Fashion, Feminist/Gender Theory, Society and Politics, Visual Cultural Theory

The Lumbersexual Proves That Masculinity Is In Crisis – And It’s a Good Thing.

First published on Fanny Pack.


What’s happened to the metrosexual man?

At the advent of the new millennium it seemed as though the laddish, matching-tracksuit-wearing man of the ’90s was becoming deeply unfashionable, replaced by an all-new slicker, cleaner, prettier model. The metrosexual man wore chinos and tight jeans. He wasn’t afraid to use moisturiser. He wore expensive underwear. His chin was stubble-free and his trainers were designer. His bed-head hair was quiffed to perfection. He worshipped at the altar of Beckham.

Lad and Metrosexual

(From left to right) Lad’s fashion and Metrosexual icon David Beckham. (Sources: The Guardian & Irish Central)

But now, like the ‘lad’s lad’, the metrosexual man is a dying breed: hunted out of high-fashion by a strange new type of man that emerged out of the wilderness late last year. He’s grown his moussed-quiff out into a top-knot and thrown out his over-priced razor to let his facial hair grown wild like a sexy lawn. He has tattoos of Mexican skulls and ’40s pin-up girls on his arms. He wears flannel, wife-beater vests, and American Apparel hoodies. His glasses make Christopher Reeves’s ’70s frames look embarrassingly undersized.

You know this man. You’ve probably seen him drinking imported beer outside of a bar decorated with sheet metal and taxidermy. Or maybe you’ve seen him rifling through a rack of over-sized denim jackets at a thrift store. This man is the lumbersexual.

Lumbersexual styled model

A Lumbersexual-styled model. (Source: neverlikeditanyway.com)

But is the lumbersexual just another fad of the past year, or does he represent something deeper about the current ‘crisis of masculinity’? In a world in which the male suicide rate is climbing at an alarming rate, could something as superficial as a fashion statement really help stabilise this crisis? Should we even be calling it a ‘crisis’ in the first place?

The lad and the metrosexual may be two opposite ends on a spectrum of conventional (and broadly heterosexual) masculine behaviour and fashion, but what they share is authenticity. The men subscribing themselves to them are subscribing to forms of masculinity that they recognise within themselves – either careless or aspirational.

The lumbersexual is purposefully inauthentic, and could only exist now. Since the start of the new millennium, we’ve been sliding into a cultural zeitgeist in which irony and recycling has become the widest accepted currency in pop culture and fashion. A zeitgeist in which tackiness is the new chic and new ideas are old ones in disguise. Trends like the lumbersexual are a perfect culmination of this ironic re-appropriation: a delicately mixed recipe of romanticised blue-collar Americana, a vague sense of tribalism, and a dash of punk for good measure. An on-point lumbersexual has got his keys to his vintage truck in one hand and his brand new iPhone in the other. The perfect hyper-masculine costume for the 21st century. A parody – not an homage – of masculinity.

Even the Metrosexual King has succumbed to Metrosexuality

Even the Metrosexual King has converted to Lumbersexuality. (Source: blogspot.com)

This trend could be seen as either a new wave of broad exploration of what it means to be a man in our society today, or symptomatic of a deep-seated ‘crisis’ of masculinity that so many have speculated about in the last year. Columnist Katie Glass certainly seemed to indorse the latter in her article for September’s Sunday Times magazine, in which she voiced her concern for the increasing male suicide rate in the UK (which is currently a bigger killer than murder, road accidents, and HIV/AIDS combined) in relation to women’s progress:

“It’s hard not to see male suicide in the context of feminism. That while young women grow in confidence as feminism has evolved from dry academic discussion to being featured in Vogue, as women come together on social media […] nobody gives the same empowering message to young men. […] Young men are victims of patriarchy too.”

To assert that the empowerment of women has lead to the disillusionment of men to me is a patriarchal statement in itself, but I do agree with her that the patriarchy is also the culprit in this case. And it seems that most of the data on the gender divide concerning suicide rates supports this idea. Professor Daniel Freeman and Jason Freeman noted in another similar article for the Guardian last January that:

“Even in their choice of suicide method, males and females act out culturally prescribed gender roles.”

Despite more women being diagnosed with depression and attempting suicide than men, women tend to opt for less violent means such as over-dosing, whereas men more often choose firearms or hanging and therefore have a much higher suicide success rate.

So, how exactly does donning a plaid shirt and buying beard oil combat suicidal thoughts? How do we help men fight the crisis of masculinity? Well, for starters, what if we thought of it as less of a ‘crisis’, and more of a deconstruction? Think of previous iconic trends that have briefly torn up the rulebook for men’s fashion: from the longhaired hippies of the ’60s, to the glam rockers of the ’70s, to the new romantics of the ’80s. Or what about looking outside of conventional heterosexual masculinity altogether? Think of drag queenscross-dressers, and ‘gender-fucks’ like Conchita Wurst. Whilst feminine fashion and behaviour has allowed for fluidity, mainstream masculinity – although fluctuating occasionally – has generally remained stubbornly rigid, and the men who challenge it always perceived as more scandalous than women who do the same.

Conchita Wurst redefining masculinity

Conchita Wurst: redefining masculinity. (Source: ibtimes.com)

This is why trends like the lumbersexual matter. Not as a genuine expression of ‘back to the good old days’ grunting and unwashed hyper-manliness, but as an ironic costume. Men dressing up as men like some kind of weird reverse drag act. Fashion – as ephemeral as it may seem to some – matters. The way we dress and project ourselves matters. Masculinity doesn’t need to be saved or preserved; it needs to be torn down and rebuilt. It needs expanding and exploring. It needs redefinition. If our construction of gender runs so deeply through our psychological governing that it even affects how we choose to kill ourselves – and how ‘successful’ we are at it – then surely that alone is proof of how urgently we need to change this construction – for both genders.

If we want to save generations of young boys from feeling helpless enough to take their own lives we need to stop telling them to ‘man up’, or even ‘woman up’; we need to tell them to shirk oppressive gendered expectations in favour of simply being more comfortable in their own skin. To explore their own sense of what it means to be a man, just like Caiden Henson and his proud lumbersexual father, Paul:

Caiden Henson dressed in his choice of Hallowe'en costume - Disney's Princess Elsa.

Caiden Henson (3-years-old) dressed in his choice of Halloween costume – Disney’s Princess Elsa. (Source: dailymail.co.uk)

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Feminist/Gender Theory, Pop Culture, Wicked Wiles

Wicked Wiles: Robin Hood (1973)

This article is part of a series. You can read the introduction here.

First published on the Fanny Pack blog on 12th September 2015.


Wicked Wiles Synopsis

Taking inspiration from a mix of British history and folklore, Disney’s Robin Hood (1973) reimagines the classic tale of the notorious morally-minded outlaw who robs from the rich to give to the poor during the reign of Prince John (1199 – 1216), set in – yes, you’ve guessed it – Nottingham. In this version, Disney chose to reinterpret the entire Kingdom as anthropomorphic animals: Robin Hood and Maid Marian are foxes; Little John is a bear; Friar Tuck is a badger/mole (I honestly couldn’t work out which one…); Prince John and King Richard are Lions; the Sheriff of Nottingham is a wolf; Sir Hiss (aide to Prince John is a snake); Lady Kluck (Maid Marian’s Lady in Waiting) is a hen; and other characters include dogs, rabbits, mice, and even a tortoise.

