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Rachel Hafner
Dr. Oswald Wilkins
Rhetorical Theory
4/29/19

An Incredible Family Dynamic

INTRODUCTION
In any society, there are certain stereotypical norms. People make assumptions about how
life should work, and these perceptions are only encouraged through media use. Children are
particularly sensitive to the messages of media as their stage in development allows them to be
easily influenced. Media serves not only as a form of entertainment, but also a primary
informational source (Tanner et al. 356). From ages two to six, children learn to identify gender
and learn the stereotypes in activities and character traits. From seven to ten, children begin to
assign qualities to gender and associate it with occupations (commonsensemedia.org). These are
the prime ages of influence and also the stage where television and movies stick to stereotypes,
reinforcing the common assumptions placed on gender.
The media for this age group often falls within the beloved superhero or princess theme.
They depict obvious masculine or feminine qualities (commonsensemedia.org). “The Disney
Corporation is a major contributor to most avenues of children’s media” (Tanner et al. 356). In
Disney, family and relationships tend to be the primary focus or at least a strong underlying
theme. In one study that looked at multiple different Disney movies for family or relationship
themes, the researchers found that, “there are many representations of mothers as primary care
givers who are automatically attached to their children and provide them with unconditional
love” (Tanner et al. 263). This theme was present throughout time, from movies created long ago
to ones just released. Children are viewing these movies and are picking up on the themes and
messages communicated, continuing the concept of stereotypical gender roles found in families.
As media is an important influence in the lives of children and even those who are grown,
the depiction of gender roles is an important aspect to analyze. Gender roles presented in
children’s movies are of particular interest. Children’s movies further society’s assumption and
contribute to the common gender roles placed on males and females in society’s past and present.
ARTIFACT
To explore the question of how gender roles and family dynamics are depicted in
childhood films, the recent hit movie, Incredibles 2, will be evaluated from the perspective of
rhetorical feminism. Incredibles 2 was released June 15th, 2018 to theatres all around the world.
Under the category of animation, action, and adventure, this PG film was a huge success. Then
again, Walt Disney Pictures and Pixar Animation Studios films rarely disappoint. Written and
directed by Brad Bird, the film was given a budget of $200,000,000. The film ended with a gross
United States of America income of $608,581,744 and a cumulative worldwide gross of
$1,242,770,554 (imdb.com). The movie is the sequel to Incredibles which was released
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November 5th, 2004 with a much smaller budget of $92,000,000 (imdb.com). With such a long
time between the two films, the audience had a chance to build anticipation.
Incredibles 2 picks up where the first film left off, allowing the storylines to flow
together as one cohesive narrative. The first film, Incredibles, introduces the audience to a family
with super powers. Bob and Helen have three children, two with powers and one without. Helen
takes care of the house and children while Bob miserably works at an insurance agency. Bob
wants nothing more than to be a super again, saving the city from villains and crime. However,
the society has banned super heroes from performing any acts of heroism. With this law in place,
Bob resorts to working with insurance during the day and secretly fighting crime with his friend
in the evening.
The sequel, Incredibles 2, starts with the final scene of Incredibles. The family is faced
with the decision to fight the Underminer or to turn a blind eye to the criminal’s public entrance.
They decide to save the city and are ultimately arrested. Needing a new job and home, Helen and
Bob are presented with an interesting offer by a successful telecommunication company.
Winston Deavor and his sister, Evelyn, inherited the company upon their parent’s death, which
Winston blames on the lack of superhero help. The siblings ask Helen to become Elastagirl, her
old super name, and fight crime with a personal camera, in order to better publicize the real life
of a hero and fight the antihero law. Though this is exciting news, Bob struggles to accept that he
was not chosen to be the hero representative and must now adjust to life as a stay at home parent.
Both Helen and Bob go through drastic life style changes when they enter their new roles and the
family structure changes.
