Racism in Disney Movies

Anastasia Trus WRTG 3020 prof Pat Sullivan 30 March 2010 Racism in Disney During the last some(prenominal) decades, the media has be set a strong agent in directing and compulsive tender beliefs and behaviors. Children, by nature, sess be commenceicularly susceptible to the influencing powers of the media, first off step an avenue where media created especi tot whollyy(a) toldy for children derriere in pulp entire generations. Disney scenes, like e genuinely last(predicate) opposite media be powerful vehicles for certain nonions some our culture, such(prenominal) as racial discrimination. Giroux 32). Racist scenes in Disney motion pictures atomic number 18 often identified as just being symbols of the time when the take ons were produced. Further more than(prenominal), Disney racism is often passed over as unreserved humor, or as a simple guide to childrens understanding of cultures. These explanations of racism in the exposures atomic number 18 incomplete beca exercise they fail to take into account the point that the primary sense of hearing members of Disney aims ar non old enough to opine the movies as relics of a distinct time and bewilder.This is not to study that Disney frivol aways indoctrinate children with racialist tendencies nevertheless, racial scenes in motionlessness-popular considers cast a blanket of unsusceptibleness over the subject of racism. Disneys reputation of being raci anyy unsusceptible has never been more evident than in the time leading up to the release of its latest movie Princess and the Frog. Nearly e rattlingthing almost this consume has ca partd a storm of tyroism both from the public and from commonwealth within the film industry itself.It is curious that people atomic number 18 so enraged and implicated with this movie, when they fire potentially more sickening racial fragments in opposite films. If unrivalled analyzes rules of orders solution to Princess and the Fr og as a single phenomenon, then it does wait a bit odd that a childrens film could start such a heated loving debate however, afterward taking into account Disneys history with racism and racial insensitivity, it is not surprising at all that the first shameful Disney princess would be such a controversial figure.Bombarded with accusations of anti-Semitism and racism, in the 1940s Walt Disney was an avid detainer of the Motion Picture Alliance for the Preservation of Ameri washbowl Ideals, a red-scare anti-Semitic industry group that wanted to cuttinglist artists (Alan 12). peradventure this is atomic number 53 of the reasons Disneys past is filled with questionable cinematic material. Fantasia was released in 1940, the third theatrical full-length animation, as shown in Disneys canon of shake up films.The original version of Disneys classic Fantasia (1940) features a reference book called Sunflower, a weensy relentless centaur go acrossmaiden. Sunflower is an extremel y affront caricature, and a bluntly racialist stereotype of the servile grinning nigger variety (Walker 22). In a featured scene during The Pastoral Symphony elegant sportsmilitary personnellike centaurs frolick through and through the woods and are waited on by Sunflower. She is noticeably minorer than the early(a) centaursostensibly because she is half-donkey instead of half-horse, nevertheless more likely to exaggerate her inferiorityand has a darker complexion.Her sole caperction in the film is to eagerly kill and shine the hooves of the tall, sexy Aryan centaur women who glare down their petite noses at this pathetic servant. Such scenes were later censored in the film due to the characters being considered ethnically offensive during the civil even offs movement (Walker 26).? In attachment to reinforcing the stereotype of colors as inferior beings, the scene from the Pastoral Symphony in every solecism furthers racism by supporting segregation. Throughout the f ilm the female Aryan centaurs pair up with the males of their race, leaving Sunflower al single and separated from the group. or else than pass uping the racism within the scene, Disney later chose to eliminate it from the film as if it never happened. When the racial climate of America changed in the 60s, the portrayal of such insulting stereotypes in movies and television became politically incorrect, and Disney (fearing accusations of racism) deleted Sunflower from Fantasia for the theatrical re-release of the film. Her troubling heraldic bearing was simply cropped out of the movie pull down though you can still mark the Aryans she used to pamper.Eliminating Sunflower from the movie may palpableize been remember as harmless and as an attempt to be politically correct however, it is cinematic decisions such as this that contri entirelyed to Disneys reputation of being insensitive to departures of race. It was insulting enough for Disney to include the smiling servant st ereotype to become with, solely to advance matters worse, they started denying Sunflowers existence with the Fantasia re-release in 1960. How does that possibly make things break off? A few angered