Mediating Girls’ Imaginations and Identities
Edited By Miriam Forman-Brunell and Rebecca C. Hains
Chapter Ten: If I Were a Belle: Performers’ Negotiations of Feminism, Gender, and Race in Princess Culture
For most of Disney’s history, movies such as Snow White and the Seven Dwarfs and Cinderella were part of Disney’s panoply of family films. The films’ title characters were beloved by children and parents alongside other iconic Disney characters, such as Pinocchio and Bambi. In 2000, however, executives in Disney’s consumer products division changed their marketing strategy, grouping feature film princesses into a separate, unified, gendered line. This new Disney Princess brand successfully positioned three- to five-year-old girls as an audience for all things princess: The Princess brand is now worth far more than the sum of its parts. Today, preschoolers avidly consume Disney Princess films, dolls, dress-up clothes, and other toys, prompting a surge in other brands’ princess-themed products for young girls (Orenstein 2011).
In the years before and after the Disney Princess launch, Disney films’ representations of gender and race have been subjects of scholarly critique (Baker-Sperry and Grauerholz 2003; Beres 1999; Do Rozario 2004; Dundes and Dundes 2000; England, Descartes, and Collier-Meek 2011; Giroux 1998; Pewewardy 1996/97; Stone 1975; Trites 1991; Tucker 2009; Wiltz 2009). Within this literature, however, a gap exists: Professional performers’ work portraying princesses has been overlooked. Hundreds of women have played Disney Princesses in stage shows at Disney parks, on cruise ships, and in ice shows, as well as in the Broadway musical versions of Beauty and the Beast and The Little ← 209 | 210 → Mermaid. Disney also provides opportunities for women to perform as princesses in unscripted...
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