thesis statement about disney films

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Pixar's 'Soul’ Offers a Thesis on the Meaning of Life, and It’s a Pretty Good One

Dir. pete docter––4.5 stars.

There are technically no rules against an animated film winning the Academy Award for Best Picture. In the 93-year history of the Oscars, however, only three have ever received a nomination (“Beauty and the Beast,” “Up,” and “Toy Story 3”), and none have ever won. When “Wall-E” wasn’t nominated in 2008, critics began to raise questions about whether the existence of the separate “Best Animated Feature” category was inherently harmful — an implicitly degrading statement that animated films must be judged by different standards than live-action ones.

This, in some ways, is besides the point; to delve into a discussion of the Academy’s inner machinations would probably make this review about 20 times longer. But the “Best Animated Feature” category is, in many ways, symptomatic of the way many Americans view animation: as a genre, rather than as a medium. The way we associate animation with fart jokes and cheesy endings makes it difficult to think broader, to produce something mature and thoughtful like “Spirited Away” or “Your Name” — leaving us to define animated movies as “just for kids”

Pixar’s “Soul,” however, blows this definition out of the water.

The film follows Joe Gardner (Jamie Foxx), a middle-school band teacher who’s always dreamed of being a professional jazz pianist. On the day he finally gets his big break — literally moments after being offered the chance to play with one of the jazz greats — he falls into an open manhole and, well, dies.

What follows is a bit less realistic. Instead of proceeding to The Great Beyond like all the other souls, Joe (now an ethereal, glowing, light teal-colored soul) flees to The Great Before — the fantastical celestial plane where new souls get their personalities before proceeding to Earth. There, he meets 22 (Tina Fey), a petulant, jaded new soul who’s not all that jazzed about going to Earth, and together, they devise a plan to return Joe to his earthly body in time for his big gig.

Much like in “Inside Out” (another brainchild of director and Pixar Chief Creative Officer Pete Docter), the far-fetched premise of “Soul” is balanced by how grounded it is in the human condition. It’s okay, for instance, that Joe’s soul inhabits a therapy cat named Mr. Mittens for a good chunk of the second act, because this ultimately allows 22 to recognize the true meaning of life on Earth. And the slapstick is kept to a minimum — replaced with humor that is either very clever or uncannily mature (“Can’t crush a soul here,” 22 says as a building collapses onto a group of new souls in The Great Before. “That’s what life on Earth is for”).

The astral landscapes of The Great Before are just as lush, beautiful, and imaginative as Riley’s mind in “Inside Out.” Purple “trees” are scattered on hills of turquoise “grass” in this land of blue-green pastels and incoherent, fuzzy forms — making for a world that is dream-like in the most literal sense of the word. Particularly striking are the Counselors: the kind, gentle giants that guide new souls through The Great Before. The way they are animated to look both two-dimensional and three-dimensional (sort of like a Picasso portrait brought to life) is visually stunning: a refreshing take on CG animation from the studio that pioneered the craft.

The other half of the film is set in New York, a city that Pixar managed to make just as visually interesting as a literal astral plane. Docter achieves a frenetic, energized depiction of the city that never sleeps and the diverse people it comprises, and everything about the film — from the cinematography to the crowds animation — imbibes Joe’s New York with gritty authenticity. The contrast in scoring, too — between composer Jon Batiste’s jazzy, piano-heavy New York and Trent Reznor and Atticus Ross’ (the duo behind “Mank” and “The Social Network”) ethereal, airy underscore to The Great Before — does more than its fair share of narrative and emotional heavy lifting.

And as beautiful as the animation and music are, the real soul (pun intended) of the film lies in its writing. It does, for the most part, follow the typical Pixar story beats, but the way it builds to its final point is masterful: scattering seemingly insignificant plot points throughout the second act, shepherding an ostensibly well-adjusted protagonist through a series of adventures, and having him discover the flaw in his thinking just as the audience does — a puzzle that the viewer assembles right alongside Joe.

The final act is a masterclass in storytelling: in particular, a four-minute sequence near the end manages to — wordlessly, sublimely, poignantly — capture the beauty of the human condition. It is an ending that feels earned, one that will not only leave the viewer (as most good films do) reflecting on their own life, but also (as not many animated films do) wondering if their child can fully grasp its meaning.

“Soul” offers a thesis on the meaning of human life — a difficult question to answer in a 200-page philosophy dissertation, much less a 104-minute animated film. And it does so with all the beauty, detail, and imagination that audiences have come to expect from Pixar. It is a good animated film (indeed, probably an Oscar-worthy one), but more importantly, it is a good film, period. And it is films like “Soul” that prove that animation isn’t just as good as live-action, but — quite often — better.

Pixar's "Soul" is available to stream on Disney+ beginning on Dec. 25.