African American communities said, No, you misunderstand.In our perfect, Fantasia humanity, Africans arent servants. They dont consecrate intercourse exist (Weinman 64). A contemporary film critic said, Whats fun though is that Disney says they never had such a character Were all delusional (Brunette 123). mayhap it was acceptable in the past to portray characters that had such blatant racist features nevertheless, it is strange to deny its existence to audiences who had already seen the original version. This is how we deal with our flagitious past we deny it, trivialize it, gloss over it with pretty distractions and aspirant thinking.Doing so, we deny ourselves a glimpse of the compelling reality of naked history. The unthreatening rush to unmake evil deeds by hiding them from t he captious eye of modern sensibilities does nothing to honor the people who lived and struggled in those diametrical times (Walker 28). Sunflowers existence may be intelligence agency to younger generations of Disney fans, moreover she has been here all along, and her strawman as hygienicspring as her absence carry great significance, especially in the place setting of how viewers and critics respond to other potentially racist films.Dumbo, the fourth film in the Disney industry, was made in 1941 and produced by Walt Disney himself. It was originally designed as an economical feature to help generate income after the financial misadventure of Fantasia. The concerns people had against Disney being anti-Semitic and racist were sill strong, especially after Disney project his own sense of alienation onto others in Hollywood, namely, Jews, smuggleds, and union workers. In revenge against the studio entrepreneurs, who were predominantly Jewish, Disney refused to employ Jews in high-level positions at his studio or as actors in his live-action features.Not until 1969, two years after Disneys death, did a Jewish actor, Buddy Hackett, feature prominently in a Disney film, The Love Bug. Disney Studios in like manner denied b wishing workers even minimal opportunities, as technicians and support personnel. Because Walt Disney was an infamous racist, even for his time, it is not surprising that a film he produced himself would be racist as well. Dumbo is full of racist images and themes. Dumbos redeem itself speaks to the foundations of racism when the other female elephants single Dumbo out because he looks divers(prenominal) with his unusual ears.Considering the circumstance that big-eared elephants are African, it is especially racist that Dumbo, who is seen as different and even freakish would be associated with Africa (Lugo-Lugo 167). Because Dumbo is different from everyone else, he is ridiculed for it. Just because his ears are bigger than those of a normal elephant, he is ostracized from the rest of the group. He alone has one friend (Timothy Mouse), who ironically is to a fault socially shunned because elephants are largely mantic to be scared of mice.This could be seen as another form of racism where mortal is ostracized because they are different. Furthermore, in the movie, when it is time to set up the fair in town, it is evidentiary to take note of who performs the hard tote necessary to make the circus maneuver. Not only are the circus animals themselves condemned to build their own chamber of humiliation, solely there are too faceless black men working hard at this labor. The faces on these men are featureless, with no eye, no mouths, and no noses showing that they get no individual identities, like a group of invisible men.This is indication of the time period because the 1940s were right before the Civil Rights Movement, and although bondage had been abolished, blacks were still segregated and considere d as lesser people. The song they sing slice working is very appalling We work all daytime, we work all night We never learned to read or writeWere happy-hearted roustabouts When other kinsfolk run through gone to bed We break ones back until were al closely nonviable Were happy-hearted roustabouts We dont drive in when we get our payAnd when we do, we throw our pay a counsel We get our pay when children say With happy hearts, Its circus day today.The lyrics of this song portray slaves working day and night doing backbreaking labor. However, it says nothing about the clay doing something s shore uper because the slaves seem happy to do the work. The song even mentions that slaves are too pleasant with working for no pay. The lyrics suggest that money was not something they worry about. The lyrics are insulting to the workers, stating that they do not know when they pass on get paid, but it does not matter because once they do get paid they will just throw their money a p anache.Furthermore, the lyrics construct and laud the image of the still and content slave whose true payment and fulfillment is watching the contentment of ( clean-living) children on circus day. Lyrics such as we slave until were al to the highest degree dead but, were happy-hearted are utterly absurd and disgraceful. Slavery was a morally wrong institution and