Megan Riordan

Persuasion
Final Analysis Paper
8 December 2014

The Power of The Princess

Over the past 75 years, Disney Pictures and their Princess films have been shaping the
way young boys and girls determine proper attitudes toward personal identity, romantic,
family, and friendship relationships, as well as general problem solving skills. While Disney
prides itself in its good morals and magical experiences, the movies tend to communicate
behaviors that set a child up for a personal identity failure in the future. From Disneys very
first Princess movie, Snow White (1938), to the more transitional Pocahontas (1995) and
Mulan (1998), to one of their most recent Princess movies, Brave (2012), the multifaceted
entertainment company has dealt with negative commentary on almost every one of their
movies from feminists and advocates everywhere about the body images and romantic
scenarios shown in every movie. Early Disney Princesses influence the minds of little girls to
believe that life is about achieving the perfect figure, unmatchable poise, and that true
destiny lies in the hands of Prince charming. The subliminal messages seen in the
progression of Disney Princess movies can be broken down into persuasive and interpersonal
terms and can be shown why they have such an impact on young minds.
The messages sent, whether subliminal or not, are absorbed by young viewers of
Disney movies such as ideas of body image and cultural/gender roles. Around the age of
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Disney viewers, children begin to investigate the idea of their self image or self-worth. This
is why it is so crucial that children are taught self value and independence starting at a young
age, because that is when they are learning and absorbing the most information about
themselves. In the movie Snow White, the only true message that Princess Snow White seems
to teach us is that if you're sweet and pretty you will find your Prince Charming, what plenty
of young girls (myself included) would like to (and do) believe. Why do these messages get
so easily received by viewers? Studies show that persuasive messages are more easily
received if the person is in a happy, benevolent mood when the message comes, [such as]
noshing on peanuts and soda, watching a good program, and with pleasant musical
background, an appropriately scented other, a smile on ones face, nodding ones head, or
relaxed in posture (LaTour, p. 127, 2009). Basically, the subliminal messages given in
movies are usually received best due to the state of being the viewer is in, which for now is
assumed to be happy.
Snow White also has a plethora of persuasive messages regarding romance. Research
has shown that romantic love can be broken down into three separate dimensions: intimacy,
passion, and commitment (Wood, 2010). The heavy emphasis on a one true love as seen in
Snow White display more shallow levels of the three dimensions without really going into too
much detail on any one. Disney typically fails to show this progression that needs to happen
in relationships, they immediately to just jump to the unrealistic happily ever after ending.
Studies have shown that these messages truly impact children because they are so susceptible
to social scripts, typically basing them around what they view on television, especially in
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romantic situations. Movies involving romantic scenarios shape romantic behaviors in young
minds for situations such as flirting and dating (England, Descartes, & Collier-Meek, 2011).
While I would not be opposed to men doing these bold Disney-like gestures for my attention,
my own experience has found that it usually just gives young men and women false
expectations of the real world of dating. One of the first scenes of the movie itself is Snow
White cleaning outside, singing about true love as if she is already passionate about someone
who she doesnt even know. Suddenly, a handsome man on a white horse shows up and
begins to confess his love to her through song. This situation does not involve any aspect of a
pursuit or growth of a romantic relationship, simply a love at first sight type of encounter.
At the age of these young Disney viewers, they become very susceptible to any information
they can get from the Princesses and other characters. They want to know how to interact
with others, and are soaking up any kind of information regarding romantic situation that
they can. Viewers can be considered those of high involvement to the Disney characters.
Under high involvement conditions, people tend to be connect more deeply with the selfconcepts and core values of a product (in this case, the lesson from the Princesses), and more
systematically process the information given (Perloff, 2014). Because of this, viewers are
very keen to what each character says and does.
Television has been identified as a dominant source of social influence on childrens
gender concepts (England, Descartes, & Collier-Meek, 2011). Fast forward about 50 years
to the next era of Princesses in the evolution of Disneys subliminal messages, there is a
focus towards gender and household roles, as well as more personal identity. During this time
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there are the free-spirited and adventurous princesses Pocahontas and Mulan. Very similar in
character while very different in story, these two princesses are torn between what is right
and expected by their families, and what they want for themselves. In both Princesss
societies, the woman are expected to remain quiet and submissive while they are handed
their destiny. While older viewers may understand that Disney is simply giving a real
description of time and place which were true in the cultures of Mulan and Pocahontas
this may not be the way a child would perceive it. Subliminal messages like these are what
change a childs attitude or behavior as influenced by the movies. Similar to the studies done
by James Vicary during his test of subliminal messages in a film (Roger & Smith, 1993),
these messages of how a woman should act with families as well as in society can be so
subliminal that they are overlooked by parents.
The family emphasis begins with Pocahontas, and a very clear and deep bond
between Pocahontas and her father, especially since the absence of her mother has clearly
