Portrayal Of Homosexual Characters In Disney Film Studies Essay

Portrayal Of Homo familiar Characters In Disney call for Studies EssayThe Walt Disney Comp any(prenominal) targettime appeargond in America (and soon after the rest of the world) in the 1920s. 90 years later and it is still going tender and is a partnership to be reckoned with. From their beginnings as a simple spirit keep caller-up, it now c everywheres gobs of different genres of adopt as well as branching break through to television companies, theme parks, books, theatre adaptations, cruises and music labels. To date, Disney has produced 49 animated considers, 10 live-action, 11 DisneyToon productions, two stop-motion and 10 Pixar films with the hugely anticipated release of philander Story 3 in June 2010. But concentrating on their principal(prenominal) produce, their position of animated films has been experience by anyone from the ages of 1 to 101. Disney is at the forefront of family fun as well as a form of escapism (a flitting elephant, living toys, mermaid s and monsters?) and a hidden (if not obvious to adults) way to shut in morality to children as early as manageable. However, who decides what morals to portray in these very Ameri disregardised films? In recent times, Disney films yield a crap beamed the social climate with the substructure of the first black protagonist in The Princess and the Frog (2009). So as these films be becoming true to life and educating future generations, has at that place been an workforcetal institution of non- heterosexual person characters as well?The Disney Companys first feature length animated film Snow White and the Seven D warves (1937) was a colossal project which pushed every employee working on the production extremely hard but the results were outlay it. The amalgamation of a moral filled story with realistic animation so paved the way for the following Disney films during, what was known as their palmy Age Pinocchio (1940), Fantasia (1940), Dumbo (1941) and Bambi (1942). The mo rals take overed within these films and all to follow, were seen by conservative Ameri mountains as all important(predicate) family set and presumptioned upon Disney to teach these set to everyone.For more(prenominal) than 50 years Walt Disney Company has represented all that is good and pure and nutrient in our nation. Families flocked to Walk Disney World and Disneyland because they knew that Walt Disney respected and nurtured the traditional Ameri put up family and its strong moral values. Disney could always be counted on to provide p argonnts and children alike with family-friendly, benignant entertainmentLetter from a coalition of Florida lawmakers, 1995However, are these morals and values shared by all? And does the way in which they are pictured really reflect reality? They are Ameri endure ideals of conservative family values which support the life storyline of romance, marriage (to someone of the opposite sex) and then children in a parallel world to that of the traditional Anglo-Saxon, Christian American upbringing. Reading further into these ideals are that of the issues of individuality, love and capitalism that are universe depicted to all Disney knockouts, namely children. These viewers cannot differentiate what is being shown to them as not necessarily the reality of the world (as the world consists of more than retributory the one religion of Christianity). New generations of children subjected to Disney films are growing up with ideologies from these stories as they harbour faith in them to contain some element of truth. non all the storylines can be deemed as promoting negative beliefs though. Disney movies always contain an aspect of the follow your heart love which if regarded as the most important moral, then maybe some peck go out overlook the American family values shown in favour of love. However, this follow your heart belief can and really exist within some religions as others expect hard rulings as to who you c an marry and really fall in love with.Throughout film history (up until recently), there were very few storylines which contained a fairylike or lesbian character as a protagonist. The general film public saw those films, which did include a main audacious character, as gay-themed (so not to their tastes) or alternative. In recent years, filmmakers stir seen a niche in the market for gay films, although it was in 1896 with The unreal Closet that a gay subtext was used within in a film. It would then take some 70 years later ahead Queer Cinema would come about. Censorship on quirk in films came about in Britain in 1912 with the founding of the British Board of Film Censors and in 1934, the Production Code in America was enforced. Within this strict guideline for good taste was that homo sexual practice or bisexuality essential never be represented or even inferred. Slowly though, gay and lesbian characters were brought into films such as Four Weddings and a Funeral (1994), Clu eless (1995) and wand Elliot (2000). But as previously said, only in sustenance roles as the gay best friend. When they finally were given the main storylines, the characters were shown to imitate heterosexualism as much as possible to be accepted. This can be seen in Philadelphia (1993) where many a(prenominal) believe this to a patronising look at gay life and the yearning to be accepted as public in a heterosexual world. There are no offensive scenes of affection between Hanks and his partner within in the film.Queer personal identity can be related to many different wad not tho gay and lesbian individuals. The Western world may come along like a land of equality but to those in the minorities, it is not. Studies kick in shown it is suggested by traditional teachers and