the fact that Disney condoned its practices in Dumbo is horrifying. other overtly racist element in Dumbo is the characterization and function of the crows. Richard Schickel says, there was one distasteful arcsecond in the film.The crows who teach Dumbo to fly are too obviously blackamoor caricatures (Shickel 113). Leonardo Maltint, after quoting Schickel, says that critics may be overreacting to the crows There has been considerable strife over the swarthy Crow sequence in recent years, well-nigh of it unjustified. The crows are undeniably black, but they are black characters, not black stereotypes (Maltin 56). Ev en though Maltint makes a valid point, he does not call in the fact that the crows in the film are very specifically show as ugly and uneducated.They also use slang words such as calling each other brotha and speak in southern accents with incorrect grammar. Any one of these characteristics could be ignored as having racial implications however, by combining them into one character, it is very reasonable, indeed, al virtually necessary to get wind the crow as a black stereotype. The other big melodic phrase for the Black Crow sequence being interpreted as racist is that the leader of the group of crows, towards the end of the movie, is named Jim.Therefore, Jim the Crow can very well be construed as being a fiber to the Jim Crow Laws, which were rife in the southern United States from 1876-1965 and promoted racism and racial segregation. The crows racial identities as black are further implied when they perform their song in a jazz style complete with scat stylization. The so ng When I chequer an Elephant Fly is part of the music style generally popular at the time in black communities. As the crows begin humiliating suffering Dumbo, Timothy Mouse steps up to defend him with the next comments recall you was torn away from your scram when you was just a baby.Nobody to gather you in at nights. No warm, soft, caressing trunk to snuzzle into. How would you like to be left out alone in a cold, cruel, heartless world? What an ironic comment to make to a set of characters who represent African-Americans, who, at the time, would only require been a few generations removed from the time when black slaves were routinely torn away from their families. The mouse continues And why? I bring ya, why? Just because hes got those big ears, they call him a freak. Finally, Timothy says, And on top of that, they made him a clown Interestingly, Timothys reference to the clown points to the time when the snow-clad power structure practiced minstrelsy by making clowns of the socially despised blacks. It is important to recognize that Dumbo is racist not because of any single scene or image, but because of the message produced when all the racist scenes and images are meltd. Dumbo is a freak with big African ears who essential be segregated from the others. Furthermore, the only persona he can have in the circus is that of the clown. The crows also point to black stereotypes through color, dialogue, and even name.Finally, the blatant reference to slavery through the figures of the circus workers contributes to an overall signature of racism in the film. In many ways, analyzing whether one scene is racist is not nearly as important as understanding that racist undertones are present and noticeable in Dumbo whether we as a society want them be or not. It is important to note that not all racism in Disney films is directed at African Americans. One of the most well recognized racist symbols perpetuated by Disney is the portrayal of the Siamese c ats in Lady and the Tramp (1955).Like stereotypical Asians, they are buck-toothed and have slanted eyes, and speak in ridiculously exaggerated accents that bear little, if any, similitude to actual Thai speech principles. Their features, along with the banging of a campana at the beginning of their song, could not make the Asian-specific racism any more obvious, We are Siamese, if you please. We are Siamese if you dont please We are former residents of Siam. There are no finer cats than we am. Goldmark comments One can hear the bureau and superiority in their voices. Those two cats dont care about anyone but themselves, scatty any material body of empathy.They are sociopaths, prepared to ruin Ladys life because it is fun and it serves them. They are portrayed as cunning and manipulative, giving the widespread conceit that all Asians act superior, are cunning and manipulative. (Goldmark 115) In the film, the Siamese cats function not only as a racial stereotype but also as a stereotype of the upper classes in eastern countries The cats prance around arrogantly in a Hollywood-invented style that is supposed to represent what the audience should assume are mannerisms of aristocratic Siamese or Chinese (Romalov 46).The ambiguity in the exact ethnicity of the cats is significant because it demonstrates how Disney films tend to combine different ethnicities under the umbrella of one (Disneys films, like many Hollywood films, often tended to lump ethnic groups together into a kind of undifferentiated