The Cultural And Gender Differences Across The Lifespan

The Cultural And Gender Differences Across The Lifespan

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The Cultural And Gender Differences Across The Lifespan

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The Cultural And Gender Differences Across The Lifespan

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Discuss about the Cultural And Gender Differences Across the Lifespan.

There has been, and still is, the continual debate on gender roles, variations in cultures and several factors that contributes to the manner in which people behave and live, starting from their childhood up until they become adults (Bryant, 2011). One such factor or element that contributes to people’s perception is print media and film. In this thematic analysis, therefore, I intend to elaborate how print media and film influence how men and women think. Specifically, my discussion will focus on children story books and other films and how these sources have created bias or rather stereotypical beliefs, and in effect, their character and beliefs (Towbin,, Haddock, Zimmerman, Lund, & Tanner,2004). Psychology supports the notion that people’s beliefs, concerning men and women are influenced by the environment and things they involve in while young (Ray, & Jat,2010). This influence can extend to how people perceive ethnic groups and what form their culture.
Thus, below is an analysis of print media or film, specifically Disney movies, and the influence they create on people’s way of life. To look at this, it is important to consider the development of self-identity, a role of women, nature of families and stereotypical traits. Moreover, the concept of mothering and blended families is useful to be dealt with as far as this topic is concerned. Lastly but most importantly issue that the thematic analysis elaborates the lessons that one can learn on sexualisation from the times of Freud to modern times.
The development of self-identity/ self-esteem/self-concept
Disney Princess animations show women with ideal body and perfect beauty. These perfection portrayals of female body characterize most of Disney films, and in effect, advocate for a conception in which physical beauty is highly valued reflected in youngsters’ news channels. A good example is Cinderella who is seen possessing perfect beauty. She has a substantial eyelashes and an attractive face, traits that can be depicted as attractive (O’shaughnessy, M., & Stadler, 2012). It represents the message that children learn from the media (Robinson, Callister, Magoffin, & Moore2007). The Disney princess, therefore, incorporates several attributes that are imposed on children to mean admirable traits that each child must possess. Thus, children with the absence of such values will most likely be disappointed making negatively affecting their self-esteem because they believe that people only admire the looks portrayed in Disney film. Thus, children develop low self-esteem as a result of them believing that they are not attractive enough. In addition to that, Disney film teaches young girls that outward appearance is associated with personality (Faherty, 2001). For instance, in The Little Mermaid, villain Ursula appearance is not attractive, in line with that, she is evil and malicious. In addition to that, the media has portrayed men in a bad light, in that they ought to have good looks, to attract beautiful ladies or boost their confidence. It is clear from the suitors in Cinderella Disney film.
The role of women over time
The Disney films depict changing the perception of women over time, even though most of the roles remain as they were, several years ago. To illustrate this, below is two explanations;
Gender roles depictions in Disney movies tend to conform to regular perspectives of men and women. Princess-hood is bound with being frail, latent, and subservient to guys, devoted, and unequipped for carrying on with an autonomous life . The greater part of the Disney princesses from the first two involves women traits portrayed as being useful, passionate, requiring help or being a casualty, dreadful, conditional, touchy, supporting, tender, physically frail, and physically alluring (Britain, Descartes, and Collier-Quiet, 2011). The first era of Disney princesses specifically are more accommodating and tend to conform to the traditional portrayal of women roles. They all include the house lady persona and display female practices through their physical appearance (Coyne & Whitehead, 2009). Snow White is viewed as subordinate to the ruler, despite the fact that he is a minor character (Do Rozario, 2004). The film elaborate how she get saved by the Dwarf by going up against local obligations, for example, cleaning and cooking for them (Britain, Descartes, Collier-Docile, 2011). In Cinderella, her housework obligations are a demonstration of accommodation and an attempt to entice her family members.               