Dr.Contreras CULPOLI A51

1. Walt Disney: Race
and Gender
An Examination of Stereotypes in
Commercial American
Theatrical Animation
By Moryen Park

2. Disney’s success began with its
trademark character Mickey Mouse
with a series of short comedic •Mickey Mouse
theatrical shorts that were in the
same vein as those of his
predecessor Felix the Cat. Disney’s
success with the character of Mickey
and his friends led to other studios
wishing to cash in on the new fad,
notably Warner Bros. The studio
experimented with a number of
ideas and the culmination of their
efforts would lead to the creation of
Bosko the Talk-Ink Kid, Merrie
Melodies, and finally Looney Tunes.
The Looney Tunes shorts featured its
own rouges gallery of cartoon icons,
most notably Bugs Bunny and friends,
who engaged in more physical and
crude comedy than characters in
Disney films. MGM also followed suit
but was not as successful as Warner
Bros. Nevertheless a number of MGM
icons also emerged, most famously
Tom and Jerry. •Bugs Bunny and Friends

3. Disney and Feature Length Films
 In 1937, Walt Disney released Snow White
and the Seven Dwarves, the first full length
animated feature film. The film was a
colossal success and remains today as the
10th highest grossing film of all time. Over
the next several years Disney would release
a number of other full length animated films
including Fantasia, Dumbo, Bambi, and
others. Due to the immense popularity of
the outrageous antics of the Looney Tunes
characters, popularity of Disney shorts
waned and production was subsequently
ended as the studio chose to focus more on
its more profitable feature length films. As a
result Disney began to distance itself in
terms of style and content from its
competitors.

4. The TV and Renaissance Ages of Television
 In the mid 1950s, the Golden Age of
Animation came to an end. Decreased
viewership combined with the high
production costs of theatrical shorts
forced many studios to close down
their animation departments.
Television also made a notable dent as
many would now elect to stay home to
watch shows instead of going to a
theater. Joseph Hanna and William
Barbera cashed in on this market with
their studio Hanna-Barbera
Productions. A number of animation
techniques such as a reduction in
animation quality were developed by
the studio that cut down the costs that
had ended the lives of previous studios.
Disney continued to make a
tremendous profit on its full length
films and refused to animate for
television. Many of Warner Bros
animators such as Chuck Jones also
refused to animate for television. As a
result the majority of the shows
produced during this era showed a
noticeable decline in quality.

5. Rebirth
 After falling into disarray by the
1980s, animation saw a
renaissance in the 1990s and the
new millennium. Warner Bros,
Disney, and Fox opened their own
television animation studios whose
productions were a marked
improvement over the previous
four decades. The Walt Disney
Company itself also faced another
renaissance after a decline in it
films following the death of Walt
Disney. High quality films were
produced that won multiple
academy awards with features
such as Beauty and the Beast,
Aladdin, and the Lion King.

6. Stereotypes in Animation
Because traditional animation and CGI do not use images with real objects, the
genre lends itself to an exaggeration of reality. This is evident in the
anthropomorphism of cartoon characters such as Bugs Bunny and their
comedic actions which in reality in some instances would kill an individual. In
the silent and golden eras of animation, comedy was a key selling point in
attracting audiences to shows, allowing studios to recoup their financial
investments. Comedic shorts became routine and as a result a number of
norms came about. The aforementioned anthropomorphism and slapstick antics
were usually in the company of sight gags, comic props, and racial and ethnic
stereotypes. It is of no surprise that stereotypes are included in and a part of
animation as they themselves are already an exaggeration of specific human
traits and cultures.

7. The Traditional Negro Image
 In the early advent of animation where
Technicolor had not yet been invented
as well as the use of synchronized
sound, animators relied on the visual
exaggeration to get their points across.
Often lampooned was the mammy
figure who with her large girth and
kind subservient actions made her an
ideal servant character. Also
lampooned was the black minstrel who
with his big lips, bulging eyes, lanky
stance, and oversized hands and feet
were able to play any musical
instrument given to them. The Warner
Bros character is often cited as a very
basic form of the black minstrel as he
retains many of these traits yet
features a toned down look that
obscures his race or ethnicity. The
Disney character of Mickey Mouse also
shares some of the same evolutionary
history and physical appearance with
that stereotyped image, obscured
however by its anthropomorphized
features.