METHOD
To best analyze how this children’s film presents gender roles, the feminist criticism will
be applied. “Feminist perspectives are grounded in critical rhetoric, which suggests that a
dominant ideology controls what people take for granted as common-sense beliefs, values, and
behaviors” (Sellnow 161). A feminist is anyone who challenges hegemony, or dominance of one
group over another. The movie will be examined through the frame of patriarchy, where it
connects to authority figures, and how society describes the family unit structure (Sellnow 162).
It is also important to note that where preferred readings describe the status quo, oppositional
readings challenge it.
Author and professor Karlyn Kohrs Campbell is one of the leading rhetoricians for the
feminist movement. She works in rhetorical criticism but enjoys focusing on women through the
communication field (emilytaylorcenter.ku.edu). Campbell worked to establish the feminine
style of communication, a communication style that promotes empowerment, welcomes audience
participation, creates identification, and uses personal experience. Continuing from the long
history of women empowerment, feminist criticism furthers the movement and draws attention to
the problematic areas of inequality in society.
There are four waves of feminism. Each one helping to create change and bring more
equality to the world. The first wave was women’s suffrage in 1848 where women fought for a
say in the political sphere. The second wave started in 1960 and focused on sexual and
reproductive rights. This also began the rise against patriarchy and the fight to give women more
job opportunities. The third wave of feminism began in the mid-90s and aimed to redefine
femininity and the social construct of womanhood. The final wave of feminism is in process
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today. Working to bring attention to issues such as sexual abuse and violence, unequal pay, and
body positivity (www.pacific.edu).
For this paper, the second wave of feminism describes the issue at hand. “The second
wave was increasingly theoretical, based on a fusion of neo-Marxism and psycho-analytical
theory, and began to associate the subjugation of women with broader critiques of patriarchy,
capitalism, normative heterosexuality, and the woman's role as wife and mother”
(www.pacific.edu). The concept of women always being the ones expected to stay at home and
the men finding jobs to support the family was brought to light in this time. Women felt the
patriarchy was purposely holding them back by only allowing women to work low paying jobs in
order to keep them in the homes as wives and mothers. Betty Freidan was a leader in the
women’s right movement during this wave. After five years of conducting interviews with
dissatisfied housewives, she became the author of Feminine Mystique in 1963. At that time,
women were expected to find their life calling as a mother and wife, which was not the case for
everyone. Going against societal expectations and norms, the book discussed the disappointingly
limited lives of suburban housewives. The book became successful, brining public awareness to
the women’s movement (www.womenshistory.org).
The feminist perspective focuses on the empowerment and growth of women and other
marginalized groups in society. The criticism explores what society sees as correct and what
could change to better the situation. In this paper, the feminist perspective will be used to focus
solely on the common expectations of women in the home and work place. Society places many
stereotypes on females, teaching people what to expect or how to act. In the case of home and
work, females are often expected to marry, have children, and then devote their lives to their
growing family. Their success in life is not defined by careers but rather their children and
husband’s happiness. With characteristics of kindness, passiveness, shyness, and servanthood,
women are to care for children and keep the house running well.
ANALYSIS
In Incredibles 2, there are a few areas of focus for the feminist perspective to analyze.
While Incredibles 2 is a positive representation of women and gender roles in film, the first
movie was not. In fact, the two films seemed to undergo a complete gender swap. Gender swap
occurs when characters switch genders but continue to complete the same role and storyline. It is
shown more in theatre and offers a different, more unique perspective on both the characters and
storyline. In this case, the original Incredibles movie told the story of a male hero fighting a male
villain to save the day. In Incredibles 2, the storyline switches so that it is now a female hero
fighting a female villain and still ends up saving the day. The two storylines run parallel, but
switch the genders of the characters, offering something different than the expected norm.
The first movie follows the stereotypical gender roles. Society places the females in the
house and the males in the work place. Helen was a stay at home mother who focused on taking
care of the kids and was often seen cleaning the house. She carried the baby everywhere, helped
her children with homework, and made sure to have dinner on the table in the evening. Helen did
all that society says a woman should do. Helen was not alone in falling into the typical gender
role expectations. Bob also followed the classic family dynamic. He worked outside the home all
day long in a cubicle. He would go to work and then home for dinner, finishing his relaxing
evening with a newspaper. Bob embodied everything that someone fulfilling a typical male role
would. The expectations for the lives of males and females were distinctly portrayed.
