in which she steps in front of her father as she attempts to deliver a fatal blow saves Smith, who lies bound and powerless"(Dundes 355). This is a refreshing change in power as the woman was usually portrayed to be weaker than her male counterparts. As told by Yirby, Baron, and Lee, Disney uses female heroines more often than makes for a plethora of reasons. They state that it is easier with males to identify with a female power figure rather than a male. "It allows powerful females to remain more in contact with their weaknesses and insecurities, where typical male heroes are often portrayed as hard and consistently strong" (Yerby, Baron, and Lee 4). At the time Pocahontas was created, society was beginning to shift. Society felt that females were being portrayed inaccurately which is why the unique story of Pocahontas was respected by so many. "While some could argue that Disney merely adheres to the realities of a bygone era characterized by women's circumscribed role, Disney nevertheless modernizes other aspects of the Pocahontas story" (Dundes 362). So, even though Pocahontas was not perfect and possessed a few "damsel in distress" qualities, she is still hailed for her differences. Her story was the first in a series of new princesses and she will be respected for the contributions she made.
Additionally, Mulan is another princess of a different culture who shared her story to build up this new generation of princesses. Mulan is exceedingly humble and during most of the films, does things for others rather than herself. “After spending a lot of time on how Disney princesses lack independence, it is important to look at how history has brought upon the more independant Disney female character, and what not a better way to look at one of their most independant characters- Mulan” (Yerby, Baron, and Lee 9). Mulan’s principal goals were to protect her father by taking his spot in the war as well as be accepted for who she is. Another thing that sets her apart from the additional princesses is how she disguised herself as a man. As stated earlier, men were usually not the leads in Disney movies because both men and women found it easier to relate to a female heroine. Mulan was not being portrayed as the archetypical fair maiden and concealed her female features. This new appearance was an exhilarating advancement for female leads and gave audiences a new outlook on female leads. Not only could a girl do things that men could do like fight in a war and protect their loved ones, but princesses could do these things too. “Mulan did not wait for a man to come to her rescue, but instead, became the rescuer herself” (Yerby, Baron, and Lee 9). Just like Pocahontas, Mulan’s goals were not centered around a male and both ladies were able to show their strength and independence through their brave actions. This new wave of Disney princesses was attracting more viewers than ever before which led to a greater sales gross. Mulan was released in 1998 and was able to bring in 120 million dollars at the box office (Whelan 25). On the other hand, the reason these princesses are called the transitioning princesses is because they are still a work in progress to achieving a generation of movies that are less discriminating and sexist towards women. Though Mulan and Pocahontas were amazing contributors to the world of Disney cinematography at the time, they had not quite reached all the particular aspects to make them modern princesses. Belle was another princess who assisted in leading the way to the progressive princesses, but her story had a few flaws as well.
As society began to change once again, the Disney corporation began to change as well.
The Disney company attempted to jump into the progressive movement in 1988, but was unsuccessful. They released The Little Mermaid in hopes of launching their way into the progression, but her story relapsed to old “needy princess” traits which were familiar during the era of the pre-transitioning princesses. “While Belle escapes the norm as a woman who enjoys reading, speaking her mind, and acting bravely to save her father, she is reduced to a dependant character when she could have been the heroine” (Garabedian 23). Belle was also unique as her goals and story differed from other princesses. Belle’s goals consisted of exploring the world, seeking adventure, and eventually rescuing/protecting her father (similarly to Mulan). Belle, like Pocahontas, also dismissed her potential love interest, Gaston. This dismissiveness shows that these newer princesses are independant and self-reliant unlike the damsels in distress. Another remarkable thing about the film, Beauty and the Beast, is that it is written by a female writer. “Linda Woolverton, the new addition to the writing team, expressed her motivations for Belle: she modeled Belle on Katharine Hepburn’s Jo in the 1933 version of Little Women since both were strong, active women who loved reading and wanted more than life was offering them” (Hofmann 46). As heard from the opening song in the film, Belle sings about yearning for more than her provincial life and how she wants so much more than everyone else has planned. But, it is also argued that the film can be seen as a struggle between the hypermasculine Gaston and the reforming Beast making Belle a mere prop in their story (47). For that reason, Belle’s story is seen as flawed as it can be argued that to some degree, her focus is involved with the betterment of men and vice versa. So, even though messages and motives in Beauty and the Beast can be argued, it is no argument
that this tale accompanied other films in preparation for princesses and their stories that would change the world forever.