—Staff writer Kalos K. Chu can be reached at [email protected] . Follow him on Twitter @kaloschu .

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Gill’s Representation of Disney Princesses in the Media Essay

The essay entitled “Representation of Disney Princesses in the Media” by Isabelle Gill compares the portrayal of women in the media with the depiction of Disney princesses in film reviews. The author argues that both women in the media and Disney princesses in the reviews assume strong feminist features and are primarily seen through the lens of passiveness and domesticity. To effectively present her point of view, the author analyzes the trends in the current depiction of princesses. The author claims that these tendencies comprise “traditionally feminine vocabulary, degrading physical descriptions, and critiques that serve to trivialize accomplishments” (Gill, 2016, p.100). To make her argument, the author uses exposition rhetorical mode, which consists of a thesis, arguments to support it, and the restatement of the author’s idea.

THESIS: The essay “Representation of Disney Princesses in the Media” by Isabelle Gill shines a light on the representation of Disney princesses in film reviews, and the author argues that princesses are portrayed to have mainly feminine, passive, and domestic features.

Personally, I agree with Gill’s view on the topic as, in my experience, Disney princesses tend to be described in language that highlights their feminine and passive features. Serving as inspiration for many young women worldwide, these characters usually encompass gentleness and kindness, which are typically feminine traits. Moreover, many reviews focus on their physical appearance highlighting the sexuality of the Disney princesses. However, I would do it differently if I were to present this argument. I would compare the representation of male and female personas in Disney films’ reviews to show the drastic difference in the choice of lexis and overall representation. Some people may disagree with the author’s stance because some Disney princesses exhibit masculine features such as courage and recklessness. However, these character traits are often downgraded in film reviews that people read. I believe female audiences would benefit from reading the articles since girls and women will see how they are being manipulated through film reviews to fit the roles envisaged by men.

Isabelle Gill’s research of Disney princesses highlights the gender bias that continues to be perpetuated through film. She raises awareness about how this language is unusual of strong female characters by evaluating 95 adjectives that are employed in a way that is stereotypically associated with femininity. In her findings, common descriptions given for heroines include “feminine” and “flirty,” and these words take away from their character depth as well as what it truly means to be a princess (Gill 2016). Through proper recognition, however, we can remind ourselves that each heroine deserves more than just a stereotypical description. They deserve strength-filled connotations worthy of such powerful figures. Therefore, we must champion a new, brave approach to portraying princesses in our culture that encourages independence and resilience over antiquated notions of femininity. Doing so will allow young girls everywhere to foster positive self-worth while providing future generations with broadened perceptions of strength and confidence. With such an effortless shift, we can empower children around us and ensure they never forget their infinite worth as royalty.

With Disney characters displaying physical characteristics, often weakening their portrayal in films, the disparity between men and women remains a lingering presence. Gill (2016) found that 20% of these movies focus on heroines’ appearances rather than identities a seemingly derogatory practice that fosters society’s beauty standards held predominantly by males. This suggests an underlying message to women: compliance with existing stereotypes is often more beneficial than challenging them head-on. The lack of accurate representation can further perpetuate feelings amongst females that they cannot compete at the same level as men without conforming first. Today, women are leading the charge in a rapidly changing working world and demonstrating that extraordinary accomplishments can be achieved through intelligence and perseverance. This brave shift towards gender equality is, unfortunately, being overlooked by much of our mainstream media. They seem to depict princesses as weak, incompetent role models who do not represent society’s progression as they should. Instead, we should celebrate these real-life heroines for their courage and determination.

Gill (2016) further suggests that media outlets often portray princesses in a way that reinforces femininity stereotypes, minimizing the positive qualities typically associated with them. Despite attempts to present more progressive images of these female characters, their perceived frailness remains largely unchanged and presents an ethical problem for how they are presented. Moving forward, carefully considering this issue when producing content related to Disney’s iconic heroines is important. Gill states, “Future research could examine children’s perception of the Disney princesses at various age levels to determine whether or not adults are more likely to subscribe to these inaccurate portrayals than children” (Gill, 2016, p. 107). Thus, a change in how the media portrays the strengths of women.

Disney movies have been criticized for perpetuating stereotypes about the capabilities of women, teaching children that they cannot stand on their own and need protection. Gill’s article pointed to this conditioning as part of an unbreakable cycle and if these values are passed down through generations, it becomes difficult to challenge them in society today. Criticisms such as not finding characters empowered enough only reinforce existing assumptions instead of proposing change or progress upon societal conventions. Women have waged a long struggle for self-empowerment, and one way to make an impactful statement is by revising the portrayal of princesses in Disney films. Transcending entertainment value, this act can encourage continuous strides towards bettering society’s attitude towards women now and far into the future.