career advisors that schoolgirls go into feminine jobs (Apter, 2000) while schoolboys are driven away from jobs seen as traditionally fe manlike (Woodward, 2000). Men and womens identities score pitch d however as equality for women in the workplace is fought more and more showing that young-bearing(prenominal)s can be the provider that men traditionally were. This leaves the men unsure of their identity in the world but through normal culture and mass media, they can be shown as well as women where they belong in contemporary life. So as society has exit accepting of women in the workplace by it being rewardd by best-selling(predicate) culture and mass media (but perhaps not by Disney films) that when non-heterosexual characters are introduced, tolerance towards them should improve? With Disney films, the morals and values are chosen so it can be said that capitalism will control how homosexuality is visualised and dealt with. Despite this limited perspective, society is becoming more suit of different sexualities although many non-heterosexuals are still facing prejudice and discrimination from older generations and others. America is slightly less open-minded than the UK as a survey by Gallup showed that although homosexuality is tolerated more as an acceptable lifestyle, 42 per cent of the people surveyed felt that homosexuality should be illegal. Contrasting against this is a poll from the same year showing that just 17% of people in England felt less positive towards non-heterosexuals (MORI, 2001).Heteronormativity can be defined as a set of lifestyle rules to which society follows and falls into a specific gender with an outlook of a traditional role in life. Heteronormativity occurs in nearly every film in various ways. It can promote the message of men being the dominating person in a relationship with women following after them being housewives. However it is commonly seen to promote that heterosexuality is the normal sexual orientation and any miscellanea of sexual relationships should only be between a man and a woman. slightlytimes it is obvious and other times the viewer does not greet that the story they are watching is promoting heterosexuality and that this is the ideal (or assumed, expected, ordinary and privileged) sexuality. viewers can recognise that films boast hidden meaning and semes such as good vs. evil, rich vs. poor, children vs. adults etc. However it is the seme of heterosexuality vs. homosexuality, which is the problem with films move heteronormativity.Films that set up neat systems of good and evil dos and donts are part of the pervasive simple-mindedness that posits heterosexuality and queerdom as irreconcilable opposites which cannot co-exist respectfully.Todd Hayward, The Lyin King artificial satellite Homo 69 (21st Sept 1994, 17)With heterosexuality being the assumed sexuality of society, this only reinforces discrimination and prejudice towards non-heterosexuals. The amount of different heterosexual storylines shown will increase the amount of heteronormativity within the media in general as generations are exposed to it. With heteronormativity shown in most popular culture, it w ithal redefines how homosexuality is perceived. It can be compared to public vs. private, with heterosexuality being public and homosexuality being private therefore something to be hidden. Even before a viewer experiences heteronormativity in a film, the masculine/feminine definitions of gender are promoted first. From this, sexuality, pleasance and identity can then come forth as the storylines and characters develop, which leads to heteronormativity. obviously it is easy to see that Disney films promote heteronormativity although many people believe Disney films to be sexually free, it can still be a non-sexual part of our lives. Disney films show the traditional domesticity of the roles of men and women against a credible heterosexual backdrop by replacing sex with romance and reinforcing the patriarchal family structure. This can be seen in Bambi (1942) as Bambis character is promoted as the King of the Forest and will take over from his father. It also depicts his forsaking of his dependence on his mother as she is killed during the film. The very over-used storyline of the princess or girl being romanticised by the male character, which then leads to an eventual wedding, is predominant in many Disney films. A parity of Disney films against other animated films from different companies make during 1990-2005, show that there is a much stronger hetero-romantic storyline in Disney films. Many Disney films collect a deferred payment to a hetero-romantic storyline, usually as the main plot but they also contain sexiness (Kazyak and Martin, 2009) as womens bodies are portrayed as sonsie with semi-revealing costumes. With these hetero-romantic storylines, heterosexuality is glamorised as being special and different from other kinds of relationships. It is shown to have the power to change the world (either by breaking a man (Beauty and the Beast), belonging to the ideal world (The slim Mermaid), stopping a war (Pocahontas) or changing an old-fashioned law (Aladdin)). These storylines are usually only shown through kissing and no other sexually embodiment. This can reinforce the heteronormativity, as Conservatives believe that any two characters have to be heterosexual unless seen kissing someone of the same sex. For instance, there could be some homosexual affection between Aladdin and the Genie but viewers do not read into this friendship with this outlook. The friendships portrayed in Disney films do not reflect reality as it is unusual for a female character to have a same sex friendship with another character unless they of a maternal nature, whereas in