Robin Hood: Foxy.

Robin Hood: Foxy.

This version – filled with a strange mixed cast of both British and American voice talent – follows Robin and Little John on various escapades to recover the money that Prince John has heavily taxing his subjects for – leaving most of them destitute. (In reality, this was to fund the Prince’s war with France, but the film chooses to simply chalk it up to greed alone.) However, the thread that weaves everything together is actually the reuniting of Robin with his childhood sweetheart, Maid Marian. After returning to her uncle’s (Prince John’s) castle in Nottingham, both she and Robin long to see each other. Prince John – eager to capture the outlaw who continually makes a mockery of him – stages an archery tournament with a kiss from Marian as the Grand Prize, knowing that Robin wouldn’t be able to resist showing off his skills.

Robin enters in disguise and is of course victorious; at which point the Prince’s guards jump on him. Robin manages to escape execution thanks to Little John’s help, and elopes with Marian to Sherwood Forest. Furious once again, Prince John captures Friar Tuck – a loyal ally of Robin’s – and announces his public execution to lure Robin out again.

Wicked Wiles How many female characters are there?

There are 6 female characters with speaking parts:

  • Maid Marian
  • Lady Kluck
  • Little Rabbit girl
  • Rabbit mother
  • Elderly owl
  • Church mouse

Wicked Wiles Is the villain female and if so what are her motivations?

There are no female villains. In fact, none of the female characters have any villainous or unfavourable character traits at all. This could be seen as positive as none of the female characters are portrayed in an actively negative light, but on the downside, it also means that none of them actively contribute to the driving of the plot.

Wicked Wiles How do they female characters interact with each other?

As all of the characters are animals, the animators sometimes felt the needs to make their genders unmistakeable by exaggerating some elements of their design. The little girl rabbit, for example, is flagged out as a girl by a cute dress, long eye lashes, and a massive pink bow (despite having no hair).

Wicked Wiles Robin Hood Disney

I guess her ears were getting in her eyes..?

Despite these cosmetic issues, I actually really enjoyed the tight bond that Maid Marian and Lady Kluck shared. Maid Marian is a classic – if not the classic – ‘damsel in distress’ archetype, and as such could have easily been portrayed as little more than just another object to steal from Prince John for Robin’s trophy collection in this version. However, for the first quarter of the film we see her only interacting with Lady Kluck and a little gaggle of children from Nottingham who stumble into the castle gardens to retrieve an arrow they accidentally shot over the walls.

As the children sneak through the bushes – terrified of running into the short-tempered Prince John – we hear whoops of laughter and shouts from the two ladies, until we see what they’re doing: playing badminton together. Later on when they are alone in Marian’s chambers, they gossip and giggle together about her romance with Robin, and Klucky assures her – as a good friend would – that “absence makes the heart grow fonder.” Although Robin does unfortunately occupy the majority of their conversations, I still found it pleasantly surprisingly that the film would take so much time to build up Marian’s relationship with another female character, especially one as relatively minor as Klucky. It leant Marian’s character a little more weight and independence; and Klucky – voluptuous, eccentric, feisty, and inexplicably Scottish – is a very easy character to fall in love with.

Wicked Wiles Robin Hood Maid Marian Lady Kluck Disney

BFFs.

Wicked Wiles Who drives the plot?

The plot is driven mainly by Prince John as he devises most of the major events in the story, such as the archery tournament and Friar Tuck’s execution. Moreover, even though Robin Hood is the titular character, it’s Prince John’s constantly unreasonable tax escalations that fuel his escapades. None of the female characters significantly contribute to the driving of the plot.

Wicked Wiles How do the male characters treat the female ones?

Robin and Little John seem to really love playing dress-up in this film. Less hardened bandits than happy-go-lucky conmen, the first we see of them in ‘action’ is interestingly them scampering through Sherwood forest pulling on various items of women’s clothing. Disguised as fortune tellers, they intercept Prince John’s carriage, knowing that he would never suspect women to rob him: “Female bandits? Poppycock. Whatever next!”

Neither Robin nor Little John seem even vaguely embarrassed or uncomfortable playing up to their gender-bended disguises – Robin comically modulates his voice as he pretends to see the Prince’s fortune in his looking glass; whilst Little John even sashays around flirtatiously teasing the guards outside.

Disney Wicked Wiles Robin Hood Little John

Possibly one of the strangest Disney screen caps ever.

Even domestically, the pair seem no strangers to more ‘feminine’ pursuits. John wears a frilly apron as he hangs washing out to dry on a line whilst Robin absent-mindedly stirs a pot of stew, dreamily thinking about Maid Marian. The stew starts to boil over, and Little John scolds him as he tries to salvage their dinner. These Disney bachelors seem a lot more maturely developed than the dwarves of Snow White who lived in squalor for fear of taking up ‘womanly’ chores. The tone, however is still frustratingly unclear: Are Robin and Little John progressively comfortable enough in their masculinity that they can easily affect traditionally female activities? Or are these scenes – complete with emasculating filly aprons and fake breasts – played for laughs?

Something more troubling though is Prince John’s character. Other than the decimation of the working class, his villainous quirk is that he is a “mummy’s boy”. Clingy, babyish, squeaky-voiced, and easily wound-up, he wails and sucks his thumb every time his late mother is mentioned, which he is mocked for, of course. He is the complete opposite of his brother Richard “Lionheart”, who we see later as a large, strong, and deep-voiced character – and well-loved by his people.

The oppositional twinning of Prince John with weakness and King Richard with strength sheds John’s close bond with his mother in a negative light as it reinforces the negative stereotype of boys’ who identify more with the mothers as being “feminised”, and therefore weak.

Robin Hood Disney Wicked Wiles Prince John

Prince John curls up with his riches.

In terms of the physical treatment of female characters by the males ones, the story seems mainly predicated on Marian and Robin’s romance, and as I mentioned earlier – Marian is by no means completely sidelined. As she and Robin make their escape from his capture and near-execution at the archery tournament, she does her best to fight alongside rather than hinder him. I’m not saying she’s a feminist icon by any stretch of the imagination, but Disney could have done a lot worse by her. Klucky, of course, is the stand-out performer in this scene:

Wicked Wiles Does the Princess have characteristics beyond her princess role?

Although Marian is not technically a Princess, her familial status as King Richard and Prince John’s niece, coupled with her being the object of the heroes’ affections puts her in the ‘might as well be’ category.

Aside from performing her duties at the archery tournament and generally living the lifestyle of a Princess, Marain’s main function in the story is to abandon these duties to elope with Robin. And although he is absolved of his crimes once King Richard takes back the throne at the end, she is still the most consciously rebellious Princess we have seen so far.

Disney Wicked Wiles Neutral Classification

As much as I wanted to give this film a positive stamp of approval, there were certain negative factors I couldn’t let slide:

  • No female characters significantly drive the plot.
  • The majority of Maid Marian and Lady Kluck’s conversation focus on Robin.
  • The tone of Robin and Little John’s “feminine” escapades is unclear.
  • Little John’s intrinsic weaknesses as a leader are implied to be rooted to his close relationship with his mother.

