Final Paper Bernard Pollett

Rels 3812-082 Student# 201867819

Dr. J. Porter 12/14/2021
Section One
It is believed that from its original inception, that the Disney corporation has gone

through many changes with regards to what it believes is acceptable to show. In the time that

Walt Disney was alive and behind the helm of his franchise, Disney showed a firm example of

what was believed to be the “basic American virtues and values”, no matter how racist those

projects would be seen as and the impact it would have on the youth as a strict western

influenced company. After the death of Walt Disney, a change can be seen, though was very

gradual, a change occurred, nonetheless. Showing increasingly favorable portrayals of

characters of different ethnicity, which has led to a more open and considerate view to be

taught to the more influential audiences.

During the early year of Disney, films were a more Caucasian exclusive area. Though

other ethnic groups were represented, they were shown more in a racist light. Though were

often depicted as caricatures, it is believed that African American’s suffered the most injustice

through out the early Disney films. One such example was showcased in the documentary

Mickey Mouse Monopoly “Dumbo, a film that depicts a group of crows with stereotypical black

southern accidents, and one of whom is named "Jim" - a clear reference to the Jim Crow laws

that segregated blacks from white privilege” (Porter & Memorial University of Newfoundland

[MUN], 2014). Though this kind of racism was not only locked to animal caricatures, but also

with their animated human counter parts. “with images of black Americans doing hard, manual

labour evokes the racist trope of the 'happy slave.'  The juxtaposition of the lyrics 'We don't
know when we get our pay and when we do, we throw our pay away" evokes the Sambo racist

trope of the carefree, irresponsible but happy black worker” (Porter & MUN, 2014). Another

and probably the most damaging evidence of early racism in Disney’s works come from a film

that has since been boycotted and even removed from many Disney libraries for its overly racist

imagery, made worst by using an African American actor instead of an animated character, this

film was Song of the South. A film that even Hollywood censors warned Walt Disney of certain

aspects of the film and content that should be added to make it appear less offensive was

ignored by the Disney head. “The words “slave” and “slavery” are never uttered, and the

specifics of the economic relationship between the blacks and whites (Master and slave?

Employer and servant?) are left deliberately vague. By stripping out any concrete details of time

and place, Disney essentially turned the plantation system into a ludicrous utopia where blacks

and whites live in harmony — a harmony where the only thing that’s clear is that the blacks are

inferior and servile to the whites, but are content to work the fields anyway” (Singer, 2016).

Though after Walt’s death in 1966, the portrayal of offense material has gradually

lessened even to have future CEO’s of the company rebuke some films, like in the case of Song

of the South, “Disney CEO Robert Iger was asked in 2010 if fans would ever see a Song of the

South DVD, he called the movie “antiquated” and “fairly offensive,” and said there were no

plans to make a DVD or Blu-ray” (Singer, 2016). Though some showing of racism was still

present such as King Louie from the 1967 Jungle Book, more modern films have become

inclusive to other ethnic backgrounds, even showcasing ethnically diverse Disney Princesses,

something that during Walt’s era was strictly whitewashed. Though several of the popular

“Disney Princess” come from the early era such as Snow White, Cinderella, and Aurora, the
current direction of a broader scope of ethnic groups has introduced others the likes of

Jasmine, Tiana, and Moana. Even recent Caucasian princesses have had a significant change in

independence from the usual damsel in distress requiring a male figure to come along and save

the day. A great example of the character development and progressive thinking of the modern

Disney corporation is the self titled character Moana. She is shown as a head strong and

determined Samoan woman, who can accomplish anything that she sets her sights on, even the

freeing of a literal goddess from an induced rage form of destruction. Another and probably the

best example would be that of Princess Jasmine from Aladdin. In the original 1992 version of

the film, Jasmine is also portrayed as independent and caring, even if a little naïve. A loyal

daughter to her father, even with him trying to arrange a marriage for her, but never forcing

her to someone that she does not approve of showcased in scenes of men running from

Jasmine’s pet tiger as a tool used to reject said suitors. Her strong character is even developed

further and shown in the 2019 live action remake by giving Jasmine a more defining role to play

in the story, even given an empowerment anthem in the song “Speechless”. For a princess of

Middle Eastern ancestry, this was a significant turn in how women are shown in modern times.

