t underestimate the

importance of body language” (The Little Mermaid). She is

saying that in order for women to get a husband, it is

better for them to be seen and not heard. Also,

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the underlying message is that beauty prevails and is the

only means to be accepted into the human world. Ursula

sings, “It is she who holds her tongue who gets a man” (The

Little Mermaid). Ursula, in a way, is a representation of the

anti-feminist archetype character that swindles the feminist

hero into conforming to a masculine society. The act of

true love’s kiss, as we have previously seen in Snow White

and Sleeping Beauty, is the only way to stop Ariel from turning

back into a mermaid. The song “Kiss the Girl” is a song

about giving men all of the power. The shy, silent girl has

to wait for the man to use his power to provide her

happiness. It is disappointing that the film was released

in 1989 when feminism was making its way into popular

discourse. The same messages are delivered in the following

three years with Disney’s next princess film.

In Beauty and the Beast (1991), Disney tries to create a

new type of heroine that would reinforce the goals of the

audience, including feminists that wanted to see a woman who

was in control of her own fate and destiny. The film was

released during the third-wave feminist movement where women

were focused on being successful in the working world. Even

though the heroine of the film, Belle, is more autonomous

than the previous three heroines discussed. Throughout the

film, she possesses the trait of “maternal identity”

(Matyas, 34). Belle dreams of having adventure and wanting

more than the provincial life that she is accustomed to.

However, every effort Belle makes throughout the film is

either to save her father or to save the Beast. Nicole

Sawyer describes Belle as a “victim of oppressive

masculinities in a patriarchal culture” (Sawyer, 9). Belle

is wholeheartedly devoted to her father and supports his

goals rather than having any goals of her own. She puts her

life in danger in order to free her father from

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the Beast. Essentially, Belle has more in common with the

Beast’s servants. Belle’s father puts his work first and

allows Belle to take care of him. Also, the Beast puts his

needs first when his initial goal was to break the spell.

The film’s portrayal of Belle shows that being selfless and

giving is how a woman should act to cater to the men in

their lives. Women should not have to be devoted to men and

it is acceptable to put their own needs first sometimes.

Belle is initially not interested in finding romantic

love as we see when she rejects Gaston’s advances. She is

more interested in being an intellect proved by her love of

books and reading. It is her intellect that is judged by

the townsfolk and she is described as being strange because

she is more inclined toward intellectual pursuits. Belle’s

beauty is more valued by the townsfolk instead of her

intellect and any attention given toward her is based on her

appearance. Gaston does not like that Belle reads because

he believes that women should not be able to think or have

their own thoughts. Yet, the only reason he wants to marry

her is because of her beauty. This promotes beauty as the

main ingredient in gaining the love and affection of others.

The only person Belle can relate to is her eccentric father

and even he shares the same misconceptions of beauty as

everyone else in the town. When Belle says that she has no

one to talk to, her father replies with, “What about that

Gaston? He’s a handsome fellow” (Beauty and the Beast). Notice

how her father talks about Gaston’s appearance and Belle

talks about someone wanting someone to have an intellectual

conversation with. However, feminists argue that all Belle

wanted was to find love, happiness, and a fairytale ending

like in the books that she reads. “Belle is supposedly a

“smart” woman who reads books, but her sense of possible

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destinies for women is based on romances” (Bell, Haas, and

Sells, 133). Belle is known as an avid reader, but the only

book we see her with is about a romantic fairytale.

Feminists also do not like that Belle did not find true love

at the end of the film due to her intellect, but by the

means of her self-sacrificing devotion and selfless love.

She dreams of adventure and exploring the world, yet she

chooses to live a life of being a princess, stuck in a

castle to read all of the romantic fairytales she desires.

Although Disney films are a seemingly innocent form of

entertainment, the deeper messages embedded in the films

prove to be a negative influence on young girls. Henry

Giroux writes about the effects Disney has on children and

he says that these films do more than just entertain. He

writes, “…the role they play as the new “teaching machine”

(Giroux, 84). The lessons we learn as children are powerful

because they inform the way we view the world. They form

the attitudes, values, and behaviours, which carry into the

future. We learn these attitudes at such a young age that

they become second nature and we never think to question

them. The Disney ideology influences young girls’ values

and construct narrowly defined gender roles for girls and

women. Young girls are easily impressionable to this

ideology and embrace these stereotypical cultures, including

the Disney women’s ideal beauty.