But, there were enough positive elements in the film to balance it out to a neutral classification:

  • Maid Marian is allowed to make the decision to rebel rather than wait to be rescued.
  • She also has a close bond with another female character, in this movie the female characters are not pitted against each other.
  • Despite still being defined mainly by her relationship to Robin, Marian is given a fair amount of screen time on her own.
  • Lady Kluck doesn’t fulfil conventional beauty standards in the way that Marian does, but is still shown as a positive character: vibrant, funny, independent, and loyal.

Next up in the “Wicked Wiles” series: The Little Mermaid!
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Anime, Feminist/Gender Theory, Manga, Pop Culture, Visual Cultural Theory

How The Female Gaze was Celebrated and Censored in Cardcaptor Sakura

Originally published for Bitch Flicks as part of their ‘Female Gaze’ theme week, 26th August 2015.


With their starry eyes, cutesy costumes, Barbie-esque features, and catchphrases overflowing with dreamy positivity, the magical girls of the shojo (girls) genre of anime might not seem like the most feminist of heroines upon cursory glance. Yet, the plucky sorceress’ of such cult classics as Sailor Moon can be seen as emblematic of a counter-movement of female action heroes in Japanese culture – the antidote to the hyper-masculinity of the shonen (boys) genre.

Sailor Moon female gaze anime manga iwantedwings

Sailor Moon from Sailor Moon

Goku Dragon Ball anime manga female gaze feminism iwantedwings

Goku from Dragon Ball

This assessment by no means disregards the problems of the magical girl genre – glorification of the traditionally ultra feminine, fetishisation and infantilisation. Shojo characters with their typically doe-eyed innocence can be easily corrupted to cater to a specific male fantasy of virginal femininity. However, the work of the all-female team of manga/anime creators known as ‘CLAMP’ not only combats these issues, but also, as Kathryn Hemmann in The Female Gaze in Contemporary Japanese Culture writes, “employs shojo for themselves and their own pleasure.”

I became a fan of CLAMP – like most people of my age – in the 1990s. As a child, my introduction to the wonderfully weird world of Japanese cartoons consisted of the standard diet for most children of that era: Pokemon, Yu-Gi-Oh! and Dragon Ball Z. Imported, dissected, re-dubbed, and re-packaged to suit the tastes of a western – and more specifically – male audience. But amongst the shouts of “Gotta Catch ‘Em All!” and “Kamehameha!” there was one show that really left a lasting impression on me. It was about a little girl gifted with great power through capturing and using magical ‘Clow’ cards. She wasn’t muscly; she wasn’t self-assured; and she certainly wasn’t male. She was Sakura Kinomoto, the show was called Cardcaptors (Cardcaptor Sakura in it’s original Japanese format), and it was my first exposure to both CLAMP and the magical girl or ‘mahou shoujo’ genre they helped to popularise.

CLAMP anime manga magical girls feminism female gaze iwantedwings

CLAMP at the Phoenix Anime Convention, 2006

Like most adolescent heroes, Sakura seems hopelessly ill-equipped to begin with, and yet her sheer determination to achieve her full potential sees her through to becoming a magical force to be reckoned with without ever surrendering her loving personality. Rather than conforming to the ‘strong female character’ stereotype that implies that women must act more masculine to achieve truly equal footing with male action heroes, Sakura’s power stems from traits considered more conventionally feminine: love, empathy, and pureness of heart. Even her wardrobe changes into unapologetically girly battle outfits aesthetically reinforce CLAMP’s refusal to bow to a male audiences’ preferences.

Cardcaptor Sakura anime manga female gaze feminism

Sakura’s signature battle outfit.

These themes of romance and friendship are a core part of the story development and instrumental in the viewer’s investment in the characters. Through Cardcaptor Sakura, CLAMP explores the complexities of both platonic and romantic female love – both heterosexual and homosexual – from an almost exclusively female perspective. In almost soap opera-esque melodrama, Sakura pines for her older brother’s best friend (who unbeknownst to her, is also his love interest) as Sakura’s best friend Tomoyo pines for her. Tomoyo, who lives a rich and sheltered life in a female-centric household, seems to live vicariously through Sakura. Upon discovering her secret heroics at night, she begins to capture Sakura’s adventures on camera and even provides her with her signature battle costumes, which cause Sakura huge embarrassment. Yet, at the risk of hurting her friend’s feelings, she grudgingly wears them anyway.

As the show develops, we are shown more and more just how deeply Tomoyo’s feelings run. In episode 11, Tomoyo gives Sakura a rare tour of her impressive mansion home, including a cinema room in which she confesses that she watches her recordings back of Sakura in battle constantly. It seems that Tomoyo is as much a part of the audience to Sakura’s life as we – the viewers – are. It also strikes me that this obsessive behaviour might translate entirely differently if Tomoyo were male.

Tomoyo Kero Cardcaptor Sakura anime manga female gaze feminism

Tomoyo and Kero-chan spy on Sakura.

Tomoyo’s idolisation of Sakura is far from veiled, and yet it is not revealed to be unmistakably romantic until Episode 40, in which Sakura must capture a Clow card that makes people dream about their hidden desires. Sakura, Tomoyo, Syaoran Li (Sakura’s rival and male love interest) and his cousin Meilin visit a fun fair. Sakura and Meilin team up to play a Whack-A-Mole game and Tomoyo – as usual – picks up her camera to film Sakura in action. Suddenly, the Clow card appears in the form of a glowing butterfly and lands on Tomoyo’s shoulder. Tomoyo falls into a dream sequence, in which we see her deepest desire play out through her eyes. On a pink background of falling cherry blossom, copies of Sakura dressed in Tomoyo’s outfits call her name and dance playfully around her. We are shown a shot of Tomoyo’s face – staring in awe at first, and then relax into a smile. ‘I’m so happy!’ she says to herself, and runs towards the dancing copies of Sakura – still filming.

It seems like an odd moment to be sexually awakened – watching your crush play a ‘Whack-A-Mole’ game at a fun fair – and perhaps if the show had been targeted at a more mixed audience (or the characters were older) this moment might have been filled with more obvious sexualised content. But through Tomoyo’s own eyes, CLAMP visually summarise the complex feelings of romance, admiration, obsession, and innocent love she feels for her best friend. Not only this, but as Sakura dances continually out of Tomoyo’s physical reach, the implication becomes one of wanting something you know you can never have. Tomoyo knows by now of Syaoran’s feelings for Sakura, and like a true friend, encourages their romance for the sake of Sakura’s happiness rather than her own.

This ‘doomed’ romance trap seems to be a family curse, as we discover in episode 10 that Tomoyo’s mother appeared to also be hopelessly in love with Sakura’s mother (who happens to also be her cousin). Similarly, Sakura’s mother didn’t return her cousin’s feelings as she was in love with an older man (Sakura’s father) in the same way that Sakura is attracted to Yukito – an older boy. Both mothers are absent from their lives – Sakura’s mother through death, and Tomoyo’s through continual business trips – yet their daughters seem fated to play out their romantic histories.

