| Sažetak | Animiranim filmom Snjeguljica i sedam patuljaka, Disney korporacija 1937. započinje liniju Disney princeza s kojom se otvara faza filmova o kojoj se danas govori kao o filmovima „Ere domaćica“. Nakon Snjeguljice, Disney snima Uspavanu ljepoticu i Trnoružicu. Disney tada na ulogu žene gleda klišeizirano i s nemalom dozom predrasuda. Općenito, govoreći o rodnim
ulogama, korporacija predstavlja žene/princeze relacijski kognitivno inferiorne u odnosu na muškarce. One ne donose odluke, ne reflektiraju, ali su zato, kao nadomjestak za izostanak mislećeg, prelijepe: izgledaju savršeno. Nemaju drugih snova da pronađu ljubav svog života. Za razliku od tri „domaćice“, Ariel, Belle, Jasmine, Pocahontas i Mulan princeze su iz filmova druge faze—faze o kojoj se govori kao o razdoblju ambicioznih i odvažnih junakinja. Tom prilagodbom, Disney je glavne protagonistice devedesetih godina uskladio s promjenama društvenih normi, očekivanja i trendova. Ne bi li „ispale iz trenda“, princeze odjednom počinju
mislit i boriti se za sebe, doprinositi obitelji i društvu uopće, a u konačnici i slijediti svoje snove. Osim što su prikazane kao misleća bića, princeze druge faze princeze su drugih i drugačijih etniciteta i rasa. Odustajanjem od bjeline ne samo kao od rase, nego kao i od norme, Disney ne samo zamišlja nego i ostvaruje napredak u svojoj matrici. No, ono što kao višak ostaje
očituje se u perpetuiranju patrijarhalnih vrijednosti te stereotipiziranju. Kada je riječ o prezentaciji ne-zapadnih kultura, vrhunac stereotipiziranja očituje se u kulturalnom prisvajanju koje, nažalost, ostaje nedjeljiv sastojak Disney postupka. Moana, koja je
i središnji lik mojega pomnog i partikularnog čitanja ove matrice je posljednja princeza Disney Princess franšize. Radi se o djevojci s pacifičkih otoka—o kćeri plemenskog poglavice s kojom započinje treća faza ovih filmova u kojoj se Disney bavi neovisnim princezama slobodnog duha. I upravo ta faza u kojoj je neovisnost temelj prikaza ženskoga lika, polučila je najviše
pozitivnih osvrta. Pogotovo iz pera feminističkih kritičara i kritičarki. Moana je tako jedina dobila status feminističkog animiranog filma. Ono što mene zanima u radu je: je li baš tomu tako i je li Moana i, ako jest, u kojoj je mjeri baš paradigma lika koji zaslužuje taj status? Pogotovo u kontekstu značenja feminističke bajke u kojoj polinezijska princeza ispunjava baš sve kriterije
tradicionalne Disney šablone, čak i one korigirane i adaptirane još devedesetih godina prošloga stoljeća. |
| Sažetak (engleski) | With an animated film, Snow White and the Seven Dwarfs, (1937.) the Disney Corporation lunched a series of Disney Princes movies. This particular series started a period, today remembered as The Domestic Era. Following the Snow White and the Seven Dwarfs, Disney produced The Sleeping Beauty and Cinderella. At the time, Disney treated female roles
(as well as the role of a female) with prejudice and as a cliché. Generally, speaking of gender roles in relation to their male counterparts, the Disney Corporation represents women/princesses as cognitively inferior. They are not decision makers.
They lack reflection. However, in order to fill the gap produced as their lack of cognition, they ought to look perfect—they are simply gorgeous—in a word, unreal. Their only dream is to find the love of their life. Unlike the three predecessors-‘housewives’ Ariel, Belle, Jasmine, Pocahontas and Mulan—the second phase princesses, are utterly ambitious and rebellious. While adapting their fictional characters and seemingly modernizing them, Disney in fact adapted its characters to the epochal, social, gender-based and trendy horizon to expectations. The main reason the
corporation did it, was for the princesses not to fall out of trend. They ‘suddenly’ started to think, to reflect, and to fight for themselves. In so doing, they consequently begun to contribute to society in general and, little by little, to follow their dreams. Aside of being portrayed as thinking beings, the second phase princesses are now of different races and ethnicities. Surrendering the whiteness (not only as a race, a color... but also as a norm,) Disney not only imagines but also executes a specific matrix progress. What, however remains as a surplus in imagination is evident in perpetuating the patriarchal values as well as in creating stereotypes. Speaking of Disney, representing the non-Western cultures, the most pertinent problem that remains is the one of cultural appropriation. The latter, unfortunately, survives as one of the
central ingredients of the Disney procedure. Moana, the focal point and the main character I observe in my close reading of the movie is the last among the Disney Princesses. She is a girl from Pacific Isles—the daughter of a tribal
Chief—the female character that Disney choose to open its third phase with—the phase that focuses on independent and free-spirited princesses. It is for this particular phase that triggered most affirmative reactions and acclaims—
particularly from feminist critics. Therefore, Moana acclaimed the status of the feminist animated movie. What is of utmost interest in my work is the following: is this in fact true? Does Moana’s character really fulfills the requirements of the role ascribed to her? And, even if she does, is she really a paradigmatic figure for such context—the context of a feminist fairy tale in which a Polynesian princess contains all the traditional criteria of The Disney matrix—even the one both adapted and corrected back in the 90s? |