mass-Asians, Chinese, Japanese, Siamese, for example Arab and East Indians as another example. ) The cats even like blue murder sing of their supposed heritage (Romalov 46). This practice of ethnic lumping is even more obscene in Aladdin where Arabic and Indian cultures are intertwined and assumed to be one and the same.Like Lady and the Tramp, Aladdin attempted to include other races in the film that had not been included in other Disney movies of the past un fortunately, we see many of the same racist undertones in Aladdin that are present in the films predecessors. Perhaps the most controversial and racist part in Aladdin (1992) is a set of lines in the possibility song, Arabian Nights. It is one of the most contentious messages found in the film and begins the movies depiction of Arab culture with a decidedly racist tone (Giroux 104). An Arab merchandiser sings the lyrics Oh I come from a land/From a faraway place/Where the caravan camels roam. Where they cut off your ears/If they dont like your face. /Its barbaric, but hey, its home. The message that is fall apartn right at the beginning of the film is that the Middle East is a desolate wasteland where the justice system runs on a simple limb-removal policy. The opening song alone sets a tone that alienates the Arabic community from Western culture One would have to be very naive to believe that Hollywood would dare to use such a song if it did not see Arabs as be to an other or alien culture. Successive themes drive home the view that these creatures are suspicious, lazy, unethical, and dotty outsiders. They most definitely are not like us(Shaheen 50). The lyrics to the opening song in Aladdin caused an uproar in Arab countries and the words were later changed to Where its flat and immense/ And the heat is intense. Not only are the lyrics violent, but they are truly an example of the worst kind of racism. Disney distribution chairperson Dick Cook was quoted as saying the change was made after meetings with members of the American-Arab Anti-Discrimination League but that it was something we did because we wanted to do it In no way would we ever do anything insensitive to anyone, he said (Shaheem 52).Yousef Salem, a former spokesperson for the South Bay Islamic Association, characterizes the film in the following way All of the bad guys have beards and large, bulbous noses, sinister eyes and heavy accents, and theyre wielding swords constantly. Aladdin doesnt have a big nose, he has a small nose. He doesnt have a beard or turban. He doesnt have an accent (Shaheen 56). This portrayal of Arab characters gives people a negative perception of Arabs. Furthermore, the Arab characters are mean whereas those who speak clear English and appear to be Americanized are socially accepted, or the heroes of society.In the first few scenes of the movie we see an Arab merchant, with a thick accent, wearing a turban and who is act to sell stereotypical middle-eastern products (a vase which contains a combining of hookah and coffee maker, which can also produce a million fries). In addition, the movie shows Jasmine almost loosing her hand for giving a poor little son an apple from the market stand. That is not accurate for most Middle Easterners who hit to help the poor and the homeless they would not attempt to cut someones hand off for giving an apple to a poor child.These instances show the racist way in which people from the East are portray ed as barbaric. The film could also be considered racist in that it portrays Arab culture as deeply oppressive of women and brutally violent. Princess Jasmine is trapped remorselessly inside her palace home, and the palace guards threaten to cut off her hand at one point in the film. She is also constantly controlled by the men who surround her. Finally, she is the only other woman we see in the film besides the belly dancers in the opening scenes.What does that say in regard to the significance of women in Disney? Of course, Disney does not intend to offend anyone that would be bad business. Most people who watch the movies are probably caught up in the Disney magic and do not notice these things. Problematically, one way in which Disney creates the magic is by using stereotypes that people respond to without thinking. Aladdin looks right for a hero Jafar looks right for a baddie Jasmine looks right for a trapped princess.We as consumers do not think about it, but the practices a nd images we internalize as being right are very weighty for society. For example, it is especially concerning that the upper class in the film, the royal family, appears white. The Sultan, Jasmine, and Aladdin are all fair-skinned and do not speak with accents, suggesting that they are more white than the other characters in the film. This image perpetuates the white power structure in America, and most viewers are only aware of this on a unconscious level (Shaheem 54).This subconscious awareness of practices such as racism in the media is especially hazardous for our society because if an individual is not perceptive of when she internalizes social evils, than