Tomoyo Sakura Cardcaptors anime manga female gaze feminism

Tomoyo invading Sakura’s personal space…

Suffering from a bout of nostalgia, I decided to revisit the show as an adult, first in it’s Americanised form, and then the original Japanese version to compare the differences. I was shocked to discover that in an effort to make the show fit the perceived needs of their rigidly defined demographic of young boys, the executives at Kids WB had hacked all elements of ‘toxic’ feminisation from it – romance, homosexuality, and the agency of Sakura has a protagonist (even her name is removed from the title) – dramatically reducing the series from 70 to just 39 episodes. In fact, if they had been able to “maximise” their cuts, the show would reportedly have run for merely 13 episodes. In other words, there was a concerted effort to twist the female gaze into a male one under the belief that CLAMP’s blend of hyper-femininity and action would be unappealing for the male audience it was being sold to. In Japanese Superheroes for Global Girls, Anne Allison quotes this from an executive from Mattel, “[…] In America, girls will watch male-oriented programming but boys won’t watch female-oriented shows; this makes a male superhero a better bet.”

Whilst moaning about all this to my partner recently, I asked him if he had watched the dubbed version of the show as a child. He said that he had, but didn’t realise until he was older that the show had probably been intended for girls. I asked him if he remembered being turned-off that the show’s hero was a little girl as opposed to the ultra-masculine characters of his favourite childhood anime, Dragon Ball Z. His answer totally undermines Mattel’s assumptions about the show’s gender appeal: “I thought Sakura was really cool. In fact, I loved her so much I begged my mum for roller-skates that Christmas so that I could skate around to be like her.” Even more affirming than this is the fact that whilst the dubbed version of the show ended up being cancelled, the original Japanese one ran to its intended conclusion; spawned two films; and inspired two spin-off series’ using the same characters – Tsubasa: Reservoir Chronicle and xxxHolic.

Tsubasa Resevoir Chronicles Clamp manga anime female gaze feminism

Tsubasa: Reservoir Chronicles

xxxHolic Clamp manga anime female gaze feminism

xxxHolic

Sadly, by ‘butching’ Cardcaptor Sakura up to be squeezed into the TV schedule alongside Pokemon and Dragon Ball Z, western children were deprived of the tender and emotionally complex storytelling and character development behind all the magic and swordplay – and even from getting a satisfying ending to the show. It seems that whilst Japanese children are considered mature enough to deal with female superheroes, complex pre-pubescent emotions, and LGBTQ+ representation from a female perspective, western children are unfortunately not treated with the same respect or intelligence.


iwantedwings (aka Hannah) is a freelance writer, artist, anime-nerd, and Britney Spears apologist based in the UK.

 

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Feminist/Gender Theory, Pop Culture, Society and Politics, Visual Cultural Theory

What Is The Real Feminist Message of “Mad Max: Fury Road”?

Originally published on the Fanny Pack blog.


Before 2015, when you thought about director George Miller’s Mad Max film series, you probably wouldn’t associate it with words such as ‘Feminism’ or ‘Female Empowerment’ as much as you would with ‘Cars’, ‘Motorbikes’ or ‘Mel Gibson.’

Skip forward to today, however, and you’ll find that Mad Max: Fury Road – the fourth installment of the long-running franchise –  has proven to be a surprisingly divisive film for anyone interested in gender politics, hailed as either an instant Feminist classic or reviled as “propaganda” ruining a traditionally male-focussed franchise. I totally side with the former, and whilst it is not without fault from a Feminist perspective, I was incredibly uplifted to see such a big-budget blockbuster not only follow in the footsteps of female-lead action films of the past like Alien, Terminator and The Hunger Games, but also sport a very clear anti-Patriarchal stance. There is no subtext or subtlety about it: Fury Road is a bloody and biting call to arms for women everywhere with it’s unofficial tagline:

‘WE ARE NOT THINGS.’

Misogynists everywhere have been very vocal in their criticism of it, but after sifting through all the negativity lobbied against the film, there’s one in particular that bugs me the most. Men’s Rights Activists’ such as Aaron Clarey in his review on popular MRA blog Return of the Kings have popularised the idea that titular character Max [Tom Hardy] is criminally sidelined in his own film, leaving co-star Imperator Furiosa [Charlize Theron] to steal the show.

“Charlize Theron kept showing up a lot in the trailers, while Tom Hardy (Mad Max) seemed to have cameo appearances […] And finally, Charlize Theron’s character barked orders to Mad Max. Nobody barks orders to Mad Max.”

The irony of this statement is that once I started to unpack all the ways Clarey was wrong, I inadvertently started to realise that the Feminist lifeblood of Fury Road runs far deeper than just the superficial ‘strong female character’ stereotype.

Throughout the Mad Max franchise, Max has always been characterised as a nomadic figure, drifting from one post-apocalyptic madness to the next. Fury Road’s narration consolidates this by quoting this from The First History of Man: 

“Where must we go, we who wander this wasteland, in search of our better selves.”

Mad Max Ending Scene

Tom Hardy as ‘Mad Max.’

It’s true that the story of Fury Road could have easily happened without him, but by no means does this fact make him redundant as a character, and the entire course of the story would have been irrevocably different. The fact that Max is thrown by accident into Furiosa’s plans is also completely in-keeping with his status as an adventuring wanderer. After all, Furiosa may rightly call the shots in the first act of her bid for freedom, but it is Max who takes control in the second act of the film when he instigates their daring plan to recapture the Citadel where women are imprisoned, and Max who revives Furiosa with his own blood when she is critically wounded. They adapt to working together when they realise that a united front is the only assurance of freedom, and as such contribute equally as co-pilots to the steering of the plot.

These themes of cooperation, reinvention, and reclamation actually run deeper into the matrix of the film than you might think.

The primitivism of a world that has seemed to suffer a technological and biological man-made apocalypse in Mad Max is laid bare in the absence of plants, water, or urbanised environments. This planetary devolution has also seeped into human society as any scrap of hard-fought social changes have been stripped back to the patriarchal foundations our civilisation is built on. And the chosen few are not just surviving – they’re thriving.

Mad Max Warrior Women

Warrior Women.

Furiosa yearns to return to the place of her birth – the fabled all-female ‘green place’ that is just a distant memory to her now. This parallels the traditional affinity of women with plants and nature; juxtaposed against the dominant patriarchy who rely solely on machines and artificial materials. They are as much the adversary of nature as they are to the opposite sex.

This juxtaposition is then flipped on its head when you realise that to reach the ‘green place’, Furiosa and the liberated women must rely on a massive man-made behemoth of smoke and oil, fully customised with extra fuel, water, and… milk? Yes, you read it right. At one point in the story, Max – injured from a battle – washes the blood from his face using breast milk from one of the truck’s pumps. This milk is ‘farmed’ at the Citadel as an alternative to water. “Redemption is symbolized through human milk,” Coleen Martell explains in her article Sweet Nectar of the Matriarchy: Breast Milk in Mad Max: Fury Road. “‘Mother’s Milk’ anoints Max’s face after his first proactively selfless act in support of Furiosa and the ‘Five Wives.’” It seems that the truck has been secretly converted from a weapon of war to a nurturing body.

Furiosa truck mad max fury road

Furiosa with her Truck.

This body shares a bond with Furiosa that parallels the one she strikes up with Max. Her missing arm is replaced with a mechanised one that connects her directly to the driving mechanism; she even smears herself with its oil as war paint. More than a horse is to a knight; Furiosa’s steed gives her freedom, shelter, and life.

