Tess Fortier Media Criticism- Final Project Media Analysis of Tangled Since the early part of the 20th

century, Disney films have made an impact on American culture and society in several ways. Disneys iconic status leaves their name engrained in the minds of adults and children alike as it makes its mark in the past, present and future. Creating endless television shows, theme parks, movies, merchandise and more, Disney has confirmed its top hierarchal influence in popular culture. Looking specifically at Disneys production of media, their animated movies have become that of a double-edged sword. On one side, they are classic symbols of American childhood that bring to light happy and nostalgic memories. On the other side, they have been known to portray underlying messages of sexism and male hegemony, and have become gateways to consumerism. Some of the original Disney movies, like The Little Mermaid, Aladdin, Beauty and the Beast and The Lion King that have remained classics for nearly twenty years, have garnered attention for their linear story lines of female submission and sexist undertones. With this said, messaging within Disney films has drastically changed since shifting into the 21st century. As cultural ideologies start to evolve, popular culture attempts to stay in line by mirroring these ideologies within media. In 2010, Disney released the CGIanimated movie Tangled, which is loosely based on the story Rapunzel by the Brothers Grimm, but takes a different approach by moving away from the damsel in distress character and focusing more on an empowering female lead. Looking at current cultural ideologies, liberal feminism has become more mainstream in the 21st century as more and more women are being portrayed as strong and independent characters in media. With this in mind, Tangled illustrates

Fortier 2 how Disney blends together popular culture with current ideologies to create a burgeoning mass culture that fuels consumerism. There is no doubt that America is an information society. We both actively and passively consume media for various reasons. According to Todd Gitlin in Media Unlimited, media has led our society on a never-ending quest for the stimulus and sensation that accompanies media and its multiple forms. He states, Media today are occasions for and conduits of a way of life identified with rationality, technological achievement, and the quest for wealth, but also for something else entirely, something we call fun, comfort, convenience, or pleasure (Gitlin 5). For many passive media consumers, these four words epitomize Disney texts. Since The Walt Disney Companys conception in the early 1920s, their animated movies have become a common source of entertainment for young media consumers. With this as an indicator, Disney has a powerful influence over American culture. Henry Giroux, a renowned cultural critic, analyzes Disney and its cultural impact by stating, Needless to say, the significance of animated films operate on many registers, but one of the most persuasive is the role they play as the new teaching machines, as producers of culture. (Giroux 53). In building its image, Disney has taken commodification to a whole new level. Giroux goes on to say, Disneys image as an icon of American culture is consistently reinforced through the penetration of the Disney empire into every aspect of social life (Giroux 54). Whether it is providing scholarships, educational programs, or the building of schools and grand neighborhoods, Disney has the power to go beyond simple media and merchandise production to make both social and cultural impacts on America. While Disneys classic animated films are wildly popular among young audiences, there is a stigma about their subliminal messaging, especially in relation to sexism. Media and

Fortier 3 communication scholars alike have criticized their characterization of oppressed females and dominating males. Looking specifically at Beauty and the Beast and The Little Mermaid, these two animated movies show how women are constructed into stereotypical gender roles and take on subordinated roles to their male counterparts (Giroux 58). While Ariel from The Little Mermaid attempts to display independence through teenage rebellion, she ultimately bows down to the power of the evil queen who essentially tells her that men do not like women who talk, taking away her voice. Ariel has now given up her voice for a man and leaves a tainted image for young girls who idolize the Disney princess. Belle from Beauty and the Beast takes on different criticisms as she is a captive to the unfriendly Beast in his massive and magical castle. While her punishment is due to her devotion to saving her father, she is stuck in the castle forever and must live with the Beast. While living with him, Belle goes to great lengths to change the Beasts sheltered way of life and unhappy demeanor. Henry Giroux states, Whatever subversive qualities Belle personifies in the film, they seem to dissolve when focused on humbling male vanity. In the end, Belle simply becomes another woman whose life is valued for solving a mans problems (Giroux 59). While these movies are before the times of newer CGI-animated films like Tangled, they are essential in illustration of how Disney has shifted its messaging to fit more contemporary ideologies. While these issues of female submission and oppression were still prevalent at the time The Little Mermaid and Beauty and the Beast were released, they were not as mainstream in popular culture and Disney had the power and the chance to put masculine power on a pedestal (Giroux 60). As times and practices have shifted in media production, so has the messaging in Disneys movies as we move into the 21st century. This is best illustrated in Tangled as a Disney princess moves away from stereotypical gender roles.

