In the article by a professional feminist film critic, Kathi Maio, which is called Disney’s Dolls, the author discusses the history of Disney cartoons in the twentieth century. In the very beginning, Kathi Maio argues that the cartoon about the Chinese female warrior who protects the dignity of her country and fights against the invaders, Mulan, is a well-planned incursion into the Asian film market. Ironically, this character became a symbol of how the American conglomerate absorbs Asian culture for profit, even though the meaning of the film is the opposite. Then, the author describes the plot of Disney’s first animated movie, Snow White and the Seven Dwarfs, and assumes that it connotates the oppressive sexist roles for women in the world. The writer gave various examples of the typical patriarchal behavior of Snow White for which she was awarded – she was an obedient, young, and beautiful homemaker who does everything to satisfy the men around her. At the same time, older women were seen as villains who were reckless and disobedient. Cinderella and Sleeping Beauty, Maio says, are based on a similar formula of sexist stereotypes.
The film critic writes that The Little Mermaid is a cartoon that makes us think that there was no feminist movement at all. Kathi Maio argues that the character of Ariel also fits the idea of an innocent beautiful girl, however, her sexual attractiveness seems to be catering to the common Western idea of sexualizing pubescent women. The way Ariel trades her voice just for the ability to love a handsome prince seems to be a literal metaphor for how the patriarchy teaches young girls to be silent and obedient. Again, there is the same archetype of an old evil woman, Ursula, who is supposed to die at the end for her bad behavior. In the end, Ariel is forced to leave her social support system in the sea world, so Kathi Maio argues that this cartoon is entirely based on harmful patriarchal ideals of submissive women.
The next animated feature, The Beauty and the Beast, was promised by Disney to be quite modern and even feminist because they were highly critiqued by the image of Ariel in the aforementioned movie. Nevertheless, the author of the article does not see any feminist traits in Belle’s character as she is a self-sacrificing woman who is enduring complications both from her weak father and her love interest. Besides, the image of the Best as an abusive, controlling, and angry man that can be tamed only by the kindness and beauty of Belle is a dangerous illustration of victim-blaming.
Kathi Maio does not find any particular feminist interest in the female character of the cartoon Aladdin; however, she points out the racist and ethnic stereotypes that this animated feature film is filled with. She argues that all the good characters look like regular Americans, while the villain has a typical Arabic appearance that is connoted as evil. The same racist prejudices are rooted in the most successful Disney film, The Lion King. All the African characters that are kind to the antagonist are voiced by white American actors, whereas vicious hyenas are voiced by foreigners. Women, with some exceptions, are portrayed as weak animals that cannot fight the oppressive rulership of Scar.
The cartoon made in 1995, Pocahontas, has multiple historical inaccuracies and the image of the native tribes is distorted, as Kathi Maio writes. She mentions that there is no honest representation of the genocide in this film or its sequels. Instead, the authors teach kids that peace was achieved between colonists and natives when it is not true. Unfortunately, many American families view this fiction as a reliable history lesson.
In the very end, the author refers to the movie Mulan again to emphasize that, even though her character is a strong, courageous woman, she is still supposed to live under patriarchal roles and obey her father and the emperor. Hence, Mulan is still strongly connected with male authority and cannot depend on her empowerment.