Furiosa, despite being born as woman of nature, has not only adopted the mechanised world of men, but she has repurposed and reclaimed it as a true Cyberfeminist would to use against them.

In the end, the women’s choice – aided by Max – to return and reintegrate themselves into society on their own terms seems far more victorious and satisfactory to me than finding peace in a separatist female utopia, which so many of the negative reviews would have you believe. This, to me, is the real Feminist message of Mad Max: Fury Road. Empowerment and freedom doesn’t always have to be fought for in blood, sweat and violence; it can also be won with unity, sympathy and nurture.

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Feminist/Gender Theory, Pop Culture, Wicked Wiles

Wicked Wiles: Sleeping Beauty (1959)

This article is part of a series. You can read the introduction here.


Aurora

 ‘This is the 14th century father, you’re living in the past!’

wicked wiles disney fanny pack feminism gender

Based on the fairy story by Charles Perrault, Sleeping Beauty tells the story of a Princess named Aurora who is cursed by the Evil Sorceress Maleficent as revenge for being snubbed by her parents – the Royal Family. The curse dictates that Aurora will grow in beauty and grace, only to be pricked in the finger by an enchanted spinning wheel on her 16th birthday and die. Luckily, three good fairies counteract the curse by altering the death clause to an ‘eternal sleep’ to be broken only with ‘love’s first kiss.’ Despite hiding Aurora in the woods to raise her as their own for 16 years, the good fairies cannot stop the curse from being fulfilled, and the only way to save Aurora is to send the kingdom to sleep with her and find her true love –who just happens to be the Prince she is unknowingly betrothed to.

cinderella wicked wiles fanny pack feminism gender

  • Sleeping Beauty – Princess Aurora
  • Queen Mother (Princess Leah)
  • Maleficent
  • The three Good Fairies – Mistress Flora, Mistress Fauna, and Mistress Merryweather.

wicked wiles fanny pack feminism gender disney

Yes – Maleficent.

Early in the film Maleficent crashes the party to celebrate Aurora’s birth, offended she wasn’t invited. For this discrepancy, she curses the baby princess after two of the three good fairies have blessed her with magical gifts, and whilst there definitely seems to an unspoken history between her, the royal family, and the fairies, the sole motivation we are given for Maleficent’s villainy is this particular story is her exclusion from the celebrations alone. Is killing a baby an appropriate response for not getting a party invite? Not sure I can sympathise with her on that.

Despite her weak incentive, Maleficent is by far one of the most memorable and powerful Disney villainesses. Even the good fairies say her powers are ‘too great’ which is presumably why they can’t completely undo her magic, and even after all their efforts to prevent it, Maleficent simply hypnotises Aurora towards her doom. While the three good fairies have power in sisterhood, Maleficent derives power from isolation, with only her pet raven and goblin army for company in the ‘Forbidden Mountains’ where she rules as ‘the Mistress of all Evil.’  Her animalistic design – horned headdress, grey hued skin, yellow eyes, and black ragged cloak – casts a bat’s silhouette, and hints at her incredible transformative abilities later in the film.

maleficent wicked wiles disney princess fanny pack gender representation

STAY BACK PEASANTS!

She’s certainly a force to be reckoned with, but is she a positive female role model? On the one hand you could argue Maleficent’s fierce power and dominance, but her adversarial aggression towards every other female (and male) character casts her more negatively to me, as her independence can be more easily read as maniacal supremacy.

disney wicked wiles gender feminism

The three good fairies – true to their kind and ‘cuddly’ appearance – treat Aurora’s wellbeing as their top priority for the entire film to protect her from Maleficent’s wrath. And between them, they also provide the first positive examples of true sisterhood in the Princess catalogue so far. Whether they’re actually related or not, they definitely act like a real family – bickering and all – and it’s genuinely endearing.

They also have refreshingly distinct personalities from each other – Flora is the ‘leader’ and the bossy one, Fauna is the middle child and the more sweet and mild one, and Merryweather is the younger, grumpier one that argues Flora constantly. This affects their difference of opinion concerning Maleficent as well, as Merryweather is determined to use her magic to get revenge, but Fauna doesn’t think she’s ‘so bad’ and points out they can only use their magic for ‘good and happiness’.

wicked wiles sleeping beauty three good fairies disney princess gender representation

(Left to right) Flora, Fauna, and Merryweather

There is also an obvious parallel with nature as their names all have connections with plants, animals and weather, which is perhaps where their powers stem. As they debate where to hide the princess, Flora suggests turning her into a flower, but Fauna – logical as usual – points out that ‘Maleficent would send a frost to kill it’ implying that Maleficent’s powers might be rooted in nature also. We could even surmise from this comment that the fairies might be connected to spring, and Maleficent to winter, deepening their opposition to one another. It also means that Maleficent might be a similar creature to a fairy – but obviously not a good fairy, which the good fairies use to their advantage as they say she cannot understand ‘love and kindness’ – exactly what they use to hide Aurora.

In the woodcutter’s cottage that they raise Aurora in, the fairies induct her into their family by renaming her ‘Briar Rose’ (another plant reference like ‘Flora’ and ‘Fauna’.) Aurora seems happy enough living with her ‘aunts’, but complains that they treat her like a child, as she is not allowed to be truly independent – a typical frustrated teenager, really. And like a typical Disney Princess, she also confides in her animal friends that she dreams of meeting her prince to remedy her loneliness.

disney wicked wiles gender feminism disney

Maleficent’s curse and her pursuit of fulfilling that curse drives the fairies to protect Aurora by raising her in the woods for 16 years, meaning that Maleficent and the good fairies supply the motivation, development, and resolution of the story, and making the plot driven almost entirely by its female fairy cast. Most of the film feels really like a battle between the fairies and Maleficent with others simply caught in the crossfire.

Even in the final battle between Prince Phillip and Maleficent in her fiery dragon form, the good fairies are there to help him flee his prison in the Forbidden Mountains and summon the Sword of Truth and Shield of Virtue (‘weapons of righteousness that triumph over evil’) to his aid. Flora even says an incantation to help his sword fly true into the dragon’s heart.

disney princess wicked wiles gender representation fanny pack

RAWR.

But sisterhood is also a key positive driving force here. After all, are they doing all this just to get Phillip a wife? Or to thwart Maleficent once and for all? Nope. It’s all for the sake of their maternal bond with Aurora and putting her happiness before their own.

disney wicked wiles fanny pack feminism gender

The male characters are:

  • King Stephen – Aurora’s father
  • King Hubert – Phillip’s father (Stephen’s old friend)
  • Prince Phillip
  • Samson (Prince Phillip’s horse)

 ‘Fondly had these two kings dreamed their kingdoms would unite.’

The male characters have little interaction with the female characters, or influence on the plot for that matter. The most significant event is that Phillip and Aurora are arranged to be married by their parents at the very start of the film, and this sets their playful romance in motion. The next time they met – 16 years later – they have no idea that either of them are royalty, but are drawn together through a kind of ‘magical’ bond of destiny.

wicked wiles fanny pack disney princess gender representation

‘Hey there, handsome…’

wicked wiles fanny pack disney princess gender representation

‘I preferred the owl.’