The second era of Disney princesses still has customary female qualities. However,  they begin to portray women with male characters. These include .being athletic, chivalrous, and free (Do Rozario, 2004). Ariel, for instance, needs to investigate and settle on free choices for her life. She shows resistance and flexibility and settles on choices that are regularly against her dad’s desires (Whelan, 2012). Debutante from Excellence and the Monster is greatly overcome, decisive, and free. She takes part in perusing and is not reluctant to talk her mind paying little respect to other individuals’ judgments. In Aladdin, Jasmine is both self-assured and certain (Tanner, Haddock, Zimmerman, & Lund, 2003). Mulan and Pocahontas are contended to be the most manly princesses of the second time. They show demonstrations of tact and are included in war. They additionally spare their male partners by utilizing their acumen and mind versus their bodies (Whelan, 2012).
Lessons children can learn
More seasoned Disney princess movies planned to instruct young ladies how to wind up plainly tamed and finish customary female commitments, more up to date movies dispose of some of these conventional delineations. As society advances and more prominent presentations of sexual orientation uniformity develop, Disney princess movies modify their messages to reflect societal movement. However, modern as the generations of Disney film evolves, women are portrayed  as assertive, and self-assured.  For instance, Jasmine opposes his father who attempts to impose a spouse on him, who happens to be a prince. It serves as an important lesson for children to know that they have the liberty to choose whichever destiny they so desire including the person they wish to spend their life with as a spouse.
Disney Families
Several Disney films show it is not a must for such a strong family relationship to be built. Some of these Disney films that have effectively achieved this include but are not limited to Snow White and the Seven Dwarfs, The Little Mermaid, and Aladdin (Hecht, 2011). To start with the first one, Snow White runs away from her stepmother as a result of disagreements. She is determined not to settle the issue with her step mother until the point where her step mother becomes old. In addition to that, In the Little Mermaid and Aladdin are not in terms with their fathers simply because the father rejects to embrace their suitors. They, therefore, prefer to cut links with their family members to continue their life with their suitors.
However, in other Disney films, we see how bad family relationship can turn out to be. For instance, Cinderella does every she could to please her stepmother and step sisters. She cooks and does the cleaning for her. However, they regard as a servant who ought to serve them. In addition to that, in the Film the Sleeping Beauty, Aurora seeks to establish a bond with her relatives, this is despite the fact that she is brought up in a miserable way for close to sixteen years (Wynns, & Rosenfeld, 2003). She does not attempt to cut links with them but build that mutual understanding. In addition to that, the princesses in Pocahontas’s and the Frog maintain a close relationship with their father. The relationship is good and works hard to achieve that their fathers had set for them.
Disney films portray a patriarch kind of family. This is a type of family that the father is the head of the family. In the movie, the men are the chiefs and leaders. To start with, in the film the Princes and the Frog, the character Tiana does everything to please her father who is perished. It can be seen as an unfair treatment to her mother because her mother played a significant role in her life but takes no credit. Moreover, fathers in the films Sleeping Beauty, The Little Mermaid, and Aladdin are all rulers. Additionally, mothers are portrayed as in charge of serving men but not as models that shape society.
 Lastly, the family unit consisting of father, mother and children do not clearly come out in the Disney films. Some of the films consist of single parents raising their kids. However, stepmothers are seen as evil and as bad mothers who do not love their children. It is evident in Cinderella and Snow White stepmothers, they do not treat them well as compared to their stepsisters (Merritt, & Kaufman,)
Transmission of Cultural stereotypes
The subject of Cultural identity and skin color is predominant in numerous Disney movies, and it influences the path in which young ladies procure learning about social foundations and self-perception. Privileging of Whiteness has been heightened by the Disney portrayal of fable princesses which reliably strengthens a belief system of White matchless quality (Hurley 223). Snow White and Cinderella, depict unmistakably white cleaned characters (Burton, 2010). Snow White, a cordial and adored character, is known for her pale composition. Moreover, Cinderella is likewise genuinely white-cleaned while her malicious stepsisters have a darker composition. Young ladies, paying little heed to their social legacy, were presented to these princess pictures that mirrored the commonness of white partiality amid that time (Wilde, 2014). Also, Arabs are delineated as filthy cheats in Aladdin, and incorrect portrayals of Chinese culture in Mulan, the incorporation of various races in Disney movies passes on the significance of different societies to youthful watchers. In opposition to numerous different movies, the European and white-skinned characters in Pocahontas were portrayed as uncouth and intrusive in light of their endeavors to irritate the Native American’s common condition (Tonn,2008). The darker cleaned characters were depicted as the serene people. These pictures may give advantageous information to young ladies about various legacies, checking the absence of different societies in more seasoned movies.