Fortier 4 As already mentioned, Tangled is a Disney movie loosely based on Rapunzel by the Brothers Grimm. The main character is an imprisoned princess named Rapunzel who was abducted from the king and queen as a baby by Gothel, an evil witch. Rapunzel has long magic blonde hair that keeps the evil witch youthful and strong, but if cut, the hair turns brown and loses its magical powers. Trapped in a tower her entire life, Rapunzels all-time wish is to break free from the walls to see the outside world. Metaphorically speaking, hope comes sweeping through her door when a bandit named Flynn Rider climbs into her tower as an escape from two thugs. In many parts of the film, Rapunzel shows herself to be strong and independent in her ability to protect herself. After Flynn thinks he has found a safe haven for himself, Rapunzel knocks him out and ties him up, and takes the stolen tiara that Flynn was keeping from the thugs. Rapunzel uses Flynn to show Gothel that she is capable of taking on the outside world. When the evil witch refuses to change her mind in letting Rapunzel leave the tower, Rapunzel finally caves and requests that the witch venture out to get some special paint for her art. Once the witch is gone, Rapunzel negotiates with her captive to break free from the tower and to guide her in the real world. When the two manage to leave the tower, Flynn takes Rapunzel to the Snuggly Duckling Inn that is full of thugs in hopes of scaring her back into her life of confinement. The movie begins with the idea that Rapunzel is a damsel in distress but draws away from previous Disney animated themes as she is portrayed as a more self-sufficient female lead. In just the first thirty minutes of the film, Rapunzel uses self-protection to capture an intruder, logical thinking to trick Gothel to escape the tower, and she is not deterred by Flynns attempt to scare her at the Snuggly Duckling Inn. As the movie goes on, Flynn and Rapunzel stick together and continue on their adventure. Because Flynn is a bandit with a stolen tiara, he is wanted by

Fortier 5 many, including palace guards and the original thugs who go to great lengths to capture him. On many occasions, Rapunzel has saved Flynn from these people. She uses her magical hair to guide them out of trouble and then to heal his wounds when he is injured. After the evil witch discovers that Rapunzel is gone, she goes on her own hunt for Rapunzel and manages to get her back to the tower. In Flynns one attempt to save Rapunzel, he is stabbed in the back by Gothel. To get rid of the witch forever, Rapunzel chops off her hair and Gothel rapidly ages and turns to dust. Rapunzel is left with a dying Flynn and it is her own tears that heal his wound and brings him back to life. These ideas that women do not have to be dependent on their male counterparts give a much better and clearer message to those who are consuming this media. It is one of the first movies where the princess saves her prince in the end, and not the other way around. This synopsis further demonstrates Disneys attempt to alter their messaging to remain parallel with cultural ideologies. Ideologies are a vital facet in the shaping of our society and culture. Louis Althassar theorizes that ideology represents the imaginary relationship of individuals to their real conditions of existence (155). He states, While admitting that they do not correspond to reality, i.e. that they constitute an illusion, we admit that they do make allusion to reality and that they need only be interpreted to discover the reality of the world behind their imaginary representation of that world (Althassar 154). Essentially, ideologies represent an imaginary distortion, not the existing reality. A cultural ideology that has been prevalent for years is liberal feminism. In the reading, Feminist Perspectives on the Media, Liesbet Van Zoonan states that liberal feminine discourse looks at irrational prejudice and stereotypes that limit women to their supposed natural role of women as wives and mothers. They are depicted as young, beautiful and not very well educated. This messaging derived from the media accounts for the unequal position

