Portrayal of the Female Body Image in Disney Films

Some people challenge the latter thesis. Indeed, a number of individuals enjoy Disney films and regard them as a source of "good, clean fun." According to Naomi Rockler of the Journal of Popular Film and Television, when the editors of a critical anthology on Disney films handed their students a number of critical essays on animated Disney films, "many reacted skeptically"(Rockler par. 2). Because Disney has become recognized in households across the world for the past seventy years, it is not surprising that a large amount of individuals might find it difficult to delve beneath the surface of these seemingly "innocent" films. Rockler adds that many students complained, "'You're reading too much into this film' and 'You can't say that about Walt Disney'"(Rockler par. 3). Rockler asserts that "[t]hese students cite four easy pardons for their pleasurable participation in Disney film and its apolitical agenda: 'It's only for children, it's only fantasy, it's only a cartoon, and it's just good business'"(Rockler par. 3). Others, Rockler states, link Disney and other popular culture with "fun, entertainment, and escape"(Rockler par. 7). With catchy songs, beguiling characters, special effects, and heroes who always defeat the villain, a number of viewers might find the average Disney film to be a short-but- rewarding escape from reality.

In addition, the majority of viewers are unaware of Disney animators' deliberate attempts to illustrate heroines as "symbols" of physical perfection. To support this idea, Kathi Maio, author of the article "Disney's Dolls," states, "Most audience members don't even notice that [the Disney cartoonists] push a few buttons in their audience members, if for no other reason than it's the most efficient way to tell a story [...]"(Maio par. 19). To demonstrate this, Maio explains that viewers normally take the side of the attractive characters rather than the unattractive. She suggests, "Tom Cruise look = good guy; swarthy, hook-nosed Basil Rathbone look = villain"(Maio par. 22). This proposes the idea that society, as tradition, normally links concrete, physical beauty with the abstract idea of "goodness." Therefore, one might suggest that Disney animators illustrate characters with aesthetically pleasing features because this factor causes viewers to "root" for these characters and rejoice in their successes. Maio calls this the "Disney 'Magic'"(Maio par. 19).

Yet the question remains: does this "Magic" become a positive aspect in the lives of young children, or does it gradually lead to a negative one? To add to the latter statements, Lee Artz, a communications professor at Purdue University, notes, "Of course, viewers young and old recognize animation as fictive, not real: It's just a cartoon!"(Artz 119). Paul Wells, author of the book Animation and America, writes, "Animation is obviously 'artificial,' its characters 'unreal' [...]. It promotes entertainment before education or propaganda"(Wells 112). From the abovementioned statements, it is obvious that many individuals do see Disney animation as a harmless aspect of the entertainment industry. To a certain extent, these individuals make substantial points. Indeed, Disney has been seen by countless individuals as a source of delight and diversion for decades.