she cannot be perceptive of when she perpetuates them. Even still, the fact rebrinys that regardless of whether we think about it, recognize or denounce it, racism and stereotyping takes place in many Disney films, including the classic 1994 film The social lion force. The first and perhaps most noticeable example of rac ism in The Lion King mirrors a stereotyping practice seen in Aladdin.Like Jaffar in Aladdin, Scar is arguably one of the darkest colored characters in The Lion King. While the other heroic lions are lighter skinned, Scar is the only one with dark fur and a jet-black mane, reinforcing the stereotype where the darker and more ethnic character is the villain (Twomey 1). Another obvious example of racism in Aladdin, is seen with the hyenas, who are portrayed as stupid and violent, and are comprised of a lower-class animal group that feeds upon the cast aside and leftovers of the more dominant, strong, intelligent creatures.This dichotomy is then reinforced by the use of stereotypes, classifying these stupid, low-class hyenas through the use of African-American (Whoopi Goldberg as Shenzi) and Hispanic (Cheech Marin as Banzai) stereotypes. It has even been said that despicable hyena storm troopers speak in racially coded accents that take on the nuances of the discourse of a decidedly ur ban, black, and Latino youth (Byrne 62). The speech patterns and accents of the hyenas present quite a stark railway line compared to the American and British accents of the rest of the cast.The hyenas also serve as an interest opposition to the thoughtful, strong, and intelligent characters of the rest of the film, who represent the upper class, indeed, mostly white culture. That is not to say all African-Americans are poorly depicted. James Earl Jones voices the role of the powerful and wise Mufasa, and Robert Guillaume voices Rafiki, the wise shaman. Yet even with two of the strongest main characters being voiced by African-Americans, it is hard not to notice the stereotyping Disney seems to be making about Black, Latino, and lower-class culture.It is significant to recognize that The Lion King does not stop with racial stereotypes, but also cruelly targets other underrepresented groups including women and homosexuals. According to the Associated Press, Carolyn naturalberger of Harvard University complained in the Boston Globe that the good-for-nothing hyenas are urban blacks the arch-villains gestures are effeminate, and he speaks in supposed gay cliches (Twomey 33). The film also furthers gender stereotypes by displaying women as subservient and dependent upon the strength of males.The strong-spirited Nala can be viewed as a counter to this, but just as with the racial stereotyping, one strong female character does not relax the overall statement being made about the weakness of women. It is the combination of Disneys insensitive treatment of stereotypes targeting not only non-whites, but also women, and other minorities in films such as Aladdin and The Lion King that can help explain the 21st light speeds response to The Princess and the Frog. twain before and after The Princess and the Frog was released, many of the films critics were very vocal about racism in the movie. Nearly everyone who has an opinion about the film has something different to s ay in sum, nearly everything about the film is racist and offensive to someone and needs to be changed. As a starting point in analyzing the publics critical response to Princess and the Frog, it is important to address all the criticism surrounding the black princesss name. Many argue that the princesss original name, Maddy, is to close to he slave term mamma A voice actors barbarism wouldnt have to slip very a lot to say mammy while ordering Maddy to do a chore, and in such a context, the name Maddy seemed both deliberately inappropriately evocative and easy for the audience to mishear (Kareem 1). Furthermore, others argue that Maddys position as chambermaid for a spoiled, white girl is demeaning. Just as Disney changed the name of its protagonist to Tiana, they have also changed her from being a maid to being a prospective proprietor of a restaurant.True it is traditional for cigarette tale protagonists to begin their stories with having a low social status, but a black her oine who is a municipal could be legitimately read not as a fairy tale trope but as a reinforcement of real world racial denigration (Kareem 1). Some may claim that it would be historically accurate for a 1920s black woman to be a maid, but Disney does not even necessarily care about historical accuracy when animating actual history.Another point of heated debate in the film centers on the fact that the black princess ends up with an arguably whiter prince, Naveen (or at least a prince who looks white and is voiced by a Brazilian actor who also looks white). Whatever Naveens ethnicity is, in her clause The Word on the Princess and the Frog, Disneys First Film With a Black Heroine, Nandra Careem quotes Shannon Prince who raises some interesting points about the problems behind Disneys choice not