The sexualization of infants and young adults
Freud attested that the sign of sexuality in the life of the youngster was an ordinary as opposed to a neurotic problem. Additionally, he argues that biographical, cultural and biological combination contributes to a large extent in its formation. The idea that sexuality comes way before puberty forms part of his ideas. Moreover, he believes that children’s sexuality differs from those of adults, in that, they seem to be variegated and more autoerotic than in adults. The modern theory of sexualisation has not changed much as far as Freud understanding of sexualisation is concerned. However, they consist of few modifications.
The concept of mothering
Most Disney film portrays families that do not have a mother, which relay a message that it is not a must for families to have mothers to them to be complete. Additionally, it brings to question the concept of stepmothers, who, even though portrayed in an evil way, form part of the family (Tonn,2008)
The concept of evil stepmother
In Disney film, they portray stepmothers as threatening with a dull appearance. These portrayals depict how evil the media tries to put on children concerning stepmothers. In addition to that, stepmothers are portrayed as being jealous and likely to cause harm or death out of their jealous (Ayres, 2003). For instance, in Cinderella, her stepmother is jealous of her and dislikes her for no good reason. On the other hand, she treats well her real biological children, far much better than Cinderella. In addition to that, Snow White’s stepmother seeks to kill her for no good reason. She is jealous of her and does not care and treat her like any mother is expected to treat a child.
Gender and cultural differences can well be illustrated as outlined in the review above. It is clear that the media and specifically, Disney princesses’ film can influence children as far as their self-esteem and cultural perceptions is concerned. In addition to that, the media depicts how gender roles are perceived in many ways. These include but are not limited to males and females roles in society. Lastly, stepmothers as evil and as people who are selective in loving their biological and stepchildren.
England, D. E., Descartes, L., & Collier-Meek, M. A. (2011). Gender role portrayal and the Disney princesses. Sex roles, 64(7-8), 555-567.
Towbin, M. A., Haddock, S. A., Zimmerman, T. S., Lund, L. K., & Tanner, L. R. (2004). Images of gender, race, age, and sexual orientation in disney feature-length      animatedfilms. Journal of Feminist Family Therapy, 15(4), 19-44.
Robinson, T., Callister, M., Magoffin, D., & Moore, J. (2007). The portrayal of older characters in Disney animated films. Journal of aging studies, 21(3), 203-213.
Faherty, V. E. (2001). Is the mouse sensitive? A study of race, gender, and social vulnerability in  Disney animated films. Studies in Media & Information Literacy Education, 1(3), 1-8.
Bryant, J. A. (2011). Children and the Media: A Service-Learning Approach. Integrating Service-Learning Into the University Classroom, 53.
Ray, M., & Jat, K. R. (2010). Effect of electronic media on children. Indian pediatrics, 47(7), 561-568.
O’shaughnessy, M., & Stadler, J. (2012). Media and society. Oxford University Press.
Burton, G. (2010). Media and society: Critical perspectives. McGraw-Hill Education (UK).
Wilde, S. (2014). Repackaging the Disney Princess: A Post-feminist Reading of Modern Day Fairy Tales. Journal of Promotional Communications, 2(1).
Ayres, B. (2003). The poisonous apple in snow white: Disney’s kingdom of gender. The    Emperor’s Old Groove: Decolonizing Disney’s Magic Kingdom, 11, 39-50.
Hecht, J. (2011). Happily ever after: Construction of family in disney princess collection films.
Tonn, T. (2008). Disney’s influence on females perception of gender and love (Doctoral  dissertation, University of Wisconsin Stout).
Merritt, R., & Kaufman, J. B. (2000). Walt in Wonderland: The Silent Films of Walt Disney.  Johns Hopkins University Press.
Images of couples and            families in Disney feature-length animated films. The American Journal of Family Therapy, 31(5), 355-373.
Wynns, S. L., & Rosenfeld, L. B. (2003). Father?daughter relationships in Disney’s animated films. Southern Journal of Communication, 68(2), 91-106.
Coyne, S. M., & Whitehead, E. (2008). Indirect aggression in animated Disney films. Journal ofcommunication, 58(2), 382-395.

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