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The original movie storyline even placed the villain as a male. The two men were out for
each other. They were aggressive and angry, two male associated characteristics. They fought
each other and both flirted with the same pretty girl. The attitudes of the two men were chosen
directly from what the typical male is assumed to be.
The second movie shows a plot line where the females are in charge. There are multiple
examples of feminine power, wit, and intelligence. Helen, or Elastagirl, shows obvious courage
and strength as she faces danger and fights crime. Evelyn, the villain of the story, is smart and
witty. Even supporting characters, such as Edna Mode or Violet, show strength and intelligence
throughout the movie, facing their own problems and helping where they can.
These women are not only depicted as smart, but also using their intelligence in their own
careers. Helen becomes the breadwinner of the household when she steps into the superhero
representative position. Edna Mode is the famous fashion designer who proudly lives on her
own. She is depicted as a headstrong, passionate woman who always has her own ideas. In this
film, Edna enjoys the company of Jack-Jack as he inspires her to design something completely
new and unique.
Evelyn, though the villain, is also depicted as a strong woman. She worked to build an
impressive career of her own. She is the designer for her family’s business, taking control and
stepping up to leadership when her parents died. She helps her brother to keep the business
running and has grown their small business into an empire. Her work is unique and impressive.
She likes designing and finds her skills to be a main part of the business’s success story. Though
she appreciates her brother, she stands on her own thoughts and ideas for the future. She is not
afraid to speak her mind or do her own thing.
Going farther than her successful career, Evelyn is the creative genius being the film’s
villain, the Screenslaver. She defies the thought of the technology, science, and math world being
for men. Evelyn, as the Screenslaver, uses technology to hypnotize people and control them. She
has installed screens in glasses and has taken over common screens found in places as well, such
as the television station monitors. She used her background in design and knowledge with
technology to single handedly control as many people as the screens would reach. She covered
her tracks by setting up an innocent pizza guy and would have successfully completed her plan to
destroy the reputation of supers, if Helen had not figured out the truth.
The women present in the film go against the stereotypical gender roles associated with
females and occupation. They do not succumb to hegemony. Instead, the film uses these
characters to enter into an oppositional reading, challenging society’s typical behaviors. The
number of women in the workforce continues to climb. Since World War II, when “Rosie the
Riveter” became an iconic figure, women have entered the workforce to help provide for their
families. This working woman has now surpassed holding simple side jobs and have started to
become the breadwinners of the family, much like Helen (Boushey 32). In her essay, “The New
Breadwinners”, Boushey writes that this is a revolution that is sparking important change. “At
the most profound level, it changes the rules of what it means to be a woman—and what it means
to be a man” (Boushey 31). Women are stepping into what has always been considered the
man’s role.
For Helen, the opportunity to become a super is exciting but also terrifying. She has been
the stay at home parent for years and is not used to the spotlight. The desire to take care of her
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family and physically be there for them is almost enough for her to turn down the offer. Bob,
however, despite his frustration for not being chosen to be a super, encourages Helen to go for it.
Thus, begins the journey of Helen working and Bob taking care of the home.
Helen is not the only one struggling with the new family dynamic. Bob also must learn
how to cope with his new role. Hurt over losing the spotlight and being forced to step into the
supporter role, Bob navigates his new life as a stay at home dad. This is against the gender norms
for a male occupation and hurts Bob’s ego. “Career orientation and family orientation were
usually examined by type of occupation, where typically female-dominated occupations (e.g.,
teachers, nurses) represented a family orientation and typically male-dominated occupations
(e.g., engineering, management) represented a career orientation” (Cinamon and Rich 532). In
the case of Incredibles 2, Bob stepped into a female career and Helen took over the masculine
option.
In studies that looked at stress in life, the work place often took the highest ranking.
