The Disney Princesses have become a classic of childhood fantasy and entertainment. The iconic characters, their dresses and songs have become as common in culture today as if they were true movie stars. This is due not only to good marketing, movie releases that span generations and legend, but also to the fantastic power of the Disney franchise. It is nearly impossible to escape it, every child is exposed to it at some point. The Disney Princesses are their own subsidiary of the Disney world, with their own movies and stores. They are just as much a business as they are dream big sisters to thousands of little girls. What many fail to realize, or admit, about their romantic childhood idols is that, though the princesses themselves are not at fault, the Princesses (capital P) both have their own impact on childhood and are a reflection of the culture that continues to create them. Princesses feed the pink that has come to define girlhood, but has girlhood begun to mean princess? The Disney Princesses are a business that shield the fact that the princesses themselves are a reflection of what we tell our children about being a woman: that beauty is your key to a happy ending. This is not just a result of the imagination of Disney’s film makers but more so a product of our culture’s unconscious views towards women.
The Disney Princesses in Popular Culture:
The Disney Princesses are known in popular culture for their movies, songs and large young fan base of devoted little girls. These sparkly romantic fairy tale characters captivate young audiences and draw in nostalgic older ones. The term Disney Princess has even come to have its own meaning. Disney Princesses aren’t like other princesses. The Princesses are officially crowned and are included in a special club. Their version of their story has begun to become the original one, the one from which new spin offs will come. What makes the Princesses so appealing? Is it their catchy songs, pretty gowns or handsome male counterparts? Is the allure of being a princess enough? In either case, it is safe to say that little girls have and will continue to idolize their royal role models, donning blue dresses, singing memorized lyrics before they can read and dreaming of their fairy tale ending.
The Disney Princesses as of 2014, from left: Jasmine, Rapunzel, Snow White, Mulan, Sleeping Beauty, Cinderella, Pocahontas, Tiana, Belle, Ariel and Merida)
What was the origin and evolution of these Princesses?
Where does the massive craze come from? After all, the Disney Princesses were originally individual characters from separate movies, unaffiliated in any way. However, as more princesses came to life they went straight to the hearts of more little girls, and Disney was not going to miss out on the opportunity. By 2000 Disney had eight individual princess movies, but their latest film, “Mulan”, hadn’t provided them with as much of an opportunity for income as they had expected. Their new marketing director was struck with inspiration when he went to the first ever “Disney on Ice” show. It was there that he saw hundreds of little girls all in princess dresses. All these dresses were generic and all bought from someplace that was not Disney and all converted to look like one of the iconic princess gowns. He watched as these devoted little Auroras, Belles and Cinderellas crowded in, and realized what an opportunity Disney was missing.
Therefore, in 2000 the princesses were packaged under one title, The Disney Princesses. To insure that they were kept in their own mysteriously unrelated worlds, images containing all eight (Cinderella, Sleeping Beauty, Snow White, Jasmine, Belle, Ariel, Pocahontas and Mulan) had them all staring slightly off, never seeing one another. Disney capitalized on the creativity, and in doing so simultaneously validated the “accuracy” of the gowns and limited the imagination of the wearer. It wasn’t just gowns, however; all the marketing staff had to do was ask “What kind of ____ would a princess wear/use?” Through sales of everything from bedding to toothbrushes to snacks, sales were up $300 million between 2003-2006. More recently, Disney Princesses topped the list of best selling entertainment products, at $3 billion globally in 2012. All from little girls’ natural desire to be, as their marketing director described it in 2006, “projecting themselves into the character from classic movies.” (Orenstein, Goudreau)
This instant franchise has a massive, and very impressionable, young audience. Though many products of our childhood are backed by marketing, not all of them talk to us, or wear pretty dresses. Princesses are the strong female lead in the movie of a little girl. What, therefore, are the royal role models teaching our children (especially girls)? It is a question that has been asked since the very beginning of their creation. The movies and characters have evolved in response to the creator’s desire (especially for the first three) and then in response to the critique of the media. Each attack parallels a similar new age of feminism.
The first wave of “feminist attacks” came after the release of the first three movies (Snow White 1937, Cinderella 1950, and Sleeping Beauty 1959, movies made of Walt’s imaginings) during the 60’s and 70’s when activism became prominent (Hanes). Disney’s Princess movies were accused of showing women to be too classically submissive, fulfilling the image of patient housewife, who does all that is asked of her and is rewarded with a man. Disney listened, and the next time they made a series of Princess movies they were sure to change it up.