Gill provides compelling evidence that instances of gender prejudice in the media are prevalent and can lead to far-reaching social repercussions. She has skillfully presented an argument that exposes the detrimental misrepresentation of Disney princesses within past reviews. Her robust insight and analysis highlight their significant influence over gender roles, especially in children, and cannot be underestimated. As a result, she demonstrates how a shift from such inaccurate depictions is urgently needed to mitigate further damage caused by these seemingly innocuous characters.

Gill, I. (2016). Feminist figures or damsels in distress? The media’s gendered misrepresentation of Disney princesses. Young Scholars in Writing , 13 , 96-111. Web.

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IvyPanda. (2024, January 28). Gill's Representation of Disney Princesses in the Media. https://ivypanda.com/essays/gills-representation-of-disney-princesses-in-the-media/

"Gill's Representation of Disney Princesses in the Media." IvyPanda , 28 Jan. 2024, ivypanda.com/essays/gills-representation-of-disney-princesses-in-the-media/.

IvyPanda . (2024) 'Gill's Representation of Disney Princesses in the Media'. 28 January.

IvyPanda . 2024. "Gill's Representation of Disney Princesses in the Media." January 28, 2024. https://ivypanda.com/essays/gills-representation-of-disney-princesses-in-the-media/.

1. IvyPanda . "Gill's Representation of Disney Princesses in the Media." January 28, 2024. https://ivypanda.com/essays/gills-representation-of-disney-princesses-in-the-media/.

Bibliography

IvyPanda . "Gill's Representation of Disney Princesses in the Media." January 28, 2024. https://ivypanda.com/essays/gills-representation-of-disney-princesses-in-the-media/.

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Home > Capstone Showcase > 2022 > MEDIA_COMMUNICATION > 3

Disney Princess films and their effects on Gender and Body image through the Social Learning theory

Jessica Yakubovsky Follow

Date of Award

Degree name.

Bachelor of Arts

Media & Communication; College of Arts & Sciences

First Advisor

Lisa Holderman

Second Advisor

Alan Powell

Many of us grew up watching Disney Films and throughout the last decade and prior, the Walt Disney Company has created a variety of characters whom we grew up alongside. As we watched these films we found ourselves within the characters and learned things through them. This thesis paper aims to analyze Disney Princess Films and their profound effects on Gender and Body image through the theoretical perspective of the Social Learning theory. I will analyze Classic Disney princesses such as Snow White and Cinderella, and modern princesses such as Mulan(1998) and Merida (2011). My critical analysis indicates that Disney characters, specifically princesses, have profound effects on our gender roles and body image and provides research from various studies. From the first Disney princess film Sleeping beauty to the most recent one being Moana, Disney princesses have become more progressive but still lack the qualities present-day viewers possess. Overall, The Walt Disney Company has a prominent role in influencing our gender roles and how we view our bodies and the Social Learning Theory helps us understand why we imitate and possess so many of those characteristics.

Recommended Citation

Yakubovsky, Jessica, "Disney Princess films and their effects on Gender and Body image through the Social Learning theory" (2021). Capstone Showcase . 3. https://scholarworks.arcadia.edu/showcase/2022/media_communication/3

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• "The Witch, the Blonde, and the Cultural "Other": Applying Cluster Criticism to Grimm and Disney Princess Stories" / by Valerie F. Garza Dissertation--M.A.; University of Texas Rio Grande Valley, 2018. The Brothers Grimm and the Walt Disney Company have produced popular fairy tales for large audiences. In this work, cluster criticism—a rhetorical criticism that involves identifying key terms and charting word clusters around those terms—is applied to four Grimm fairy tales and four Disney princess films. This study aims to reveal the worldview of the rhetors and explore how values present in Grimm tales manifest in contemporary Disney films. Disney princess films in this study have been categorized as “White/European” and “Non-White/Cultural ‘Other.’” Because film is a form of non-discursive rhetoric, an adaptation of cluster criticism designed for film was been applied to the selected animated features. This study reveals that many patriarchal values present in Grimm fairy tales appear in contemporary Disney films, and while Moana (2016) features far fewer displays of these values, intersectional feminism should be kept in mind, with more diversity in princesses needed.
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Disney's New Fairytale: An Analysis of Representation in Disney's Live-Action Remakes of Beauty and the Beast and Aladdin Public Deposited

• Fairytales were originally an oral tradition used to communicate past experiences and beliefs. Over time, fairytales were adapted into films, which allowed the producer to exercise great control over the messages. Walt Disney, with animated films such as Snow White and the Seven Dwarfs (1937), revolutionized fairytales as films. The studio’s superiority in the production of animated fairytale films allowed it to become legitimized as an educator. Many scholars, however, found issue with some of the messages in the films. Disney’s animated films may teach children limiting gender roles or that non-Western cultures are necessarily lesser or evil. Live-action remakes function as guaranteed economic success for companies like Disney. Such commercial endeavors also provide Disney with an opportunity to improve areas of problematic representation. This project seeks to understand how Disney has responded to scholarly critiques. Two live-action remakes – Beauty and the Beast (2017) and Aladdin (2019) – are used as exemplars. A qualitative textual analysis is completed using previous critiques as a guide. The analysis focuses on the specific scenes, songs, and characters problematized by scholars. The findings of this project suggest Disney has been receptive to criticism of its animated films, although it struggles to consistently improve its messages.
• Zirger, Samantha L.
• Media Studies
• Stevens, J. Richard
• Frost, Steven
• Soares, Kristie
• University of Colorado Boulder
• Live-Action Remakes
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Beyond the Bao:

Exploring the Short Film in Classrooms

Beyond Bao: Exploring the Disney Short Film in Classrooms

This is part of our Media Highlight Series which aims to support curriculum about migration through the exploration of storytelling – this includes literature, film and more. 

Bao , a short Pixar film by Domee Shi, was released in 2018. The short film explores themes central to experiences of migration including: family, culture, empty nest syndrome and food. Not only is it an educational film, it is an enjoyable film as well, one that is perfect for a humanizing exploration of im/migration and identity.

What does bao mean? A Bao is a Chinese dish, a steamed bun usually filled with meat or vegetables. We learned about the different translations of the word from Behind the Name . In Chinese, Bǎo means “treasure, jewel, precious, rare”. In Vietnamese, the name Bảo means “protection or security”. Keep these meanings in mind as you watch the short film.  

Our educational resources are organized  by our Learning Arc , which consists of 10 questions pertaining to migration. In a world on the move, we urge educators and students to consider the multifaceted nature of migration. Bao provides a powerful window into what we call the “ecology of ajustment,” offering insights into two questions that are central to our work:

• How do newcomers come to understand the new land and their place in it over time?
• How might newcomers and the receiving community balance their identities, cultural values, and world views as they interact with one another?

As the story unfolds in Bao , we see that the actions of the characters and their surroundings have symbolic importance. As you watch the film, look for symbols and symbolic actions. Teachers, if you plan to use Bao in your classes, we encourage you to consider the discussion questions we’ve included below. Moreover, we’d love to hear about how this goes for you, please feel free to email us at adam@reimaginingmigration.org

We couldn’t find the short film online for free, but you can buy it on YouTube for $1.99. It also streams on Disney Plus.

Reflection Questions

• In this film, the animators have given the Bao a personality. How would you describe the Bao?
• What does the Bao want to do?
• What does the film tell us about what the Bao symbolizes?
• Where does the story take place?
• What do we know about the identity and culture of the characters from their surroundings? This includes decorations in their house as well as the neighborhood where they live.
• What does the Bao’s room tell you about the differences between him and his family?
• This family story is told through food. Beyond simply providing nutrients or something to eat, what is the role of food in families and their traditions?
• What role does food play in your family and your culture?

Relationship between the Bao and his mother

• What tensions can you see between the Bao and his mother?
• Why does the mother eat the Bao? What might that symbolize?
• Toward the end of the film, the protagonist’s son returns and they sit together and cry. Why do you think that is?

Deeper meaning

• If someone was to ask you what the film is about, what would you say?
• What is the conflict in the story? How is it resolved?
• If so, what are they?
• If not, then what’s something new you learned?

Disney Pixar published this informative thread about Bao on Chinese New Year (Tuesday, February 5, 2019):

Come and get it! We’ve got some piping hot fun facts about our short film #Bao for #LunarNewYear . #PixarDidYouKnow pic.twitter.com/cTmH2YNlg0 — Disney•Pixar (@DisneyPixar) February 5, 2019

You can also go to this Disney webpage to see how you can pick up a copy of Bao.

Learning Arc question for this resource:

What are the conditions in the new land and how do these shape the experience of migration?

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‘The Beach Boys’ Documentary Trailer Brings Never-Before-Seen Footage to Disney+

By Selena Kuznikov

Selena Kuznikov

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Get ready for some fun, fun, fun! Disney+ has released the trailer for its “ The Beach Boys ” documentary, which is set to stream on the platform May 24.

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Produced by Kennedy/Marshall and White Horse Pictures, “The Beach Boys” is directed by Frank Marshall and Thom Zimny and written by Mark Monroe. The film is produced by Marshall, Irving Azoff, Nicholas Ferrall, Jeanne Elfant Festa and Aly Parker. Nigel Sinclair, Monroe, Tony Rosenthal, Cassidy Hartmann, Glen Zipper, Zimny, Beth Collins, Jimmy Edwards, Susan Genco, Marc Cimino, Jody Gerson, Bruce Resnikoff, and Ben J. Murphy serve as executive producers.

The official soundtrack, “The Beach Boys: Music From The Documentary,” will be available to stream and download on May 24 via Capitol/UMe.

Watch the trailer below.

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