Stereotypes in Animation 1

Influence of Animation: Racial and Gender Stereotypes

McKenzie Bunting
Glen Allen High School

Stereotypes in Animation 2
Introduction
Snow White and the Seven Drawfs, created by Walt Disney in 1937, was the first ever full
length animated film. Since then, Disney has produced a total of fifty four animated films as of
2014, and the overall field of animation has spread drastically to other networks (List of Disney,
2015). Like many pieces of literature, animation productions have sub-textual messages that are
being conveyed, some even promoting the idea of racial and gender stereotypes while others are
in the process of breaking said stereotypes. Such stereotypes can be expected from films
originating in the 1900s where these stereotypes were a part of everyday life, but now that we
are in this post-civil rights era, should productions still be reinforcing such stereotypes? This
literature review will analyze the messages conveyed through animation productions such as The
Lion King, The Little Mermaid, Brave, and more.
Negative Influences of Racial Depiction
Whether or not viewers notice the sub-messages sent through the characters, voice actors,
or culture depicted, the influence of those messages, which can be offensive and racist, are still
there. Some circumstances have been censored for the benefit of the audience, in a futile attempt
to hide such atrocities. For example, in the 1992 film Aladdin, the original lyrics to the opening
song contained the verse, Oh I come from a land from a faraway place where the caravan
camels roam/ Where they cut off your ear if they don't like your face / It's barbaric, but hey, it's
home." This lyric only magnifies the stereotypes that were already present in the media, but
spreading them to the young eyes of children across the country. Despite the lyric being changed
to where its flat and immense and the heat is intense, due to intense criticism, the racial tone
and the original lyrics were not forgotten by critics upon the release of the film (Giroux 1995).

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Further, the style of the characters is underlying racism as well. The antagonists had
rather grotesque features: large noses, sinister eyes, heavy accents, and constantly bearing
weapons. Obviously some of these characteristics are simply that of a villain, but many critics,
especially in the Arabian culture, viewed them as overly derogatory in comparison to Aladdin
and Jasmine, who were more westernized or whitewashed. Aladdin and Jasmine, the
protagonist and star-crossed lovers, were Americanized: Aladdin had a small nose, no beard or
turban, and an American accent, not resembling the strong ethnic features of the villains (Giroux
1995). Jasmine also was more physically appealing than other characters with an American
accent, as well as having noticeably lighter skin than the villains (Caoilainn). Overall these
characteristics made them more appealing to the audience at the expense of depriving the
characters of their true culture, while the more ethnic characters were vilified and ultimately
engraining the idea that Arabian people with those physical characteristics are bad, into the
minds of tomorrows leaders.
Disneys 1994 film, The Lion King, also received much criticism on their depiction of
racial depiction and immigration regarding the hyenas, despite being the highest-grossing handdrawn animated film in history and the 20th highest-grossing feature film of all time (The Lion
King). The Lion King is believed to have racially coded accents, meaning the film is not directly
displaying racism, but the message of racism is coded beyond the animation itself and delivered
through the characters. Shenzi and Banzai, two of the villainous hyenas, are voiced by Whoopi
Goldberg and Cheech Marin, who take on the nuances of the decidedly urban, black and Latino
youth. The hyenas inhabit the elephant graveyard, which resembles slums and the outskirts of
the desired communities. In contrast, the royal family of Mufasa speaks with a posh accent,
signifying superiority over the immigrant characters. This representation, or lack of, teaches

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children that cultural differences that are not of white and/or middle class origin, they are inferior
and a threat to be beaten (Giroux). With that, there is a serious lack of positive representation of
people of color throughout many other movies as well.
For example, in Dumbo (1941), the group of crows that Dumbo encounters are all voiced
by black actors, except for the ring leader who is ironically named Jim Crow. All except Jim are
rather submissive and in shabby clothes, suggesting obvious racial slurs to the Jim Crow Laws
and the notion of white supremacy (Caoilainn).
Negative Reflection of Gender Stereotypes
Before anything is said as far as gender stereotypes is concerned, let it be noted there are
very few mothers other than the evil step mother role. Already, the young girls and princesses
that are so often the protagonists, have little positive female influences. In general they are
absorbed in their search for love and are conformed to the Barbie-Doll image which attracts
the prince (Coailainn). For example, Ariel in The Little Mermaid has only a father of whom she
rebels against in the name of love and curiosity. While children enjoy her teenage rebelliousness,
they are being taught that eventually desire, choice, and empowerments are all linked to finding a
handsome. Further, Ariel becomes a metaphor for the traditional housewife-in-the-making
(Giroux 1995). Ursula, the main influence and encouragement of Ariel giving up her mermaid
life, tell Ariel she will be fine without her voice because men dont like women who talk and
saying youll have your looks! Your pretty face! And dont underestimate the importance of
body language!

Which ultimately encourages the silencing of young girls, and the

objectification of their bodies in order to get a mans attention. This idea is then reinforced as
Eric attempts to kiss Ariel without having had a proper conversation (Giroux).