The Disney Company has created images of feminine

beauty and youth that are unrealistic and influence young

girls in a negative manner. The production staff in the

early years of the Disney studio was purely male-dominated.

It was their job to create the animated images of the female

characters and women had no voice in the animation process.

Therefore, men had complete power to create the image of the

women that they

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deemed as beautiful. “Cinema has a way of leaving the

images of certain faces and bodies permanently inscribed in

our memories” (Davis, 108). The images of Snow White,

Aurora, Ariel, and Belle are inscribed in young girls’ minds

as ideal beauty. They all have similar features, which

resemble the Barbie Doll figure, including a thin waist and

a large bust. The bodies of these young heroines are

idealized, unconsciously alluding to how women are supposed

to look. Feminists argue that this is unhealthy for young

girls because it promotes an unhealthy lifestyle of body

issues and low self-esteem. In 2012, the Disney-Pixar

release of Brave, showcases the strong female heroine,

Merida. She was specifically designed to shift from

Disney’s princess archetype. In the marketing of the

merchandise for the film, Merida was completely redesigned.

They gave her a smaller waist, a larger bust, fuller lips,

voluptuous hair, and she was stripped of her signature bow

and arrow (Fig. 1) – a symbol that defined her character.

Feminists were outraged with the redesign of Merida because

they were happy with Merida’s character as a positive

influence on young girls, yet Disney reduced her into

exactly what feminists were fighting against. Merida was

not the only one who got a complete makeover. Every Disney

princess was redesigned (Fig. 2), giving them even thinner

features than before, the characters of colour have been

whitewashed, and none of them appear as they were originally

intended to look.

Feminists cannot neglect the negative messages that

Disney is still delivering in their animated films. Once we

begin to analyze these films from a feminist perspective, it

is very hard to stop. Everything begins to look different

and that is what makes feminism so powerful. There is an

apparent evolution of the Disney female image from

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the domesticated Snow White and Sleeping Beauty, to the more

independent Ariel and Belle. Disney attempts to showcase

feminist ideals of self-liberation, yet always reduces them

to post-feminist ideals of love and marriage. Children, as

the target audience for Disney entertainment, are the most

vulnerable to the influence Disney has on their adolescent

lives. Disney promotes stereotypical gender ideals and body

images that children grow up learning from a young age and

it is important that we continue to deconstruct gender

stereotyping. Although the films have developed over time,

very little progress has been made in the messages they

promote, and it does not seem like the Disney franchise is

planning to change their themes in the near future.

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Works Cited

Bell, Elizabeth, Lynda Haas, and Laura Sells. From Mouse to Mermaid:

The Politics of Film, Gender, and Culture. Bloomington: Indiana UP, 1995. Print.

Brode, Douglas. Multiculturalism and the Mouse: Race and Sex in Disney

Entertainment. Austin: University of Texas, 2005. Print.Davis, Amy M. Good Girls and Wicked Witches: Women in Disney's Feature

Animation. Eastleigh, U.K.: John Libbey Pub., 2006. Print.Giroux, Henry A. The Mouse That Roared: Disney and the End of Innocence.

Lanham, MD: Rowman & Littlefield, 1999. Print.Matyas, Vanessa. "Tale As Old As Time: A Textual Analysis of Race

and Gender in Disney Princess Films." Diss. McMaster University, 2010. Web. 6 Nov. 2013.

Sawyer, Nicole. "Feminist Outlooks at Disney Princess's." Diss. James Madison University, n.d. Web. 6 Nov. 2013.

Stover, Cassandra (2013) "Damsels and Heroines: The Conundrum of the Post-Feminist Disney Princess," LUX: A Journal of

Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 2: Iss. 1, Article 29. 

The Walt Disney Company Reports Fourth Quarter and Full Year Earnings for Fiscal

2012. Rep. The Walt Disney Company, 8 Nov. 2012. Web. 15 Dec. 2013. <http://thewaltdisneycompany.com/sites/default/files/reports/q4-fy12-earnings.pdf>.

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http://www.digitalspy.ca/movies/news/a481862/brave-princess-merida-sexed-up-redesign-pulled-from-disney-website.html

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http://www.bigshinyrobot.com/52141/merida-to-disney-dont-make-me-over/f