8. Other Emerging Stereotypes
 As time grew on and animation became more and more popular, a steady growth
of characters came out based upon stereotyped images. Native Americans were
portrayed as tobacco smokers who lived in teepees and fought against the soldier of the
Union who were the “good guys”. Hispanics were most often represented as lazy
individuals who wore sombreros and were constantly napping.
Anthropomorphized versions can be found in Speedy Gonzales shorts where many
secondary and tertiary characters were in this mold, despite that the protagonist was of
almost a complete reversal of this image. Asians featured almost trademarked squinted
and slanted eyes which were accompanied by a wide sly grin. Arab stereotypes were of
large burly men who wielded scimitars and acted in a truly barbaric fashion of slashing at
everything that came about them.
The Original Speedy
Gonzales, a Mexican
mouse (left), and
the later revised one
which shot to fame
(right)

9. World War II and Stereotypes in Animation
 With the advent of World War II,
stereotypes took on a new form.
Stereotypical images of the people of the
countries of the Axis served in
propaganda aimed at not only moralizing
the troops heading out to war but also to
help focus the general public on who the
enemies were. Japanese characters in
animated short films during this time
were extremely exaggerated due to the
fact that they were the primary opposition
to the United States at the time. Many
animated films produced during this era
featured characters such as Donald Duck,
Popeye the sailor, and Bugs Bunny, who
often fought the leaders of the nations of •Bugs Bunny and a heavily
the Axis and routinely won. These stereotyped Japanese soldier
animated features are questioned as to in “Bugs Bunny Nips the Nips”
whether or not they influenced the
American public, old and youth, into
despising these individuals for years after
the war.

10. Why Examine Disney?
 The Walt Disney company has
marketed itself as the face of the
American public. Warner Bros and
MGM, despite their vast contributions
to the genre, have waxed and waned
over the years whereas Disney has
continued to flourish. This popularity
denotes that possibly Disney films
have hit a chord in its viewers that not
only appease their comedic and visual
wants but also falls in line with their
moral beliefs and attitudes. Even more
so Disney images and films have been
an innovator in animation all over the
world, heavily influencing styles and
artwork, most notably in Japan where
anime can be seen as a direct
descendant of the Disney styles.
Disney‟s image has also been labeled
as the face of Americanization in the
world of globalization thus
strengthening its power and giving it a
good / evil balance.

11. The Five Films
 The five films we have chosen from the Disney canon represent varying
views of stereotypes and racism of a different culture and creed. Not only that but
they span the entire lifespan of the company and are indicative of how stereotypes
are not only used over the past 70 years but also how the public has reacted to
those images.

12. %20records/walt_disney_dumbo.JPG
http://www.e-profession.com/records/Walt%20Disney Dumbo
images/A092-DUM_Crows-570x436.jpg
http://www.firstanimationart.com/sitebuilder/
 This all-time favorite hit Disney adventure from 1941 is
still touching audiences‟ hearts everywhere, particularly
children. Seemingly sweet, innocent, and a tale of
overcoming differences, the optimism in the film can‟t
be missed. However, the darker side to Dumbo is
Disney himself, incorporating black caricatures and
stereotypes as forms of racist entertainment marginal
to the main character Dumbo. This ironic incorporation
is a paradox to the film‟s message of accepting
everyone the way they are, despite superficial
differences.

13. Dumbo (1941), Animated Movie
 SYNOPSIS:
Dumbo is brought to Mrs. Jumbo, a performing circus
http://lnx.ginevra2000.it/Disney/dumbo.htm
elephant as her newborn child but is ridiculed by all when
they see his abnormally large ears. Mrs. Jumbo has undying
love, however, for her baby elephant and eventually is locked
up as a "mad elephant“ when she causes a riot protecting
Dumbo from kids jeering and poking fun at his ears. Now
alone, Dumbo eventually meets Timothy mouse who
becomes his only friend and the ironic friendship helps him
cope with the loss of his mother. Timothy mouse attempts to
improve Dumbo's situations by influencing his incorporation
into main acts in the circus arena. Dumbo messes up an act
involving the other elephants and eventually ends up as a
humiliated low-tier elephant-clown. Things look up after both
Timothy and Dumbo accidentally drink water that is spiked
with alcohol and hallucinate a very bizarre pink-elephant
dance sequence, waking high up in a tree the next morning
to laughing black crows. After initially poking fun at an
"elephant flying" and being in a tree, Timothy gains their AWARDS AND NOMINATIONS:
sympathy for Dumbo and they help Timothy convince (1942 Won): Oscar for Best Music, Scoring
Dumbo he can fly with a "magic feather" although he can fly of a Musical Picture
without it. During the clown act of falling down a huge
building, Dumbo loses the feather but flies up at the very (1942 Nominated): Oscar for Best Music,
last moment. Dumbo gets revenge on everyone who was Original Song
mean to him, becomes the star of the circus, and lives (1947 Won): Best Animation Design @ the
happily ever after. Cannes‟ Film Festival