Right from the start, Phillip is given far more personality than the previous two Princes we have seen in Snow White and Cinderella, as we see him wrinkle his nose with genuine childish ‘ickiness’ at the sight of the baby Aurora when presented to her. Even into adulthood, he remains cheeky, charming, and adventurous evidenced by his play fighting with Samson in the woods. His courtship with Aurora, however, is typically short – a quick dance in the woods, a few exchanged words, and that’s it: true love.

disney wicked wiles fanny pack gender feminism

The good fairies deep desire to protect Aurora is a familial one, but it may also stem from their connection to her magical properties, which are hinted at throughout the story. We are told by the narrator that Aurora is a ‘miracle’ baby that her parents wished for, and her name even means ‘dawn’, linking her irrevocably to that magical time between day and night. Her stereotypical Princess characteristics of beauty and a great singing voice are also ‘gifts’ from the good fairies’ spells cast after her birth. This makes the disgusted expression that young Phillip pulls when peeking into her crib before the spells are cast all the more interesting. What did Aurora look like before she was given the gift of beauty? Even as an adult, Phillip also comments when he hears her voice in the woods that it sounds ‘too good to be real.’ Aurora seems to have entirely engineered virtues. What would she have been without these conjured qualities, I wonder? What would Merryweather’s spell have given her if she’d been able to cast it before Maleficent turned up to cast her curse? Intelligence? Super strength? Laser vision?

wicked wiles fanny pack disney princess gender representation

‘Ugh.’

In terms of her Princess role, Aurora spends most of the film unaware that she is royalty, but still possesses the beauty, charm, and ability to communicate with animals that a true Disney princess should have. We also see her cooking and cleaning in the cottage in the woods for her ‘aunts’, meaning that they have brought her up to do her fair share of domestic chores similarly to Snow White and Cinderella – the main difference being that she does those jobs wilfully.

When the fairies reveal her true identity to her, they expect her to be delighted, but instead she rejects her princess role upon learning that she cannot marry the random stranger she danced with in the woods as she is already betrothed to a Prince and must fulfil her responsibilities now that she is 16-years-old.

the importance of family and responsibility, and the accepting or shirking of it. Aurora and Phillip have preordained paths that they want to escape as young adults, and even though she doesn’t know it, Aurora is also trapped by Maleficent’s curse that the fairies are trying to help her escape from. In the end, they are both forced to follow these destined paths but to a happy ending, which makes these flirtations with defiance ultimately empty threats.

wicked wiles fanny pack disney princess gender representationConsidering that Snow White and Cinderella were classified as negative, Sleeping Beauty makes significant strides in the right direction in terms of positive gender representation. The film is almost entirely female driven; the villainess is a powerful bad-ass; the good fairies have a strong sisterly bond; and the Prince is given an actual personality compared to his bland predecessors in the Disney films before it. It teaches that women can indomitable forces of nature – both good and bad; independent and communal.

Equally the film unfortunately suffers from the same negative problems as the previous ones – lack of real motivation or empathy for the female villain; the titular Princess has little control of her own destiny or of the plot, and possesses very few distinctive characteristics beyond the typical Disney Princess ones – beauty, charm, and grace (even if these are revealed to be completely artificial). There is a lot more to praise than the previous two Disney films, but a lot of the same problems remain, which is why – as much as I wanted to – I couldn’t give it a positive classification.

Please not that I have not taken Maleficent (2014) into account in this analysis. 


Next up in the Wicked Wiles series – Robin Hood!

Originally published on the Fanny Pack blog.

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Feminist/Gender Theory, Pop Culture, Visual Cultural Theory, Wicked Wiles

Wicked Wiles – Cinderella (1950)

Originally published on the Fanny Pack blog.

This article is the third in a series. You can read the introduction to Wicked Wiles here.


Cinderella wicked wiles disney fanny pack feminism gender

“A pretty plot for fairy tales, Sire. But in real life, oh, no. No, it was foredoomed to failure.”

Cinderella wicked wiles disney fanny pack feminism gender

Based on the fairy tale by Charles Perrault, Disney’s Cinderella (1950) is set in a ‘far away land long ago’ where a girl named Cinderella lives happily with her family. Sadly, this doesn’t last. Her mother dies and Cinderella’s father remarries a woman with two daughters, who turn out to be cold and cruel. Upon his death, they force Cinderella to become their maid. Meanwhile in the royal castle, the King – longing for grandchildren – plans a ball for his son the Prince to find him a suitable bride. Invitations are sent to every eligible lady in the land, and Cinderella begs her stepmother to let her go. With the help of her mice friends, Cinderella fashions a beautiful dress to wear, only to have her stepsisters tear it to shreds and her dreams of happiness destroyed.

Luckily, Cinderella’s laments are heard by her Fairy Godmother, who whips up a new dress, a pumpkin carriage, and some glass slippers that will last until midnight. Cinderella charms the Prince at the ball but is forced to run away prematurely as her curfew approaches leaving only a glass slipper behind. This forces the King to send out a search party to try the glass slipper on the foot of every woman in the land in the hopes of finding its mysterious owner.

cinderella wicked wiles fanny pack feminism gender

The film’s character are mostly female, consisting of:

  1. Cinderella
  2. Cinderella’s stepmother (Lady Tremaine)
  3. Anastasia (stepsister)
  4. Drusilla (stepsister)
  5. The Fairy Godmother
  6. An unnamed female narrator at the start of the film.

cinderella fanny pack feminism gender disney

Yes – Cinderella’s stepmother and her two daughters.

Jealous of Cinderella’s ‘charm and beauty’, her stepmother forces Cinders to become a servant. This also kind of makes financial sense as she presumably cannot afford to employ actual servants after squandering her late husband’s wealth – as the narrator reveals at the start. Just like Disney’s previous Princess film – Snow White – the jealousy of a bitter stepmother provides the only villainous motivation. The difference this time being that Cinderella’s stepmother is not an evil Sorceress. She’s just plain evil.

Anastasia and Drusilla are described as ‘vain and selfish’ by the narrator and are not forced to do any work around the house due to their mother’s favouritism. The stepsisters aren’t exactly ugly, but certainly plainer and ‘less feminine’ compared to Cinderella. During the fitting of the glass slipper scene, for example, the mislaid slipper barely covers either of their feet – implying both sisters lack the aspirational feminine trait of small and dainty feet, which by default Cinderella must have. This also follows the Disney tradition of personality dictating appearance.

cinderella step sisters disney fanny pack wicked wiles gender feminism

Anastasia & Drusilla.

In the case of the step-family, however, this rule seems unbalanced as their personalities really are worse than their looks. Upon receiving the invite to the ball, Cinderella’s stepmother agrees she can attend on the condition that Cinderella completes all of her chores and has a suitable dress. When Anastasia and Drusilla object she repeats her condition: ‘I said if.’ Obviously she has no intention of letting Cinderella attend, but clearly gets some sick pleasure out of dangling hope in front of her unfortunate stepdaughter so she can rip it away from her; a metaphor that turns out to be literal when she manipulates Anastasia and Drusilla into tearing Cinderella’s dress to shreds.

