The
first wave of American feminism is marked by amazing accomplishments. While
this wave officially began with the Seneca Falls convention of 1848 and ended
with the ratification of the 19th Amendment in 1920, the after-effects
of this movement could still be felt well into the 1950s. In this first century
of feminist activism, women earned the right to vote, became the first
generation of women to attend college, and especially after the advent of WWII,
began entering the workforce in droves. Ironically, between the 1930s and
1950s, the Walt Disney Company chose to market a series of princess films to the
children and grandchildren of these politically active and groundbreaking
women, whose sole purpose seemed to be the objectification of girls and women
and the glorification of the feminine virtues of domesticity and passivity.
Simone de Beauvoir was the first feminist critic to acknowledge this dichotomy between
real women and those presented in “song and story” (291). In oft-quoted passage
from The Second Sex, de Beauvoir explains,
“Woman is the Sleeping Beauty, Cinderella, Snow White, she who receives and
submits…She learns that to be happy she must be loved; to be loved she must
await love's coming” (291). This is especially true for Disney’s first
generation of princesses. Undoing the work done by their foremothers, Disney’s Snow
White, Cinderella and Sleeping Beauty submit to abuse and the patriarchal
control of domesticity in an effort to find happiness through love.
As
the first full-length animated Disney film, Snow
White sets the precedent for later princess films. In what will become a
common motif in Disney’s animated movies, the film begins by constructing an
oppositional binary between the older, assertive, “evil” Queen and younger,
passive, pretty princess. As critic Dorothy L. Hurley notes in “Seeing White:
Children of Color and the Disney Fairy Tale Princess,” one way Disney works to construct
this opposition is through the use of a “binary color system” that equates “‘white’
with goodness…[and] equates black with evil” (223). When we first met the Evil
Queen, she is inside the castle, shrouded in darkness and wearing a dark cloak.
By
contrast, Snow White first appears in the light of day, surrounded by white
doves; she is soon joined by a white Prince riding a white horse. With the use
of this binary color system, Disney encourages viewers to identify with the
good, white heroine and to associate the dark Queen with “evil or danger” (Hurley
224).
The
glorification of domesticity is a theme that replays itself again in Disney’s Cinderella; like Snow White, Cinderella cooks
and cleans, sews and serves, always with song and a smile. But more worrisome
than Cinderella’s love of the domestic is the young woman’s utter passivity.
She never questions authority, never disobeys an order and never fights back. The
most disturbing scene of this Disney film comes as Cinderella’s step-mother and
step-sisters are leaving to attend the ball. Cinderella runs down the stairs,
in a dress made for her by the mice, and is immediately and viciously attacked
by her step-sisters. Cinderella stands passively, crying, while Drusilla and Anastasia
tear her gown to shreds. What is important to note here is that Cinderella
doesn’t do anything. She doesn’t
defend herself, she doesn’t tell her abusers to stop; indeed, she doesn’t even
try run away before her dress is destroyed. This one scene exemplifies a
pattern of passive behavior on the part of Disney princesses like Cinderella. And
as Alexandria Robbins notes, in Disney fairy tales, a young woman’s acceptance
of abuse is often “rewarded with a patriarchal prize—a man” (107). Like many
Disney princesses, Cinderella’s life only exists within the patriarchal home—first
her father’s house, then her husband’s. With her marriage to the prince,
Cinderella may be rescued from a life of abuse, but in exchange, her life is
forever restricted to the domestic sphere.
Disney’s
deconstruction of first wave feminist ideals comes to head in their classic
fairy tale, Sleeping Beauty. Like Snow White and Cinderella, Disney’s Sleeping
Beauty glorifies female passivity and domesticity, but this fairy tale is
perhaps the most insidious in its objectification of women. It is true that
both Snow White and Cinderella are objectified; it could be argued that their
beauty drives the plot of their respective tales. The Evil Queen threatens to
kill Snow White because she has taken the older woman’s title as “the fairest
in the land.” And it is Cinderella’s beauty that makes her the object of violence;
her step-sisters tear her dress because they fear that, were she to attend the
ball, her beauty would capture the Prince’s attention. But both Cinderella and Snow
White are awake during the more climatic moments of their stories. Unlike these
earlier princesses, Sleeping Beauty sleeps through much of her movie. The film’s
title alone implies that her most import quality is her beauty. As Maria Tatar
argues, in her article “Show and Tell: Sleeping Beauty as Verbal Icon and Seductive
Story,” “The very name Sleeping Beauty invokes a double movement between a
passive gerund (sleeping) and a
descriptive noun (beauty) that
invites a retinal response. Beauty may be sleeping, but we want to look at her to indulge in the pleasures of her visible
charms” (143). Unfortunately for the sleeping beauty, “her visible charms” are
all she has to offer. Having pricked her finger on a spinning wheel, she is
cursed by Disney filmmakers to spend the rest of the film in bed. While she
slumbers, Prince Phillip usurps her role as the tale’s protagonist. It is he
who battles the evil queen, Maleficent, who has taken control of the castle. When
she takes the form of a dragon, it is he who kills her with a sword to the
heart. And it is he who saves the day when he awakens the princess, and the
entire kingdom, but administering “true love’s kiss.” By allowing Prince
Phillip to take on the active roles in the film, and by giving Princess Aurora
(also called Briar Rose) the title of “Sleeping Beauty,” Disney filmmakers
reduce the female character to a passive object.
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