All the characters in the market scene, such as the sellers, police, and attendees, are predominantly, if not exclusively, male. Even Jafar's horse is also supposedly male, as the ‘default’ rule is applicable and all animals are male unless proven otherwise. For instance, the magical cave filled with treasures is male for no apparent reason. The situation gets worse throughout the work, as there are generally more male than female side characters. The animated film presents the audience with five men in the first five minutes of the cartoon. When comparing both versions of Aladdin, the sexism is apparent right from the beginning. In this respect, Trites' (2014) statement that “another obvious cultural narrative is being reinforced here: males matter more than females” could be supported by both films' covers. Following the earlier version of the film, there is not a single creature supporting the main plot that is female. As is the case with the animated version, animals and magical objects are also male by default. However, judging by the cover, the audience is again presented with a male-centered narrative: Aladdin is in the middle, reinforced by the number of significant male roles in the film. By the end of the movie, the princess appears to be an important figure in the plot. In terms of Jasmine’s narrative development throughout the film, however, she makes a lot of progress and becomes a sultan. Although Jasmine is still in the picture, she appears in the background, surrounded by six to eight key male characters. Looking at the 2019 film posters, it is evident that not much progress has been made. Despite having a woman in the picture, she remains the minority among five to seven main male characters. From the very beginning, the audience is prepared for a narrative that will be male-centered. No animal or mystical tool in the cartoon is female. Even the magical objects, such as the carpet and the cave, are men. As a part of a general pattern and a long cinematic tradition, “everyone always assumes Disney animals are male, unless they are specifically told otherwise” (Trites, 2014). In addition to Aladdin, Jafar, and Genie, animals are also male. In the examples presented below, the number of male characters varies between five and seven. The amount of male animated figures is also unbalanced compared to the only female representative, Jasmine. Film representationįigure 2: Comparison of different covers of both 19 Aladdin films. If we look at instances of cultural products targeted at young audiences, the 'maturity formula' issue goes way beyond Pixar. As a result, sexism, ageism, and discrimination continue to grow. All these factors influence society by reinforcing the cultural narrative that women are more mature than men. Another problem is the portrayal of the male path to maturity as more adventurous, varied, interesting, and deserving of attention than female growth. Males in Pixar films are usually portrayed as immature and in need of guidance, while women are mature and knowledgeable. Meanwhile, males are portrayed as emotionally unstable, needing guidance, and having a very adventurous growing up process throughout the films. The pattern intensifies the cultural narrative of females as the already-mature ‘voice of reason’ (Trites, 2014). The narrative is “ predicated on the false assumption that women will always-already mature as a result of their ostensibly maternal nature” (Trites, 2014). This popularized stereotype has its cultural roots in history. The author claims that modern animated movies for children assume that women/girls are more mature than men/boys and widely promote this narrative. Trites (2014) identifies the issue of the so-called ‘Pixar maturity formula’. The films are used as a parable through which the audience can recognize a deeper social projection (Turner, 1996). Growing up, kids become used to the norms projected onto them and spread the stances they have learned in childhood throughout their adult lives. Cultural products for children are a way for them to learn about morals and ethics. The discussed matters are serious because films targeted at children, among other cultural products, convey coded messages that can normalize harmful stereotypical scenarios. I will also touch upon other major flaws in the films' narratives. This article will focus on sex- and gender-related discrimination and prejudice in two movies by Disney. As Trites (2014) makes clear, narratives in children's movies often contain stereotypical imagery and might, in the long run, be harmful in a cultural and social sense. When analyzing the animated version of Aladdin (1992) and the recent film Aladdin (2019), one notices major traces of sexism, ageism, and racism. However, in hindsight, childish naivety is replaced with suspicion and skepticism due to the story's controversies. Aladdin, Jasmine, Jafar, and Genie are beloved characters familiar to us from childhood.
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