Ariel (The Little Mermaid 1989), Belle (Beauty and the Beast 1991) and Jasmine (Aladdin 1992) are all decidedly different rule breakers and explorers, though they do all end up with their prince. They also parallel the 1980’s, which was an era of embracing age, sexuality and female independence. The movies therefore “resurrected romance feminism threatened,” and recalled innocence. This is especially true for the 1990’s when feminism was almost more anti-feminism, as women openly embraced objectification and sexuality (Orenstein). Oddly enough, the next two movies addressed a different issue, Princesses were too white. Mulan (1998), Pocahontas (1995) and The Princess and the Frog (2009) all featured “Princesses” with different ethnicities. Still, these movies depicted women who got their happily ever after from a man. Frozen (2013) was the first movie to showcase not only a princeless heroine, but also a queen. Queen Elsa and her hit song “Let it go” became idols for little girls, and the highest grossing animated film (Stedman). Looking at Elsa it’s easy, and partially correct, to think the Princesses have come a long way. Certainly the themes of their feature films have. However, though the movies have changed the Princesses themselves remain undeniably similar.
(Looking at the posters for the movies, the Princesses and their Prince is a continuous and key feature).
What makes the potential Princesses?
What actually composes the princesses themselves, not their stories? The first three princesses (Snow White, Sleeping Beauty and Cinderella) all demonstrate one characteristic of princess: patience. They all wait for things to happen to them, patient and content in their situation, until they meet their prince, and then they are only content untill he comes for them, rewarding them for the patient struggle.
Not only are the princesses patient, but they also manifest, and exist in, confinement. Even Belle and Ariel (whose stories were intended to show women breaking the rules) are still initially confined by what others think of them and struggle against it throughout the movie. Jasmine, while she does explore outside the palace walls, is more content to be taken out of her confinement by a prince, who sings a whole song about being able to do that for her. Cinderella and Rapunzel also are confined physically. However, the true confinement the princesses experience is better seen in Tiana. The Princesses are women too, and when placed in real world situations (such as early 20th century New Orleans), they are thrown into the same confining social norms women experience. Tiana cannot realize her dream and struggles because of her gender in a world controlled by men of another race. In the end, the world of the princesses are opened, usually by their benevolent prince, and they are lifted, or returned, to their royal world somewhat liberated.
With confinement comes submission, the princesses always end up deferring to a prince (is this why Elsa is a Queen and not a Princess?). The Princesses submit themselves to the allure of handsome animated Princes (who can blame them?), and is it so wrong to submit yourself to allure of love? Perhaps not, but usually these Princes are not only love interests, but also an escape route. Being with a Prince means you can become a Princesses, it comes with a dashing rescue and a happily ever after. Princesses are faced with the choice to submit to their Princes, or to their situation. There is rarely the opportunity for them to make their own choice and direct their life.
The final and most obvious characteristic of a Princesses is beauty. All of the Princesses are, simply put, aesthetically pleasing. They are small waisted, big eyed, smooth skinned, have perfect nails, perfect hair, perfect lips, face and body (one could, and should ask, who deems this perfect, or who started deeming it perfect, and what message does being sexy send our young men?) Sexual dimorphism is relied upon by the filmmakers, which produces images that are not only unrealistic (Anna’s eyes are twice the size of her wrists), but also sends a much more threatening message to young children, especially girls (Cohen, Hanes). Because though the Princesses have changed and adapted to become more modern, stronger female characters, beauty, above all, remains. Even Queen Elsa walks her sexy walk in her angsty “I don’t care” song, her body, like all Princesses, remains an attraction (see image bellow). This perpetuation leads to a sad and dangerous conclusion for any little girl who watches a movie more than once: to be a Princess I have to look like one. To be a Princess, I have to pretty. And for a six year old, Princesses might as well be CEO. The message therefore is: to succeed, you must be pretty (the standard of pretty only a Princess can make).
This rule is reinforced by the other characters in the Princess movies. The evil queens, for example, are the only female queens with major roles (the queen from Brave turns into a bear less then half way through, and as aforementioned, Elsa is a first and supports this rule with her oun appeal). They maintain their beauty, but when they are performing their evil tasks become ugly and old. Another example is that of Mother Gothel (the mother in Tangled). This woman uses the magic of a golder flower to maintain her youthful appearance, and in order to continuing doing so kidnaps and raises Rapunzel. She clings to her beauty and her age, allowing her longer life, perhaps in an attempt to secure her own happy ending. However, when she loses her youth and beauty she loses all chance of her own happily ever after and dies. Cling to your youth ladies, it flies by!
Elsa singing Let It Go
This is all a phase. We grow out of Princesses, don’t we?
