By Amy M. Davis
In reliable women and depraved Witches, Amy M. Davis re-examines the idea that Disney heroines are rewarded for passivity. Davis proceeds from the idea that, of their representations of femininity, Disney motion pictures either mirrored and contributed to shaping the attitudes of the broader society, either on the time in their first liberate and consequently. interpreting the development of (mainly human) girl characters within the lively motion pictures of the Walt Disney Studio among 1937 and 2001, she makes an attempt to set up the level to which those characterizations have been formed via wider well known stereotypes. Davis argues that it really is in the such a lot built of all relocating pictures of the feminine form―the heroine of the lively film―that the main telling elements of girl because the topic of Hollywood iconography and cultural principles of yankee womanhood are to be found.
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Additional info for Good Girls and Wicked Witches: Women in Disney’s Feature Animation, 1937-2001
We can’t place films along some supposed dimension of political or ideological acceptability, from conservative/reactionary to radical/subversive. Most importantly, we cannot read off possible influences upon an unnamed, ‘vulnerable’ audience. ”9 The spirit of Basinger’s study is, in a number of ways, the model for the approach taken here. Like A Woman’s View, this book strives to examine both the films as individual texts and the patterns formed by these texts when looked at as examples of a genre.
D. ” Introduction The subject of women and how they were regarded over the course of the modern era is not by any means new. Writers, feminists, anti-feminists, politicians, political commentators, psychologists, journalists, celebrities, housewives, students, historians, and many others have written on this subject in varying degrees of depth and seriousness. But in the twentieth century, as a mainly print-based culture gave way to one which, at the start of the twenty-first century, is primarily image- and media-based, it was the way these physical/cultural/social expectations were tied together with and within the medium of film, and disseminated in the person of the “actress” (be she a live woman or a drawing), which became important.
31 This was particularly true in the earlier history of animation, when technological and artistic innovations were just beginning to find ways to allow for more complex animation such as would support more complex storylines and plots. It is certainly the case that, mostly, they are tales in which highly archetypal, even stereotypical portrayals of women are likely to be found. 33 It should be noted, however, that there are a couple of exceptions in this period. In the later periods of Disney’s films, only Penny (in The Rescuers, 1977) and Ariel (in The Little Mermaid, 1989) are directly threatened by an older, vindictive woman.