This glimmer of hope is both a fantastical and tangible thing for Cinderella as the narrator tells us that the kingdom is ‘tiny’ and she can see the castle in plain view from her bedroom window. Yet, I would go so far as to say that if you look a little closer than the film would want you to look, that glimmer of hope is a thematic thread for all of its characters, including the villains, and provides their real motivation.

cinderella disney wicked wiles gender feminism

The iconic Disney castle.

This realisation struck me when Anastasia and Drusilla complained to their mother that they had no new clothes to wear to the ball, and I remembered that narrator explained that the stepmother had married Cinderella’s father for his money – all of which she and her greedy daughters spent. The implication is that the stepmother is a ‘gold digger’ – yet another demonising female quality. Having sucked one source of income dry, she is now forced to set her sights on marrying a daughter off to the bachelor Prince in that oh-so-visible-castle-from-the-window to sustain the opulent lifestyle they have become accustomed to.

But let’s consider the social context of this: In the not-so-long-ago times when either a rich father or husband was the only means for a woman of status to survive, what other choice did the stepmother have? To Cinderella, the castle represents freedom from her oppressive stepmother, but to her stepmother the castle represents financial freedom in an oppressive society. And whilst she cannot be excused for it, perhaps her cruel treatment of Cinderella is a venting of frustration upon the remnant of a marriage she hoped would afford her security, and an added burden of an extra mouth to feed with money she has (stupidly) frittered away.

The motivational jealousy she feels at Cinderella’s ‘beauty and charm’ is because those natural qualities that Cinders has been gifted with mean she could easily find an affluent husband… if she is ever allowed out of the house.

cinderella disney wicked wiles gender feminism

From start to finish, all of the interactions between the film’s central female family members are irrefutably negative. As the maid, Cinderella is unquestionably submissive to her rude and demanding stepmother and stepsisters, with the exception of bravely asking her stepmother’s permission to go the ball.

cinderella step mother disney fanny pack wicked wiles gender feminism

YOU SHALL NOT GO TO THE BALL.

The only positive interaction Cinderella has between another female character is with the Fairy Godmother who is basically everyone’s ideal Grandma – lovely, huggable, and quirky. She comforts Cinders and works her magic to restore her self-confidence and get her to the ball. She even has the foresight to allow Cinderella to keep the remaining glass slipper after her magic fades, enabling Cinders to prove later on that she is the true owner of the shoes when her stepmother ‘accidentally’ smashes the other.

cinderella disney wicked wiles gender feminism disney

Cinderella is light on plot and high on filler, and by filler I mean lots of animals in clothes faffing around for too long (in my opinion). This makes answering this question tricky, but arguably it is the King who sets everything in motion to achieve his goal of having grandchildren, and the entire story revolves the ball.

The stepmother contributes only by blocking Cinderella’s opportunities to escape her control, and these are opportunities that are given to Cinderella rather than creating opportunities herself. The only time she asserts any kind of influence is when she asks to go the ball. In fact, Cinders is so lacking in drive that even after the ball when the magic wears off she shrugs her shoulders and trudges back home obediently instead of seizing her opportunity to run away for good.

cinderella disney wicked wiles fanny pack feminism gender

The male characters are:

  • Prince Charming
  • The King
  • The Duke (the King’s aide)
  • Various animals that live in Cinderella’s chateau

The King states that he has no interest in which woman the Prince picks as his bride; as long as she can provide him with grandchildren: ‘What’s love got to do with it? Just a boy meeting a girl under the right conditions.’ The Prince also has no interest in any of the women at the ball – stifling a yawn as they are all introduced to him. That is, until he spots Cinderella entering at the back of the ballroom.

Obviously taken by her looks, he rushes over to meet her, and the pair spends the night walking and talking through the castle gardens. We never get to hear what they are saying (other than a weird telepathic duet) until Cinderella suddenly tells him she must leave as her curfew approaches. This is also the last we really see or hear of the Prince, as it is the Duke who is tasked with searching the Kingdom for the mysterious maiden that the Prince stupidly failed to get the name of his new crush despite all those hours of implied conversation.

cinderella step sisters disney fanny pack wicked wiles gender feminism

“I have absolutely no character!”

I mentioned earlier that the castle represents hope, and this is also true of the Prince. He is a sadly tokenistic character – known only as ‘Charming’ – serving purely as wish fulfilment for the female characters; therefore a surprisingly weak male presence despite his narrative importance.

cinderella disney wicked wiles fanny pack gender feminism

Just like Snow White before her, Cinderella’s skills are enforcedly domestically based. Unlike Snow White, Cinderella – although born into wealth – has to marry to attain Princess status and we don’t get to see what kind of Princess she becomes. (Although, if the King got his way, she’d most likely be spending most it popping out kids and little else.) Otherwise, she possesses natural beauty and charm, kindness, and the ability to communicate with animals – typical of a Disney Princess.

fanny pack cinderella disney wicked wiles gender feminism

Unfortunately under my criteria it’s another negative Disney Princess film in terms of gender representation. Here’s why:

  • Cinderella barely influences the plot.
  • Negative interactions between nearly all female characters.
  • Cinderella is given the opportunity to follow her dreams but only to satiate the King’s need for grandchildren. He doesn’t care who she is, he just wants a woman – any woman – to marry his son and produce heirs.
  • The film missed opportunities to give depth to the stepmother and stepsisters’ jealousy – some kind of social context might have made it more balanced and more interesting.

Overall Message:

Positive –

  • The animals help Cinderella because she helps them, which shows that if you are nice to others they will return this kindness.
  • There is also a positive message about working hard and being rewarded, except Cinderella’s opportunities happen mainly by chance.

Negative –

  • Unfounded jealousy is the only motivation for female villainy.
  • Marriage is your only chance at happiness/means to financially support yourself, with no option to become self-sufficient.
  • The film is critical of women who marry for money alone, yet offers no context/solution to this problem.
  • Male characters are depicted negatively – either talking about women as baby-making machines, or treated as nameless and voiceless tokens.

Next in the Wicked Wiles series: Sleeping Beauty!


@SpannerX23 on Twitter.

By night, Hannah is a geeky feminist blogger, but by day she is a freelance artist who specialises in unconventional and unique illustrations. Check out her website here to see her portfolio.

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Feminist/Gender Theory, Pop Culture, Visual Cultural Theory

WICKED WILES: Snow White and The Seven Dwarfs (1937)

This article is part of a series. You can read the introduction to ‘Wicked Wiles’ here or on the Fanny Pack blog where it was originally published here.

Wicked Wiles Disney Princess Blog Analysis Snow White and the Seven Dwarfs Gender Politics Feminism Pop Culture

Original Film Poster from 1937

Grumpy: ‘She’s a female! And all females is poison! They’re full of wicked wiles!’

Bashful: ‘What are wicked wiles?’

Grumpy: ‘I don’t know, but I’m against ’em.’

Synopsis

Based on a German fairy tale first published in 1812 by the Brothers Grimm, Snow White and the Seven Dwarfs (1937) tells the story of an Evil Queen who becomes envious of the beauty of her stepdaughter – the Princess known as ‘Snow White’. In an attempt to blemish Snow White’s beauty, the Queen demotes her to a servant status, only to have her magic mirror tell her that the Princess is still ‘the fairest of them all’ even with rags and a mop. Furious, the Queen orders a huntsman to murder Snow White in the woods, but luckily for the Princess the huntsman chickens out, and – after fleeing into the woods – she takes refuge in the house of seven dwarves.