We all have a moment when we stop believing that Peter Pan will come, that our sister is evil and Prince Charming will rescue us, or that putting on the clothes can make you the character. Certainly, we all grow out of childhood and it’s fun and games at some point. The effects of “Toxic Princess Culture”-TPC- (a culture I have not described in its entirety, but consists of lots of pampered princess places and pink palaces of playful pastime, not just the movies and their characters), manifests itself long after we’ve grown out of the tiara (Darley). Princesses (with the exception of Mulan) are not showing that pink can kick butt but that pink is the color of the gown you will wear once Prince Charming has saved you and carried you home.
There comes a point (probably the point Princesses cease to be real) that you stop being pretty and you start putting on pretty. It starts young. 50% of three to six year olds worry that they are too fat, 25% of girls 11-17 don’t play sports because they don’t think they look good doing it (read, guys might like them less if they did), one fourth of girls 14-17 years old sent naked photos in 2009 and in 2003 $1.6 million was spent on thong underwear for girls between the ages of 7 and 12. You cannot escape the TPC, even if you were one of the 57% of kids without a TV in their bedroom in 2003, Princesses are in schools, at the grocery and on the radio (Hanes). If your kid doesn’t know who they are, odds are he/she won’t have to make more than one friend to find out. Children are exposed to this so young that preschool age children “equate maleness to opportunity and and femininity with constraint” (Orenstein). This is feeding and raising a culture in which girls go from pretty pink to hot pink. It’s defining what it means to be and how to act as a woman from a very young age.
Who cares, why can’t girls just stop liking Princesses?
It’s not just about Princesses, but also about girls and how they define themselves as women, or better yet, how they are told to define themselves as women. We teach our girls to value their beauty above their capacity in math, to seek out the cosmetic aisle before the snacks and to value suitors over suits. To succeed you either need a man or to be sexy, and you can almost buy both. In the end, this all comes back to business, and the man watching wondering, “what are we missing out on here?” As Stephanie Hanes said, “Sexy is not about sex, but about shopping.” If sexy needs merchandise, and you need sexy, then it benifits the money makers for girls to need to be sexy. Even beauty has become a commodity, and like money, it is either something you are born with and must maintain or must fight for for the rest of your life.
Why are we still watching them then?
We can’t seem to let go of the romance, innocence, catchy songs, pretty dresses, villians and climactic kisses of Disneys movies. Disney populates the internet, drawing kids, teens and adults alike. Disney itself doesn’t sponsor all of the media either. Places like BuzzFeed or the Huffington Post have links such as “Disney Princesses with Realistic Waistlines” or “What your favorite disney princess says about your zodiac” or “Historically Accurate Disney Princesses.” Why do we click? It seems anything with “your disney princesses” in the title is guaranteed to garner mass attention. Clearly we know the movies are not entirely realistic; however, we are drawn to them, in all their forms. Why? For the same reason we revisit anything from our childhood. The Disney Princesses still feed a nostalgia. After all, isn’t that what fairy tales are for? To bring us back to a time when it was all entirely possible and it ended with “they all lived happily ever after.”
Cohen, Philip. “The Trouble with Disney’s Teeny Princesses: Disney’s Depiction of Male and Female Bodies Is Terrible for Us.” Time. Time. Web. 23 May 2015. http://time.com/3667700/frozen-brave-disney-princesses-heroes-and-sexism/.
Darley, Mical. “The Princess’s New Clothes.” The Huffington Post. TheHuffingtonPost.com, 11 Sept. 2014. Web. 23 May 2015. http://www.huffingtonpost.com/mical-darley/the-princesss-new-clothes_b_5788300.html.
Hanes, Stephanie. “Little Girls or Little Women? The Disney Princess Effect.” The Christian Science Monitor. The Christian Science Monitor. Web. 23 May 2015. http://www.csmonitor.com/USA/Society/2011/0924/Little-girls-or-little-women-The-Disney-princess-effect.
Goudreau, Jenna. “Disney Princess Tops List Of The 20 Best-Selling Entertainment Products.” Forbes. Forbes Magazine, 17 Sept. 2012. Web. 26 May 2015. http://www.forbes.com/sites/jennagoudreau/2012/09/17/disney-princess-tops-list-of-the-20-best-selling-entertainment-products/.
Orenstein, Peggy. “What’s Wrong With Cinderella?” The New York Times. The New York Times, 23 Dec. 2006. Web. 22 May 2015. http://www.nytimes.com/2006/12/24/magazine/24princess.t.html?pagewanted=all&_r=0.
Orenstein, Peggy. Schoolgirls: Young Women, Self-esteem, and the Confidence Gap. New York: Doubleday, 1994. Print.
Stedman, Alex. “‘Frozen’ Becomes the Highest-Grossing Animated Film Ever.” Variety. 30 Mar. 2014. Web. 26 May 2015. http://variety.com/2014/film/news/frozen-becomes-the-highest-grossing-animated-film-ever-1201150128/.
Images retrieved from Google.