However, it was also discovered that the studies had more focus on men than women. “This
picture reflects not only a male-based view but also the assumption that for women the roles
associated with home—wife, mother, homemaker—are somehow “natural” and free from undue
stress” (Baruch et al.). In the case of Bob as a stay at home dad, he finds the caretaker job to be
much more difficult than he imagined.
Taking care of three children at different ages and keeping the house in order is not as
simple as he had imagined. Violet is upset about a failed date, Dash is struggling to understand
math, and Jack-Jack is a baby who is expectedly learning about his multiple, crazy super powers.
As the movie continues, Bob turns from the easy-going dad to one that is run down. He is
depicted as stressed out and exhausted, ultimately turning to Edna and Frozone for babysitting
help. The idea of a natural, stress free time for a homemaker is proven to be wrong. Society often
goes as far as claiming stay at home parents have a simple life.
Family dynamics are not only impactful to the adults experiencing the different job titles,
it also impacts the children around them. “In fact, preschool children whose mothers work
outside the home experience the world with a sense that everyone in the family gets to become a
member of the outside world, and their sense of self includes the knowledge that they have the
ability to make choices which are not hindered by gender” (Witt). Breaking from the typical
gender dynamic positively impacts the feminist movement by introducing new ideas to the rising
generations.
IMPLICATIONS
As a form of female empowerment, Helen takes the stage in Incredibles 2. Rising from
her supportive wife role, she steps into the light as a hero and center of the unique plan to get
supers legal again. With her husband becoming the stay at home support, the couple grapples
with their new roles and change in family dynamic. The dynamic changes even more so as her
new job places her as super, fighting crime and advocating for the change in laws regarding the
use of superpowers. Helen finds herself becoming somewhat of a celebrity. She travels to cities
to solve problems, is invited on talk shows, has parties celebrating her works, and even befriends
the ambassador. From a quiet life of taking care of her baby to being in the city’s spot light,
Helen grows as a character.
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The audience watches her increase in self-confidence and find a personality besides a
mother. Never truly losing sight of her family values, Helen takes time to grow into herself as
well. Allowing someone to step out of the shadows gives them an opportunity to act and think
for themselves. They gain the chance to focus on improvement and challenge their own limits.
The change in Helen throughout the movie is inspiring and an aspect that can help to influence
the world of gender assumptions.
As media has a strong influence over anyone’s life and an especially strong reach to
young, impressionable minds, it is important to look critically at what messages are being
presented. In the case of male and female roles in family dynamics and the work place, media
makes a statement and chooses to either lean into the stereotypes or take a stand against.
For children’s movies in particular, the audience is gathering information from the films
and television they view. In the form of children’s movies, the characters and situations
presented are teaching and influencing the audience on their own beliefs and ideas. Young
children will use the information within film and apply it to their real life. Film and other forms
of media need to be conscious of their storylines. Each character’s situation, characteristics, and
choices help to define what that gender means to the young audience. “These characteristics also
are often associated with specific traits -- for example, being strong and brave or fearful and
meek” (commonsensemedia.org). It is all too common for men to be strong super heroes and
women to be the patient princesses. Rather than saving the world, the women are the ones
needing to be saved.
Incredibles 2 offers a new perspective and allows the women to step into the hero role.
They are portrayed as smart, independent people, rather than the shy, innocent ones. In this film,
Disney is challenging the female gender stereotype and allowing for their audience to experience
a new side of feminism.
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Works Cited

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“Betty Friedan.” National Women's History Museum, www.womenshistory.org/education
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Boushey, Heather. “The New Breadwinners.” The Shriver Report, 2009, pp. 31–67.
“Campbell, Karlyn.” Emily Taylor Center for Women & Gender Equity, 25 Nov. 2013,
emilytaylorcenter.ku.edu/womens-hall-of-fame/campbell-karlyn.
Cinamon, Rachel Gali, and Yisrael Rich. “Gender Differences in the Importance of Work and
Family Roles: Implications for Work-Family Conflict.” Sex Roles, vol. 47, no. 11–12,
Dec. 2002, pp. 531–541. EBSCOhost, doi:10.1023/A:1022021804846.
“Four Waves of Feminism.” Pacific University, 28 Nov. 2018,
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