With such modern excursions into diverse ethnicities it is very apparent that the current Disney

is a much different and aware creature as compared to its older counterpart during the lead of

Walt Disney.
 Section Two

Disney films can be viewed as possessing heavy religious influences. Though it can be

conceived that these messages could be a mix of Christianity. If an individual would take a

wider view of the Disney collection of animated films into consideration, a clear image of

inclusion can be formed mostly this is done in a positive light regarding the religious sources

(Pollett, 2021).

There are obvious nods to the Christian faith in films such as the Lion King. Through the

first act of the film, it is shown that Simba lives in an almost utopia often compared to the

Garden of Eden from the bible. Afterwards, he becomes exiled following his disobeying of his

father’s teachings much like Eve disobeying God’s teachings, leading to Simba’s exile to the

desert which also provides a clear parallel to Moses. Another is the appearance of Mufasa as a

godly visage in the clouds to guide his son back onto the proper path and to provide salvation

from the destruction (or apocalyptic tendencies) of his homeland from Scar (Porter & MUN,

2014). Though even throughout the same film, you can find nuances of a more Shamanistic

rituals being performed by the character Rafiki. At the beginning he is anointing Simba with a

ritual of symbolic marking. Further in the film it is shows Rafiki gathering debris from the wind

and studying it achieve a revelation of an event that has occurred, in this case Simba being alive

and well when originally thought to be dead.

The biggest examples of different religions being explored in these films are the

multiple nature inspired deities expressed in movies such as Moana, Pocahontas, and even

Brother Bear (Pollett, 2021). From the Samoan settings of Moana, as she explores the sea in
order to save a goddess and re-empower a demi-god from this worlds mythology and exploring

what would be considered the underworld. Pocahontas gives us a greater exploration into

nature, this time through the forest instead of the sea, even having a strong anthem of

protecting the environment and stopping to see what could be missed if not taken care of in

the song “Colors of the Wind”. Much of the film is spent educating a foreign religion of another

cultural identity and opening their mind to other possibilities and way things are. Finally,

Brother Bear gives us a glimpse into the animalistic side of nature inspired religion. Showing us

a way of life living with and honoring animals in the form of totems worn around their neck.

With the transformation of the one brother into a bear as repentance for going against his

tribes’ teachings. At the climax of the film, we are also shown that human spirits are

transformed into their projected animal in the afterlife and roam with all other animal forms.

Pagan religions are explored by the express acceptance of magic in movies like

Pinocchio and Cinderella. In both films, we are introduced to a higher power that possess some

mystical omnipotent power commonly referred to as magic with the power to grant wishes. In

Pinocchio, a beautiful being grants life to an inanimate object to honor the wishes of an old

man wanting a son. After many trials, Pinocchio and his father are both given the pure gift as

the wooden boy becomes what is referred to as “a real boy”, made of flesh and blood. While in

Cinderella, the self-titled heroine is along and disheartened, when she is visited by her Fairy

Godmother, another magically powered being that can change the shape of any object into

another to give Cinderella the night she dreamed of having and a chance at finding a place to

belong and love.

 Even Titans, Gods, and Chinese Zodiacs are represented in Hercules and Mulan. Since

Hercules is the son of the god Zeus, it is no surprise that the influence of Greek mythology is

largely present throughout the film. Even showing most of the other popular Greek gods and

having the main villain of the film being Hades, the God of the Underworld, much like in the

original stories. Even having the emergence of the Greek Titans, natural enemies of the gods as

another obstacle to overcome in the final act of the film makes for a great introduction into

that world. Lastly, Mulan has some of the best representation of another religion and culture in

the Disney catalog. Beginning with the treatment and expectations of women in Eastern culture

by having Mulan training to be the films version of a Geisha. Next showing her fathers pride and

sense of duty to his country when conscripted back into the army, even after being unable to

perform physical tasks as he once was able to. The prayer and honoring of guardian zodiac

statues are considered common practice, especially in the time period the film is set to take

place in. And the having to hide the fact that Mulan is a woman in the training to fight in place

of her father with such love and devotion to him, knowing that it could be seen as dishonorable

to her country, but believes it is the proper thing to do to protect the ones that she loves.

Donald Fadner has even been quoted in his paper Disney gets Religion “… many of its

animated features have something of the character and power of myth about them, combining

human concerns and struggles with representations of greater-than-human powers that

impinge on the human drama.” With so many different points of view conveyed to the

audience, Disney is not focused on just one single religion, but incorporate many through the

portrayal of different religious deities and beliefs (Pollett, 2021).