14. ney22.jpg
.com/images/disney/dis
http://www.scifistation
Racial Stereotypes
The two main racist scenes in Dumbo is the brief and often overlooked “black worker
scene” and the notorious “black crow sequence”. A brief description of both scenes and
their racial stereotypes are discussed below. A continued analysis on the crow sequence
will follow.
 Black Worker Scene: Towards the The Crow Sequence: This scene is now
beginning of the film, the scene where famous for its black caricature
the circus is being set up, the black representation. The blatant stereotype is
stereotype of a working black brute is most evident through the “Amos‟ n‟ Andy”
especially offensive although brief. dialect the crows speak when they find
They sing a stereotypical “working Dumbo and Timothy in the tree. Timothy is
song” and are, of course, completely initially very rude to the main crow, who
faceless. Not only is this simply creepy, Disney had the audacity to name “Jim Crow”,
as though the crows are known to be hostile
but also depicts blacks as marginal and marginal characters of society. This
brutes only useful working in the clear parallel is far too obvious. Although
lowest tiers for the white bureaucrats many would argue that the black depiction
of the circus. The faceless aspect here is sympathetic and they are the only
removes any sort of real humane characters that help Dumbo out, the show-
identity while all the white human like depiction along with a dance and
characters have distinct faces. Albeit it singing jazz sequence pigeonholes the black
is 1941 where most African Americans identity as loopy, lazy-looking, and minstrel-
are forced into manual labor work at like.
the bottom of the hierarchy, this scene
seems to be regressing to times of
slavery and bondage.

15. The Moral Paradox
 Dumbo, a movie about an elephant with no
friends based upon his appearance, is ridden
with hypocrisy due to the black caricatures.
What was supposed to be an enlightening
film with a moral of “accepting others‟
http://i-love-disney.com/1/dumbo.jpg
differences” and the worthiness of every
individual is contrasted with the crow
sequence of blatant stereotyping. Thus,
although the crow sequence is “sympathetic”,
the paradox is still evident. Parents and
children alike enjoyed the movie for over 60
years, recognizing Dumbo‟s plight as an
elephant who “has big ears”, living
peripherally in the circus, yet they fail to
apply the obvious moral to racist mechanisms
in society, especially when, IN THE SAME
MOVIE, there exists a rather obvious and
unsettling racist cartoon sequence (the crow
sequence) and a more subtle sequence as
well (the working scene)

16. The Crows‟ Controversy
 Contemporary reviewers and audiences today find
themselves split almost completely down the middle in
terms of the movie Dumbo. On one hand many people
claim that it is NOT racist because not only the crow
sequence the so-called “best” part of the film in terms of
http://www.fantasiescometrue.com/PINS/boxcrowpin.htm
optimism, liveliness, and fun, but the black caricatures are
sympathetic, not villains. They are one of the only ones
that help Dumbo and claim that over-sensitive critics are
overreacting to a fun, happy scene that, if anything,
breaks racial barriers by making them “good”. This side
claims that the crows are not a racist stereotype, but have
a racial identity.
 On the other hand, re-watching Dumbo now in decades
after its first release alarms many viewers due to the
blatant stereotyping of blacks. The Amos n‟ Andy dialect,
dress, etc, everything about the crow sequence is poking
fun, if not directly, at the African American. Although
others may claim that the crows really had a human good
side, this side argues that the crow sequence is far too
short to create humanity in any of the caricatures, and all
of them talked the same, acted the same, and had no
definitive individual character. They are lumped together
with their leader, Jim Crow (what?!), defining the African
American as such, perpetuating decades-old stereotypes to
a child-aged audience.