taken a toll on the both of them. This seems as though Disney has decided to give a positive
image to parents, but more subliminal messages can be seen. Though not the antagonist,
Pocahontass father and tribe seem to be the most resistant force to Pocahontas and her want
to explore and grow in herself. Ultimately, she chooses the course that is best for her family
and where she is needed most, ultimately choosing family over love. Mulan carries a lot of
focus on the honor of the family, and the pressures that come with keeping pure your family
name. When she is unable to do so, she seems to put all the guilt and blame on herself.
Disney has made slight progression away from the strict romantic messages, but they are
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now showing young children that in order to be accepted in the family they have to do
something brave and gallant for acceptance, creating another very high expectation on youth.
As a child, I would watch these movies an actually believe that I had to do something to
prove myself to my family, and I remember feeling worthless when I was not able to do so.
The idea of self fulfilling prophesy (Perloff, 2014) comes into play. According to this idea,
the self-fulfilling prophesy claims that if you are to believe something to occur, then it will.
Young children will do this by feeling that they cannot achieve acceptance in their family,
therefore they exclude themselves from the family because of their own guilt. There should
be lessons of unconditional love between parent and child.
About 10 years later, Disneys Brave has made strides towards displaying a positive
female identity through the strong and ambitious character Merida, who decides her own
destiny with a rebellion to her family, but then shows that in the end family is what is most
important. Though there are positive family values taught in Brave, this Disney film fails to
give messages of positive identity to male viewers. As the story goes, Princess Merida has to
choose a Prince to marry but wants to remain independent. Instead of offering Merida
normal-looking princes to chose from, Disney takes a slash at male attractiveness in society
by offering Merida three princes who were each socially unattractive. One prince was pudgy
and had a lisp, the second was very small framed with little muscle, while the third had a
very large nose and an even larger ego. Studies show that with the changing of society to
idolize appearance and the changing of a young persons body during puberty (Micknien,
Pajaujien, Jankauskien, 2010), it creates a perfect recipe for social pressure on adolescents.
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This issue can also be seen in older classic Disney movies such as Snow White, Mulan, and
Pocahontas. Notice that every one of the male characters in these movies does not speak
much, and when they do it is said in a very alpha-like tone, and usually involves making an
important decision. These are not the only places where Disney has stereotyped masculinity.
This idea of a Man can be seen in other movies such as Disney/Pixars Cars, Toy Story,
The Incredibles, and even The Lion King (England, Descartes, & Collier-Meek, 2011). In an
article about the movie Cars along with these few others, the writer opens up the idea that
while these movies do stereotype the alpha male role, they progress in the storyline and
end up expressing their true self, which may include more feminine aspects. This realization
of self could be some forward motion to veer away from the alpha male stereotype, and
portray male characters as one who is equal with the female characters. Though these movies
are no longer considered new, theyre still of the 21st century, theres still some work to be
done for the male character.
These gendered stereotypes of female and male roles, as well as the other messages of
image correlate well with the cultivation theory of communication, or the research that dives
into the effects of long term television use. It is believed that heavy viewers of television
over time begin to believe everything they see in television, thinking that is an exact replica
of what happens in the real world. Originally composed by G. Gerber, the study began by
researching the effect of media, specifically the influences that television actually had on an
audiences idea of everyday life. The theory suggests that the cultivation of attitudes is based
on attitudes that already exist in society, the media then takes these already present attitudes
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and re-presents them in different forms to the audience (Davie, 2010). Seeing that the
average 2-5 year old spends about 32 hours a week in front of a television and the average
6-11 year old spends about 28 hours a day (Boyse, 2010), this means that whatever they are
watching is definitely absorbed according to the cultivation theory. So, why not feel young
brains positive images of self, relationships, or society?
There is also one final aspect to consider when looking at why children are so
persuaded by the images of society. Society today relies strongly on the use of the digital
world to teach our children, young minds are able to travel, be creative, and learn through
opportunities in the digital world. Research on the Yale Attitude Change Approach (Perloff,
2014) can give us some answers. According to this approach, our attitude is changed when
we comprehend a subject, then learn about it, then accept the teachings, and finally change
our attitudes. While the biggest argument against this approach is that people are not
sponge-like creatures who passively take in information (Perloff, 182, 2014), that actually
is the exact argument for the young viewers. They are such sponges to new information that
they will comprehend, learn, and accept almost any teaching they are given at that age. This
is why educating out youth of the harmful messages the media can give is important even
from a young age, especially if parents let their children watch potentially harmful material.
In the past 75 years, Disney has done so much to bring dreams to life to children,
allowing them to express themselves and believe in themselves. And while the messages sent
by Disney are very positive on a very general perspective, the subliminal messages sent from