Fortier 6 of women in society (33). This ideology is further driven by Van Zoonans declaration that women should be looking at ways in which they can obtain non-traditional roles and occupations, and to develop masculine qualities to acquire power (33). Rather than falling into the typical gender roles that have been previously shaped by society, women should find ways in which they gain equal power to their male counterparts. Van Zoonan declares solutions that liberal feminism offers. She states, Women should obtain more equal positions in society, enter male-dominated fields and acquire power (Van Zoonan 34). With this ideology in play, it aids in understanding how Disney takes this current cultural ideology of liberal feminism and infuses it within Tangled. Rather than characterizing the typical Disney princess who falls prey to male hegemony, Tangled contradicts the norms created by former Disney animated films with their portrayal of Rapunzel. Not only is she fearless in facing the evil of Gothel, she is not frightened by the thugs who attempt to deter her from the real world. She goes beyond a sheltered world in hopes of a bigger and better world outside her tower walls. Rapunzel proves her ability to defend herself in the wake of danger, as well as the ability to defend and save her future prince. Van Zoonan states, Femininity is supposed to be composed of emotionality, prudence, cooperation, communal sense, compliance, etc (38). While Rapunzel certainly adopts select traits of femininity, she is able to move beyond the stereotypes to encompass feminist ideology. Disney ideological messaging has improved in their recent animated films. Tangled gives the perfect example of how Disney has created a female lead who can make her own decisions, lead her own life and write her own path; however, this does not mean that Disney itself is moving away from abusing their power within American culture. Outside of Tangled, Disney is still the same powerhouse that thrives on the active consumerism of children and parents alike.

Fortier 7 Giroux noted that Disneys pretense to innocence is a promotional mask that covers its aggressive marketing techniques (54). He goes on to state, There is also the reality of a powerful economic and political power that staunchly protects its mythical status as a purveyor of American innocence and moral virtue (Giroux 54). Disney has an all-encompassing reach into the spheres of economics, consumption and culture, giving them a high-level of power and influence (55). This is demonstrated in Disneys fueling of mass culture. For over two centuries, Western culture has been defined as really being two cultures: high culture and mass culture. High culture is essentially what is chronicled in textbooks as the one-of-a-kinds and they originals, whereas mass culture takes an aspect of popular culture and utilizes it to drive mass consumption. This type of mass culture was conceived during the Industrial Revolution when there was an advance in technology that led to a profitable market in the cultural demands of the newly awakened masses. It made possible the cheap production of books, periodicals, pictures, music, and furniture in sufficient quantities to satisfy this market (Macdonald 22). This type of mass culture has led to what Theodor Adorno and Max Horkheimer have defined as The Culture Industry. They state, Interested parties explain the culture industry in technological terms. It is alleged that because millions participate in it, certain reproduction processes are necessary that inevitably require identical needs in innumerable places to be satisfied with identical goods (Adorno, et al.). We thrive on medias productions and are in constant need of consuming it. This idea of The Culture Industry feeds into our need for information as an information society as discussed earlier. In A Theory of Mass Culture, Dwight Macdonald states, Mass culture is fabricated by technicians hired by businessmen; its audience is passive consumers, their participation limited to the choice of buying and not buying (Macdonald 23). In analyzing this relation to the movie Tangled, Disney serves as the

