The Post-Feminist Disney Princess

Victoria Hallebo

CTCS412 Paper Outline

Professor Imre

Purpose / Thesis: The purpose of this paper is to examine the canon of Disney princess films from the 1990s until present, focusing on the division between the first part of the period (‘89 – ‘98) and the second (’09 – ’13) after an 11-year gap. Though there is a decided transition between the two periods in terms of feminist backlash, both periods still convey a problematic post-feminist ideal princess.

The following princesses will be addressed:

1^st period:

Ariel, Belle, Jasmine, Pocahontas, Mulan

2^nd period:

Tiana, Rapunzel, Merida, Frozen (perhaps)

Note: Pocahontas and Mulan aren’t necessarily princesses, but will be taken into consideration due to their heroic sensibilities.

Though it seems that I’m dismissing a large group of princesses, I don’t think it necessary to address the original princesses (Snow White, Cinderella, etc.) because it’s fairly obvious the way in which they enforce hetero-normative gender roles. I will, however, address them in passing if I can contrast with a new generation princess.

I will first address the early period princesses and the various problematic depictions as backlash against 2^nd wave feminism (noting the 30-year period in which there wasn’t a single princess film because of the cultural upheaval at the time). The majority of this analysis will be from source text (i.e. films), but also with scholarly source when necessary. The focus on this section will lie in its use of post-feminism (for example: Arielle's use of body as power -- she literally has no voice or the relationship between Pocahontas and John Smith). I will then address the later period of this new generation of princess through textual analysis. First noting where the films are progressive and then where they fall into regression under the weight of post-feminism. (For example: Tiana has a dream, yet it's actually the dream of her father's and her new princess status is what gets her the restaurant in the end). Linking specific films from one period to another and showing the progression or stagnation as a result of cultural pressures is also necessary. An example of this could be both Jasmine and Merida’s force into betrothal by family and the ways in which both handle the situation. Jasmine ends up still marrying the prince (well, sort of prince), while Merida does not get married. She is, however, punished for her rejection of domestic responsibility by an old witch (a cliché depiction of the hag).

In addition to all of the films, a number of scholarly sources will be used including articles and publications on Disney princesses (gender role portrayal, post-feminism and Disney) along with feminist works (Gill, McRobbie, Mulvey, Garrison) focusing on 3^rd wave feminism, post-feminism and its emphasis on consumer culture, and feminist backlash through pop culture.

In the grander scheme of things, I would like to note that with its last film Brave, Disney is taking major progressive steps in terms of a feminist depiction of a princess. This is largely dependent on Frozen (which I will be seeing next week), but if it is in alignment with Brave, then there is hope for Disney yet.