It was not until the film Princess and the Frog was released that the films Disney produced could be considered part of the new generation of progressive princesses. “The Princess and the Frog arrived with much fanfare just before the holiday season; Disney marketed the film almost to distraction, and the media was abuzz over the company’s first black princess” (Whelan 30). The story of Tiana is truly special when considering Disney films because Tiana is the first African American Princess. Not only that, but Tiana becomes a princess through marriage and not by birthright. It is also interesting because princesses who came before her were considered princesses as well, despite the fact they didn't have royal parents. Tiana’s goal is to open her own restaurant. She believes that success can only be achieved by hard work which makes her relatable and sets her apart from her predecessors. The film was created in 2009 which is rather recent in comparison to previous Disney Princess films. Therefore, Tiana is found to meet realistic expectations of how a princess should be at the time. Such expectations involve: independence, humor, intelligence, resourcefulness and passion. “Tiana is a progressive princess because she exhibits both positive traditionally feminine traits (compassion, understanding) and positive traditionally masculine traits (enterprise, cleverness, assertiveness) while eschewing those negative traits that have been traditionally associated with femininity and first (and some second) wave Disney Princesses” (31).
Created in 2010, Tangled is the story of Rapunzel and how she broke the barrier into being a progressive princess. “Rapunzel’s narrative begins progressively enough enough; feminist heads likely nodded as we saw Rapunzel sing about the creative accomplishments she's been forced to perfect over the years in her tower” (31). Rapunzel was kidnapped by the evil witch as a baby because Rapunzel possessed magical healing powers which also prevented aging. As Rapunzel grew, she yearned to know about the floating lights and what they meant. What makes this tale such an adventure is that she never knew she was a princess until the conclusion. Rapunzel is clever and ambitious as she convinced Flynn Rider to lead her on her quest of finding the floating lights as this is her biggest initiative. The story of Rapunzel was originally based off a story book. However, the movie version was adapted to be more modern for the generation of viewers. Although Rapunzel may be viewed as subordinate to her counterpart Flynn Rider, she exemplifies a realistic woman and princess is today's society.
“Debuting two years after Tangled, Brave offers a new version of the female protagonist and breaks the pattern of a princesses’ fairy tales depending on a man for a happily ever after” (Garabedian 24). As quoted from the movie Brave, we hear Merida say “I am Merida. Firstborn descendant of Clan Dunbroch and I'll be shooting for my own hand”. From the opening of the movie, any viewer can already tell how much of a bold individual Merida is. The movie Brave follows the story of Merida, a Scottish princess, and her desire to live her own life. Merida is seen as a clumsy, independent girl with fair skin and curly red hair. Merida can even be classified as a tomboy as she rejects traditional princess duties and would rather be shooting archery. According to Garabedian, Merida's story takes place in fourteenth century Scotland, a time and place where women were strong willed and as the title of the movie suggests, Brave (24). With the release of Brave, Disney no longer accepted societal norms, but rather portrayed Merida as the true hero she was. Merida is not only historically realistic, but modernly realistic as well. This is why Merida can be definitely be considered a progressive princess.
“For generations, Disney has used the princess narrative to instill in its viewers an understanding of the position of girls and women in today's society” (Whelan 27). It is no doubt that the Disney company has had an enormous affect on the world of film and its viewers. The princess movies that Disney has produced have visibly changed in a significant way. From the appearance of the princess, to her goals and relation to society, Disney Princesses have unquestionably changed. In the beginning, the first Disney Princesses were seen as needy and their only goal was to achieve happiness with a male partner. Over time, the Disney princess films have progressed beautifully in diversity and in likeness. There are now princesses of multiple races with goals that revolve around things other than men. These princesses are now independent, strong, and brave. “By abandoning the princess-needs-prince pattern, Disney is moving beyond one of the formulas that made its company worth over $159.04 billion, to change the stereotype of the modern heroine” (Garabedian 25). The impact of Disney princesses is so powerful and has continued to affect numerous generations. If Disney continues on this new route, there is no doubt that the progressiveness of princesses will continue to grow and flourish.