reality, many young girls and women have a female best friend. For males they usually have a comical friend/ buddy which could be said to show reality slightly more. All of this can be shown that Disney endorses heterosexuality within the majority of their films and even tries to influence the sentiment that being heterosexual is far more glamorous than being homosexual.With thi s educating outlook, Disney actually took another step by creating military and cultureal films during the 1940s. As the back up World War took its toll, Walt Disney knew his company was facing bankruptcy as the lucre from Snow White were transferred into the productions for Pinocchio and Fantasia but these did not reach the same last profits. With a strike by animators also, productions were delayed for months. Disney knew he had to keep his company going and believed that his animation films could be used to help the war ride through education and propaganda. Military training films were churned out at an terrible rate and low budgets. The films used the, by now, well-known characters and newly designed mascots to keep the soldiers morales high. Soon they were being made to also keep the hard liquor high of Americans at home, while their loved ones went overseas to fight. With these films, the federal official disposal and Disney were forming a strong relationship, as the studios were used by army effect and kept afloat for the duration of the war. The federal government even made it possible for Disney to obtain the chemicals needed to make the films despite its requirement for the reservation of weapons. The films were hugely popular as they used the traditional animation and moral-driven floor used for the previous Disney films and this suited the governments needs. Many cartoons started to take on a wartime theme to entertain but also to educate. Disneys public health and education films were, in part, attempts to provide models for domestic life (Cartwright and Goldfarb (1994), 175). Within these educational films, there was the notion that hard work combats illness whereas laziness breeds disease. So as well as supporting heteronormativity within their films, Disney had started to educate not just America but the world, in their ideals. Being practically sponsored by the federal government, the issue was then whose ideals were being portraye d Americas or what the government wants its bucolic to represent?Even within their films for children, Disney started to become an influential power over everyone who watched their films. Subliminal messaging started to occur in its short films as a humorous way for the animators to disrespect Disney as he refused to share productive credit. However, some of Disneys films from the 1990s started to have questionable sexual subliminal messaging. Some instances of these hidden messages are an erect penis on the cover of The Little Mermaid video as well as an erection in the film (which was actually the characters knee). Others saw the word sex depicted in The king of beasts King (it says SFX as a credit to the special effects team) whilst others perceive someone whispering All good teenagers, take off your garb in Aladdin. And finally it was thought you could see that Jessica Rabbit wasnt wearing any underwear in Who Framed Roger Rabbit? These supposed messages could be seen as q ueer readings (not in the non-heterosexual meaning but in the non-standard meaning) as people started to think of Disney as a lewd company with a gay agenda. However these messages are focussed on sex not sexual orientation and really do rely on the viewer cognize to listen or look for them. But when a child likes a film, many will watch it over and over again. And through this repeated viewing, children can begin to understand more and perhaps the innuendoes that were meant only for adults. This is in particular so as it is becoming almost impossible to avoid popular culture and advertising which can broaden a childs mind prematurely. A survey in 2006 of 1,300 UK families showed that seven in 10 children now have their own television in their bedrooms, with more than half of these also owning a DVD player. Similarly, a survey in America released in November 1999 showed that 88% of all US households have two or more televisions, 60 % have three or more and 53% of all children have a television in their bedrooms. With all this access to popular culture, children are growing up with the medias point of view on situations and relationships. With Disney such a presence in childrens lives also, once again whose morals are they growing up with?(EXPECTATIONS OF ENTERTAINMENT PARAGRAPH)Disney films can be a used a form of escapism, not just for children but also for adults. Despite whether its supporting heteronormativity or Americanism, their storylines often show that a good life is possible despite misfortune and difficulty. Even the homosexual culture has adopted this guess of escapism(QUEER READINGS PARAGRAPH)However as the 20th Century progressed, as did the heads of the company. With the passing away of Walt and then his brother Roy Disney, Michael Eisner took charge during the mid 1970s and started to change a few things about the company. Miramax films were brought under the Disney umbrella, which allowed an outlet for (more profitable) R and X-rated film s (15 and 18 under the BBFC). This started to threaten the Disney ideals that had been so strongly portrayed in many of its films. Right wing Christian fundamentalists felt it was a betrayal of their trust in a company they had believed in for so long. Various organisations (the American Family Association, the Family Research Council and Morality in Media for example) started to boycott Disney as they thought that the company