Fortier 8 Lords of Kitch described by Macdonald, who exploit cultural needs of the masses in order to make a profit and/or maintain their class rule (23). While they attempt to ease social tension due to previous animated films that highlight female oppression, Disney still has the same intention of fueling mass culture by creating a new princess who encompasses liberal feminist ideologies. Disney does not falter when it comes to sales that are associated with their films. Giroux states, The scope of the Disney empire reveals both shrewd business practices as well as a sharp eye for providing dreams and products through forms of popular culture in which kids are willing to materially and emotionally invest (Giroux 56). Tangled demonstrates Disneys cultural power through its millions of dollars earned through merchandise. After making nearly $600 million at the box office, the film went on to earn $95 million in DVD and Blu-Ray sales. As mass culture points out, it leads to mass production of merchandise, which is very evident in this case. In addition to Blu-Ray and DVD combo packs, the movies soundtrack featuring Grace Potter and the Nocturnals has made a cultural impact for being on the Billboard Top 200 and winning a Grammy for Best Song for Visual Media. Most prized and consumed by children is the merchandise that lines the shelves of toy stores. In 2011, Rapunzel was named an official Disney princess. The Disney princesses are a booming media franchise that heightens Disneys power of fueling mass consumption. Once a character has been inducted to this prestigious role, they are subject to more opportunities for mass production. The Disney princess franchise creates more opportunities for merchandise and events. Giroux notes how Disney is successfully connecting the rituals of consumption and movie going, Disneys animated films provide a marketplace of culture, a launching pad for an endless number of products and merchandise that include videocassettes, soundtracks, childrens clothing, furniture, stuffed toys and new rides at the theme parks (Giroux 57).

Fortier 9 Because of its influence on American culture, Disney films have made an impact on society in several ways. In analyzing Disneys production of media, their animated movies have proven to have both favorable and unfavorable consequences. On one hand, they epitomize childhood innocence and nostalgia. On the other hand, they take present cultural ideologies and popular culture to intertwine the two in creating a marriage of mass consumption. As seen with the classic movies like The Little Mermaid and Beauty and the Beast, there are sexist undertones that undermine feminist ideology, garnering attention for female submission and male hegemony. On the flip side, messaging within Disney films has drastically changed since moving into the 21st century. As cultural ideologies have seeped into the realm of popular culture, media follows lead. When Disney released the CGI-animated movie Tangled, they took a different approach by moving away from a female lead who characterizes female gender roles, and focuses more on an incorporating a Disney princess who adopts independence, empowerment and equality with her male counterpart. Looking at current cultural ideologies, liberal feminism is a more mainstream ideology in the 21st century that is proven through the portrayal of more and more women as strong and independent characters in media. After its production, Tangled went on to influence the mass consumption of its products. Disney took this movie and unconventional character and earned millions of dollars through sales that Tangled had earned. Tangled demonstrates how Disney has blended together popular culture with current ideologies to create this rapidly increasing mass culture that fuels consumerism.

Fortier 10 Works-Cited Althassar, Louis. "Ideology and Ideologic State Apparatuses." Mapping Ideology. London: Verso, 1994. N. pag. Web. Henry, Giroux R. "Are Disney Movies Good for Your Kids?" Kinderculture: The Corporate Construction of Childhood. Boulder, CO: WestviewPress, 1997. N. pag. Web. Gitlin, Todd. Media Unlimited: How the Torrent of Images and Sounds Overwhelms Our Lives. New York: Metropolitan, 2001. Web. Horkheimer, Max, and Theodor W. Adorno. "The Culture Industry: Enlightenment as Mass Deception." Dialectic of Enlightenment. [New York]: Herder and Herder, 1972. N. pag. Web. 4 Dec. 2012. <http://http://www.marxists.org/reference/archive/adorno/1944/cultureindustry.htm>. Storey, John, and Dwight Macdonald. Cultural Theory and Popular Culture: A Reader. Athens: University of Georgia, 1998. Web. "Tangled." Wikipedia. Wikimedia Foundation, 12 Apr. 2012. Web. 04 Dec. 2012. Van Zoonen, Liesbet. "Feminist Perspectives on the Media." Trans. ArrayPrint.