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The gender stereotypes and feminist view point becomes slightly more complicated in
Beauty and the Beast. While she is labeled as a Disney feminist, there is criticism regarding
the truth of this statement. Belle is portrayed as an independent woman in the eighteenth century
France, who rejects the typical macho man, Gaston. However, she is criticized by the entire town
for being an avid reader, then plays the role of a housewife who is a prop for humbling male
vanity and soling his problems. She teaches him proper etiquette of eating, controlling his
temper, and dancing, and turning the aggressive beast into a sensitive and caring man. Despite
being depicted as independent, she is ultimately a figure to civilize a man (Giroux).
Reflections of Feminism
Pop culture has in the last few years has made a dramatic shift into the feminist
movement. The term feminist has been morphed into the belief that women are superior to
men, but in fact, it is the theory of the political, economic, and social equality of the sexes
(Merriam Webster).The 2012 Nickelodean series The Legend of Korra, is an example of modern
day shows depicting the feminist movement. The show takes place in a fictional world where
certain people are given the ability to control the four classical elements (earth, water, fire, air)
through a martial arts technique known as bending. However, there is always one individual
who is reincarnated with a spirit who is known as the Avatar and can bend all elements, and is
supposed to maintain the role of the peacekeeper between the human and spirit worlds (Wong
2013). Korra has numerous strong female characters of various archetypes that are made to be
relatable to the audience.
Edwards claims that Lin Bei Fong, chief of police and metal bender (advanced form of
earth bending), is one of the strongest and most well respected characters in the whole show.
Then you have Asami Sato, who is one of the only non-bender characters, but she does not allow

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that prevent her from being involved in the action. She is intelligent with technology as well as a
trained martial artist who becomes the leader of her fathers corporation. She appears more
feminine and has the persona of a debutante, which is the polar opposite of Avatar Korra who is a
hot-head with more masculine features and stronger build, but never oppressed for being of color
or a woman. Their friendship is so important because it breaks the archetype that these very
different girls should not get along, without demonizing one of them. The representation of
women is so diverse and all of whom stand up for themselves and others: a main protagonist of
color, two young but capable children, chief of police, and an upper class debutante. Further,
gender is never used as a means to tear someone down or make someone less capable of
something. Tenzin, Korras airbending teacher and role model, never looks down on Korra for
being female, and only instructs her as a pupil (Edwards 2014).
There is some skepticism of the feminist intentions of the show, as at one point Korra and
Asami are pitted against each other for the affections of Mako, making a classical love triangle.
Despite the chaotic series of break ups and make ups, Mako and Asami end on good terms in a
mature way which allow Asami and Korra to be such good friends. Edwards claims that pining
after the same man [does not] makes them weak. The problems begin when that becomes the
crux of characters personality. As far as gender stereotypes go, it is hardly seen that two men
should pine after a woman because it is emasculating them, but dramatic and nearly necessary
for women to do it (Edwards 2014).
Brave is another modern film with exemplary evidence of breaking gender stereotypes.
A Disney-Pixar film, this breaks drastically from the hit machine of the typical movies
(Watson 2012). It is because this movie is such a big budget film, a feel-good family hit, that
makes this movie and its messages so valuable. Millions of boys and girls will repeatedly absorb

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the ethics of Brave as a feminist document, whether or not the realize it. Merida is the first
animated princess in major American film history who does not fall in love, nor act on the basis
of romantic motivation: her sense of free will is at the center of her plotline (Watson 2012).
Some critics have noted the similarities to soft power themes with a Hillary
Clintonesque ideal, as there is conflict between sheer physical force and the force of a leader
with ethical high ground. Hanna Rosin explains in Watsons article why Brave may make some
viewers uncomfortable in the same way female presidential candidates do:
When the Queen explains to Merida why she cant be rebellious she lists not just generic
duties to the kingdom but personality traits which a proper princess should have:
compassion, patience, caution, cleanliness, a yearning for perfection. This could very
well describe the average ambitious college girl. People often ask why there arent more
women in power. The real answer is that even though women are more successful than
ever these days, we hold on to a cultural ambivalence about women with real power.
Women can be competent, perfect, compassionate, but not quite dominant.
Brave is breaking the association that dominance equals physical force through the
characterization of a red-headed princess from a land long ago (Watson 2012).
Conclusion:
This review looked into the messages that are sent to children through animation movies
and shows. Some are bad influences that reinforce derogatory racial stereotypes such as implying
segregation and a savage nature of non-white ethnicities; others promote submissive nature of
females in order to obtain the desired, handsome prince. However, more and more productions

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are breaking the stereotypes and extending the boundaries to be more relatable and empowering
to their audiences.
Reference List:
Caoilainn. (2014). The 10 biggest Disney controversies, Retrieved on March 11, 2015 from:
http://www.therichest.com/rich-list/the-biggest/the-10-biggest-disney-controversies/
Edwards, T. (2014). The Legend of Korra and Mixed Message Feminism. Retrieved on March
31, 2015 from: http://the-artifice.com/the-legend-of-korra-feminism/
Feminism (n.d.). Retrieved April 2, 2015, from:
http://www.merriam-webster.com/dictionary/feminism
Giroux, H. A. (1995). Animating youth: the disnification of childrens culture. Socialist
Review 24:3.Retreived on March 22, 2015 from:
http://www.henryagiroux.com/online_articles/animating_youth.htm
List of Walk Disney Pictures Films. (n.d.) Retrieved March 26, 2015 from:
http://en.wikipedia.org/wiki/List_of_Walt_Disney_Pictures_films
The Lion King. (n.d.) In Wikipedia. Retrieved April 1, 2015, from:
http://en.wikipedia.org/wiki/The_Lion_King#Controversies
Watson, T. (2012). Brave is actually quite brave: Pixars fantastic feminist document.
Retrieved on March 22, 2015, from:
http://www.forbes.com/sites/tomwatson/2012/07/06/brave-is-actually-quite-brave-pixarsfantastic-feminist-document/
Wong, K. W. (2013). Politics and privilege in The Legend of Korra. Retrieved on March 11,
2015 from: http://the-artifice.com/the-legend-of-korra-politics-privilege/

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