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the body image of their characters and even the simple interactions between characters
should be more closely tailored to the young audience that they have.

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Works Cited
Andrews, M. (Director). (2012). Brave : Disney.
Boyse, Kyle, RN. (2010). Television and Children. University of Michigan Health System.
Retrieved from: http://www.med.umich.edu/yourchild/topics/tv.htm
Davie, G. (2010). Cultivation Theory. Mass Communication Theory. Retrieved from: http://
masscommtheory.com/theory-overviews/cultivation-theory/
England, D., Descartes, L., & Collier-Meek, M. (2011). Gender Role Portrayal and the
Disney Princesses. Sex Roles, 64(7/8), 555-567. doi:10.1007/s11199-011-9930-7
Gillam, K., & Wooden, S. R. (2008). Post-Princess Models of Gender: The New Man in
Disney/Pixar. Journal Of Popular Film & Television, 36(1), 2-8.
LaTour, K. A., & LaTour, M. S. (2009). POSITIVE MOOD AND SUSCEPTIBILITY TO
FALSE ADVERTISING. Journal Of Advertising, 38(3), 127-142.
Micknien, Rasa; Pajaujien, Simona; Jankauskien, Rasa. (2010). The relation between the
sociocultural attitudes towards appearance and the lifestyle and self-esteem of adolescence.
Education- Physical training. No. 2(93); 2014; 3439; SOCIAL SCIENCES.
Preljocaj, A. (Director). (1938). Snow White : Special Broadcasting Service Corp. :.
Rogers, M., & Smith, K. H. (1993). PUBLIC PERCEPTIONS OF SUBLIMINAL
ADVERTISING: WHY PRACTITIONERS SHOULDN'T IGNORE THIS ISSUE. (cover
story). Journal Of Advertising Research, 33(2), 10-18.
Vicary, T. (Director). (1995). Pocahontas : Oxford University Press.
Wilder, M. (Director). (1998). Mulan : Buena Vista Home Entertainment.
Wood, J. (2010). Interpersonal Communication . Chapel Hill, NC: Cengage Learning.

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