Moulding the Young:

In a study from the University of Florida, they examined

child retention in films, finding that 8 year olds retain
90% of a film up to 3 months after seeing it(Simons)
whilst also observing that “children of all ages tend to
accept as true the things that they see in movies”. These
statements place a heavy sense of responsibility on the
shoulders of filmmakers. Children are not able to
differentiate between the realities of film and empirical
reality in the same way that adults can. Therefore, by
assuming that a film represents truth, children’s
perspectives of themselves and the world around them
are easily molded by the films they see. This is an
incredibly dangerous power for filmmakers to posses.

Internalising Gender:
Gender reality is a performative concept. The reality
behind gender is created through sustained social
performance. In the words of Judith butler: “one is not
born, but rather, becomes” their respective gender.
Individuals perform and exhibit their own gender in
several ways. Clothing, physicality, behaviour and
speech are but a few physical pointers that humans use
to be indicative of gender. Children often learn from the
world around them how to behave and perform their
own gender. This concept paired with the influence of
the film industry means that film has become a medium
that informs a child’s performance of their own gender.

Presenting an Argument:
Hence, Given films influence over children, the ways in
which children perform their gender based on
information gained around them, and Disney’s
prevalence as a major creator of children films that have
an influence on audiences, this raises the question as to
what is Disney’s influence on its audiences and how
does it influence perceptions of gender. These thoughts
inform the key argument:

The Presentation of Masculinity in Disney films

encourages young boys to perform their gender in a
specific way that has negative implications of their
mental health and in ways that is damaging to their
individual identity.
 Presenting the Desirable and Perfect Male Image:
For Decades in the twentieth century, Disney dedicated
its animation films into creating male heroes with
comparatively similar traits. These traits included:
-Handsomeness
-Physical strength
-Societal positions of power
-Combatively gifted
-Romantically invested in a solely heterosexual
relationship

For young boys to be continually exposed to characters

with these traits, this conditions them that to be the best
men possible in later life that they must conform to
these ideals.
 The prince-Snow White and the Seven Dwarfs(1937)

Prince Phillip-Sleeping Beauty(1959)

Hercules-Hercules(1997)

The Prince-Cinderella(1950)

Eric-The Little Mermaid(1989)

 Biasing the Binaries: A Hightower of Power
In addition to hyper masculine male heroic and Dominance:
characters, Disney also utilises a reoccurring The fact that all the male
motif of trans gendering male villains, characters listed above
conditioning boys that transgender is an sit in positions of power,
undesirable and “evil” notion they are either royalty,
or in some fashion
considered high in the
A Castle With Open Literally Larger than Life: hierarchal structure of
Doors: In particular with the the narrative, far above
Disney has established its character of Hercules, he is any female character.
film empire on presenting presented as being physically Hence, this not only
subliminally educational overbearingly strong, with emphasises binaries in
narratives to its child- physical measures that are in gender, but also
orientated audiences. reality unattainable for any conditions boys into
This has brought the individual to achieve. Physical seeing that the male
company first established strength is a trait that is often gender can only exist in
in 1923 much wealth, associated to most Disney this reality when above
power, and responsibility. princes. No male lead is ever female gender.
Disney made a reported described as “weak”. This
18.42 billion US dollars of visual link is another trait that
revenue in 2017, along young boys grow up watching.
with its most recent films In the critique of Sanjay
being translated into 41 Newton, he speaks on how
languages (Fuller). It can “The people that grow up
therefore be said that watching Disney films
Disney has an incredibly subconsciously associate love
large audience for its and victory with beauty and
accessible and influential physical strength”. Hence,
content. children learn at a young age
that victory is only attainable
when one is physically
dominant.

The Implications of “The Prince” role model:

Disney is a key example of the film industry that
influences young boys into becoming more
interested in subjects that are considered
inherently “masculine” such as warfare and
combat. In a study by psychiatrist Joshua Weiner
discussed how boys become obsessed with
violence “This connection is likely—like most
things—a combination of genetics and
Conclusion: What Does this image lead Disney forms a part of
environment.”(Hardy).
to?the social environment that facilitates and
Ultimately, the presentification of male
introduces young boys to the concept of war.
heroes and villains in Disney’s work
leads to years and years of children and
generations of boys subliminally being

Trans-gendering the Male villain:
To contrast the hyper masculine
male protagonists/heros that the
filmmakers want children to be
attracted to, the villains are
presented as unattractive in both
personality and in visual
appearance. Also often male
A Step in the right direction?
Case Study into Mulan(1998)
Mulan is often lorded by critiques as being a key step
in the right direction for Disney for empowering
women and offering a new image of men. However,
in Cheu’s work he discourages this idea, arguing that
it still privileges masculinity over femininity.
He explains how “The film “relies on sartorial
Artifacts to designate gender(girls wear pink, boys
wear blue)”(Cheu 116). Furthermore, as a narrative,
the story continuously references the crossing of
binaries and borders. The huns cross into China, The
soldiers cross from inexperience to experience, and
Mulan crosses from the female gender to the male
one(Cheu). However, by the end of the film, the huns
are reppelled, and Mulan returns home to become a
woman and a wife. The only characters that remain
in the newfound position are the soldiers, who are
now hailed as powerful and experienced men.
Therefore, the film still buys into the gender binaries,
and by the end of the story, Mulan is no more
powerful than when she set off on her quest. Yet for
young male audiences, they see that victory only
occurs if you are “man enough”(Cheu).
The hypermasculine ideals is embodied in the song
“Be a man” where cheu argues that “To the
characters, becoming a man in the song “I’ll make a
man out of you” entails “hand to hand combat,
archery, rocket launching, and a plethora of physical
activities”(Cheu120). Henceforth, to the male