 Section Three
The portrayal of Disney Princesses has been something of a controversial discussion for

quite a long time, especially to do with their personalities and sexist roles. In the early days of

Disney, just like with racism, sexism was very fluent and the largest victim of this is with the

main heroines in Disney films. Over time though, especially since the death of Walt Disney,

policies on what a woman can accomplish and how a woman can act has progressively changed

with the eruption of stronger and smarter women in more recent Disney films. The opus of this

change has culminated in both Frozen and then even further in Frozen II.

In what would be considered the ancient age of Disney films, most female characters

were shown not in a positive light. Whether they were unintelligent and naïve, by the likes of

Snow White, or oppressed like and requiring a higher power to provide salvation, like in

Cinderella. Snow White and the Seven Dwarves has over the years shown us that the sins of

greed and envy can be overcome with purity. Though underneath this important lesson there is

also a negative impact that can be imparted. The reasoning for the Evil Queen to target Snow

White in the first place, based solely on her physical appearance. Followed by Snow White’s

own naivety of finding the dwarves home and just entering a strange place and making herself

at home. Most of the dwarves themselves have no objection to this young woman coming into

their home and cooking and cleaning for them, some reasoning for this is also purely on Snow

Whites attractive appearance. And in the end, she is saved by the kiss of the prince, which was

a common troupe for the time, but also leads to another improper lesson of consent as Snow

White is unconscious for said kiss. Cinderella takes a different approach to the negative imagery

for young women. In her case, she is acquainted to being a slave for her stepfamily with the
passing of her father. Broken and without hope, it is not her own strength that delivers her

from her situation, but that of a magical being in the Fairy Godmother, but only for one night,

afterwards she is to resume her minuscule and abusive existence. Just like in Snow White, it is

only after a male character arrives to save her from her situation, one with very little

development in the overall scope of the film, that it is deemed a happy situation, once again

not through any actions of her own, but completely based on luck with the glass slipper falling

off as she fled the banquet.

Fast forward over 60 years later, and we are given examples of polar opposite in the

films Frozen and Frozen II. In the olden days, these would require a male character to solve all

their problems, but these films showcased a different, more independent side of woman that

was usually shunned in Hollywood. The first film made such an impact by having a much

stronger feminism feel, with strong female leads in Anna and Elsa. Though Anna’s quick

infatuation with Hans, has led to some backlash, in the end she came into her own as sacrificing

herself to save her sisters life. Same side of the coin with Elsa, by finally accepting her powers

and herself she feels a sense of freedom, but at the same time shows her softer and caring side

when she becomes distraught over learning about the death of her sister. In the end it is the

love that each sister has for one another that ultimately resolves all the conflicts and issues,

and not the influence of the male character. The second Frozen film tends to learn from its

timidness of exploring a strong female lead and social issues and run-in head on. “Frozen II

shows that Disney has learned to “Do the Next Right Thing” with respect to representation and

social issues” (Burnett, 2019). Instead of being subject to a strongly emphasized male

dominated world, this time the heroines are presented in a sort of reverse fairytale scenario,
Elsa is queen and even the leader of the new tribe, the Northuldra, is a woman. “Kristoff is “Lost

in the Woods” without Anna, loves her for her ability to take charge, and supports her efforts,

appearing in her hour of need not as a rescuer, but as backup. (“I’m here. What do you

need?”)” (Burnett, 2019). By the end of the film Anna has finally taken her position as Queen

and Elsa is considered the protector of the forest, coming into a personal development for both

characters that make a logical conclusion.

 References

Burnett, B. (2019, December 16). Doing “The Next Right Thing”: Frozen 2’s Improvement on the

Cautious White Feminism of the Original. The Mary Sue.

https://www.themarysue.com/frozen-2-improve-white-feminism-original/

Fadner, D. (2020, June). Disney Gets Religion. University of Wisconsin – Stevens Point.

https://www.researchgate.net/publication/342182716_DISNEY_GETS_RELIGION

Pollett, B. (2021, October). Religious Deities. RELS – 3812.

Porter, J. & Memorial University of Newfoundland (MUN). (2014). Implicit Christian Themes.

Brightspace. https://online.mun.ca/d2l/le/content/440252/viewContent/3881602/View

Porter, J. & MUN (2014). Racial Stereotyping. Brightspace.

https://online.mun.ca/d2l/le/content/440252/viewContent/3881576/View

Singer, M. (2016, March 11). Just How Racist is ‘Song of the South’, Disney’s Most Notorious

Movie. Screen Crush. https://screencrush.com/song-of-the-south-racism/