to make him African AmericanSome might argue that portraying interracial marriage in film is good but why then werent any of the white princesses given non-white princes to save them from white villains? And since Disney doesnt give white princesses non-white princes, isnt this interracial relationship at the expense of black boys who be a hero just as much as black girls deserve a heroine? (Kareem, 1) Prince is not the only critic to take issue with the difference in skin color between the prince and princess. Cultural critic Hensley Jameson comments, The prince is lighter than she is.Whats that say about black men? Sure, Boris Kodjoe is fine, and we come in all shades, but to be truly black, a character cant be any lighter than Denzel Washington (Kareem 1). before the prince was explicitly reported as being the jazz-loving monarch of a European country. By giving the prince an olive, but still white, complexion and a Brazilian accent, Disney gets to go forward with their original white hero yet make him ambiguous enough to not be unequivocally criticized as white at the same time. Tiana isnt the problem, says Angela Bonner Helm at Black Voices Was there any parti cular reason why her love interest, Prince Naveen of Maldonia, couldnt be black, too? though America has a real-life black man in the highest office of the land with a black wife, Disney obviously doesnt think a black man is worth the title of prince (Kareem 1). The plot of The Princess and the Frog also follows Disneys pattern of making their evil characters more ethnic and darker than their good characters. The central villain in the film is the bewitch master, who is also African American.Elaborating on the presence of fetish in the film, Careem comments that Disney grossly misrepresented the purpose and reality of voodoo The foundation of voodoo is not charms but monotheistic faith, belief in saints and spirits, and a focussing on moral values such as charity and respect for the elderly. People do perform rites for protection and defense, but suffice it to say that voodoo is not about being a magician or a fairy godmother (Mathews 1). The fact that Disney uses uninformed vood oo stereotypes rather than accurate facts in the film furthers the racist undertones in the film.The last-place major point of criticism in the film is concerned with the fact that the first black Disney princess spends most of the time in the movie as a frog Why does the black princess have to be a frog the whole time? Are they saying black people should be green instead of black? wonders Shirley Wilson, a waitress at Robs diner who plans to boycott the movie when I watched the film I felt disappointed to learn that the heroine spends a significant nut of the movie not as a black princess at all but as a frog.After decades of waiting, would it be too much to actually see an hour and a half of a black princess on the screen? (Matthews 1). Wilsons response to The Princess and the Frog is especially significant because it demonstrates how many people, even on a non-academic level have upright concerns about issues of race in the film. When addressing the critical response to The Princess and the Frog, it is difficult to ignore the fact that even though it has been over half of a century since the first Disney films were released, racism is still a point of criticism, both in the older films and in the ones being produced today.Furthermore, despite the fact that The Princess and the Frog features the first black Disney Princess, critics are even more upset about racism in the film than they ever were before even in the case of more overtly racist films. Many of the points raised about racism and racial stereotypes in the film are valid and interesting nevertheless, one cannot help but notice that they overshadow many of the advances Disney has made in eliminating other equally offensive stereotypes in their films.For example, whereas other Disney films typically lack the mother figure completely and perhaps only reference the mother when explaining the past, The Princess and the Frog includes a mother who is present for the entire film. It may not be obviou s to most viewers of The Princess and the Frog, but Disney takes a vast and important step in introducing a mother figure to their film their past practice of eliminating the mother figure is arguably sexist and offensive to the female identity.Another important change Disney makes in Princess and the Frog centers on the fact that unlike other Disney princesses who dream about meeting a prince, Tiana has realistic dreams and expectations she wants to be a restaurant owner and works very diligently to achieve her goal. disrespect this significant statement about female power, however, most film critics will probably instead choose to focus on the fact that Tiana, as an African American, is limited to owning a restaurant rather than a Fortune 500 company. Works Cited Alan, Spector J.Cultural kind and the US Media. Albany State Univ. of rising York, 1998. Print. Brunette, Libby. 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