The Queen soon discovers that the Princess is still alive and, disguised as an old woman, tricks her into eating a poisoned apple sending her into a deep sleep that can only be broken with ‘true love’s kiss.’

Wicked Wiles Disney Princess Analysis Pop Culture Gender Politics Fanny Pack iwantedwings Feminism

Just two: Snow White and the Evil Queen.

2 Is the villian female, and if so, what are her motivations?

Yes – The Evil Queen. Her motivation is jealousy of Snow White.

The Queen, through fear and magical prowess is by far the most powerful character, yet this power is undermined by her petty fears and ultimately leads to her demise. Snow White seems disinterested in her birthright, therefore the only threat she poses to the Queen is apparently a superficial one. This is also undermines the Queen’s strength as a female character: after all, why would such a formidable Sorceress be so enraged by someone so non-threatening?

Not only this, but unlike future Disney villains, the Evil Queen is not at all unattractive; making her psychosis completely unfounded in reality. It could be that her envy of Snow White’s looks is actually a fear of ageing, and the face she sees in the mirror confirming her fears is that of her inner voice whispering to her that her best days are over – that ‘true’ femininity is for the young. The Queen’s ‘old crone’ disguise adopted to trick Snow White is perhaps reflective of what she really thinks she looks like to others.

Reading the Queen’s ‘evil’ as psychosis certainly makes the Queen more sympathetic, but the film clearly doesn’t want these conceivable sympathies to be obvious to its audience. After all, evil is literally in her name.

3 How do the female characters interact with each other?

The title sequence implies a previous interaction in the form of text from a book. The book tells us that the Queen has demoted Snow White to a scullery maid as punishment for her beauty in the hopes this will detract from her looks.

No further interactions between the film’s only female characters are seen on screen until the Queen transforms into an old woman and tricks Snow White into eating the poison apple. This means that every interaction the pair have – both on and off screen – is profoundly negative. But, as the Queen and Snow White are the heroine and villain, negative interactions are indicative of this dynamic.

However, the film also offers a conceptual contrast between its protagonist and antagonist, which is revealed in the circumstances of the Queen’s death. The death is signalled long before it actually happens by the appearance of a pair of vultures, which turn up as she arrives at the dwarves’ house. They follow her until she is hit by a bolt of lightening when fleeing from the dwarves on a cliff, and as she falls, slowly descend to claim their meal. This death at the hands of nature – not man – puts the Queen even more at odds with Snow White, who can communicate with animals and spends most of the film living in the woods. The Queen, on the other hand, uses her magic to defy nature, and is punished for it.

4 Who drives the plot?

Despite being the titular character, it is the Evil Queen, not Snow White, who drives the plot.

5 How do the male characters treat the female ones?

The male characters are: The Prince, the Mirror(?), the Huntsman, and the dwarves.

The Prince shows up early in the film and instantly serenades Snow White despite her lowly appearance, implying that her natural beauty shines through the scruffy clothes the Queen has forced her to wear. Even though he is her equal in status and appearance, and the object of her fantasies, the Prince is absent from the film until the very end when he awakens her with ‘love’s true kiss.’

The face in the mirror – a mysterious, disembodied entity – appears with a male face and voice, and actively encourages the Queen’s obsession with beauty. If the mirror is reflective of the Queen’s inner voice, the fact that this voice is male is incredibly telling. Rather than see herself through her own eyes, she perceives and personifies superficial flaws through the eyes she seems to find the most scrutinising – the male gaze, which is driving her to murderous insanity.

The Huntsman is ordered by the Queen to murder Snow White, which he appears to have no qualms about right up until the very moment he holds up his axe, at which point he falters, and through new found sympathy for the Princess, allows her to escape.

The dwarves are introduced to Snow White through their messy home, which she promptly cleans, implying that in the absence of a female presence up until that point, the dwarves were either unable or incapable of doing any domestic work.

Grumpy says when they see Snow White asleep: ‘All female’s are poison with their wicked wiles.’ Considering the only other woman in the story is an evil Queen, this assessment is not altogether unfair, and when Snow White mentions that the Queen wants to kill her, the dwarves react with fear and derision for her.

Grumpy remains vocally resistant throughout most of the film: ‘The wiles are working! Give ‘em an inch and they’ll walk all over yer.’ He also complains that she is feminising them simply by making them clean themselves, implying that she is invading their traditional masculine territory. Unfortunately for him, he is the only dissenter, as the other dwarves are happy to do as they are told in exchange for the benefits of Snow White’s housework and her entrancing looks and singing. In fact, the other dwarves mock him for resisting – forcing him to bathe and covering him in flowers to ‘feminise’ him.

Although their interactions portray men and women to be able to coexist equally and peacefully, it is clear this balance is upheld only by each gender complying with their traditional roles: men going out to work and women staying at home. The Queen – a powerful widowed woman – is non-compliant and filled with madness that will ultimately destroy her.

6 Does the princess have characteristics beyond her princess role?

Other than what will become quintessential Disney Princess qualities such as beauty, kindness, singing, and talking to animals, Snow White has forcible experience as domestic servant, which turns out to be handy in bartering shelter from the dwarves. Despite seeming largely powerless, Snow White’s ability to unknowingly charm every male character around her – even Grumpy – is almost a magical power. ‘The wiles are working!’ Grumpy proclaims, her ‘wiles’ being her ‘fairness.’ Just as the Queen bewitches people with her evil magic, Snow White can bewitch people with her ‘good magic.’ It is her natural qualities, rather than any learned ones, that enable her to survive beyond the castle walls.

Snow White’s sole aspiration is for her ‘prince to come,’ but seeing as her situation is so dire, this dream seems more about being taken away to a better life where she isn’t abused by her stepmother, rather than longing for one specific man, which could be why the Prince – despite a good singing voice – is so in distinctive. He doesn’t even have a proper name. Snow White, knowing she is unequipped to survive alone, dreams of freedom through marriage, which I’m sure rings true with a lot of women in the past whose only option to leave home was by finding a husband.

Film Classification Negative

Although the film’s two female characters are both central to the plot, as Snow White’s power lies solely in her idealised natural beauty and the Queen – despite possessing supreme magical power – is undermined by an unexplained fixation with this beauty, both are weak female role models overall.

Snow White does learn and possess skills beyond her Princess role, but does not develop as a character. Meanwhile the Queen only falls further and further into a maddening pressure to stay young and beautiful, and is ultimately punished for her insecurities.

The male characters are compassionate and – particularly the dwarves – comedic, but their main purpose is to provide a masculine edge to emphasise Snow White’s softer femininity – to conform to a narrow and traditional male/female dynamic for which the Queen is demonised for flouting. This positivity towards conformism is twinned by the subtextual Nature vs. Artificiality duel personified by Snow White and the Queen.

In summary, although Snow White is a story about escapism and fantasy; equally there is a fundamental message left for young girls and it seems a problematic one. Natural beauty is to be aspired to if you’re lucky enough to possess it but if you don’t have it, and try to pursue it, your vanity could lead to jealousy, jealousy to obsession, and finally dangerous madness.

Coming up next in the ‘Wicked Wiles’ series: Cinderella (1950)

Follow this blog and Fanny Pack for updates every month.

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