17. http://www.ferris.edu/htmls/news/jimcrow/coon/more/greet.jpg
http://going24-7.com/pins/images2/dumbocrows.gif
"Uh, what's all the rookus? C'mon,
step aside brothuhs, uh, what's
cookin' around heah? What new?
What fryin', boys?“ – „Jim Crow‟ in
Dumbo
 Author‟s Notes: The unmistakably Amos n‟ Andy dialect, the crows‟ dress as well as
mannerisms are reminiscent to the “coon” or “dandy” stereotype as fun-loving, lazy,
watermelon-eating useless blacks. The jazz musical dance sequence, also argued to be the
liveliest and climax of the film, is no doubt reminiscent of minstrel shows throughout the
Jim Crow Era. This display of blackface known as minstrel shows, poked fun at blacks
through mal-intentioned entertainment. Not only was it demeaning, as if the black-faced
minstrel actor was some sort of sick puppet, it perpetuated the very stereotype that this
was the only sort of activity “blacks were good for”, being foolish, stupid, brutish, slow,
and they need to know their place. So sure, the crow sequence was sympathetic and they
were the ones that helped Dumbo out, yet in the end they are left behind, living marginally
because THEIR differences simply couldn‟t be integrated into the “circus”, or should we say
“society”, while Dumbo, with his big blue eyes and light skin, could. The proponents that
argue that the crows are not a negative depiction but rather a positive spin on the
stereotype also seem to completely ignore the fact that the main crow is named Jim Crow,
as if that isn‟t blaring enough. He is also the only crow whose voice is played by a white
man, kind of reminiscent of black-face, but “black-voice”, perhaps. Although the crows help
Dumbo and may be argued as a sympathetic depiction of an originally racist stereotype,
knowing Disney‟s inherent racism and understanding that it was 1941, this is a NEGATIVE
perpetuation of a black stereotype. I, personally, believe that to say otherwise is appalling.
- Evelyn Chuang

18. Impact? Or Reflection of Racial Mechanisms
Already at Work?
 Although Dumbo was a huge hit during the early years of Disney‟s feature-
length film empire, it is a tough statement to say that Dumbo really impacted
racial attitudes at the time, rather it was perpetuating (on a lesser scale than
the macro-level), racial attitudes that had endured for hundreds of years. Simply,
Dumbo is a great example of racist cartooning, and black stereotype in
caricature, but was not one of the forefront films, such as “Birth of a Nation”,
for instance, that could influence a viewer at the time to become racist if they
weren‟t already. If anything, viewers at the time probably dismissed the black
stereotypes as simply a true aspect of life, laughed a little, and thought nothing
much of it. It is a reflection of the racial mechanisms that had been turning all
through the Jim Crow era. “We‟re not racist, blacks are really like that…”
/2003marchpics/wdw_sstt_timothy_031303.jpg
http://www.dizpins.com/archives/images
 Contemporary viewers on the other hand probably find it blatantly offensive
(well, some don‟t as mentioned earlier), understanding that these stereotypes
are no longer accepted in the mainstream ideology, although racism is still
rampant today. Showing Dumbo today, although still regarded as a sweet and
fun movie, might have a different influence on viewers, regressing our attitudes
back to 1941 and previously.
 I can‟t really say which is the lesser of two evils, Dumbo impacting a new
generation of racist children, through a crow sequence or Dumbo reflecting the
already scary racial attitudes of the times. However, the latter of the two seems
to be a more viable statement. It is also tragic that people still don‟t realize the
racism in Dumbo and will argue for its sympathetic renderings of black folk,
particularly the Crow sequence, is also a frightening situation.

19. Peter Pan
 Peter Pan is a fictional character created
by Scottish novelist and playwright,
James Matthew Barrie (1860-1973), as
well as the title of a stage play and novel
based on the character. A mischievous
little boy who refuses to grow up, Peter
Pan spends his never-ending childhood
adventuring on the small island of
Neverland as leader of his gang, the Lost
Boys.1
 In 1953, Walt Disney Animation released
its 14th motion picture based upon J.M
Barrie’s original story. As with other
Disney films, artistic license was taken in
rewriting the films plot. However despite
the changes the film remains remarkably
close to the source material and served
as the best visual representation of the
original material beating out the
numerous plays which had come before
it. The film made $87.4 million dollars
and was followed up with a sequel in
2002 entitled “Return to Neverland.”

20. Native American Stereotypes
 This film‟s concern with racism lies in the portrayal of Native Americans.
The portrayal is highly stereotypical, with Native Americans being shown as
warlike primitives who speak in guttural tones. This comes into play when
Captain Hook captures the Indian princess Tiger Lily.
•The lost boys are excited to go and find some Indians. They
Controversial
sing a song “We‟re off to find the Indians.” This song isn‟t that
Segments of the Film
bad but it does mention the term red skins.
•Also the Indians in this movie are portrayed by having red
skins. Every Indian in this film has red skin. One of the lost boys
states in the movie: “ Indians are cunning but less intelligent”
•The lost boys and Captain Hook mention that the Indians are
savages. Wendy states: “Do you want to stay here and grow up
like savages?”
•The song: “What makes the red man, red?”. This is the song
that the Indians are singing after Peter Pan saves Tiger Lily and
brings her back to her village. After she is returned safely, her
village gives Peter Pan and the Lost Boys a celebration.
http://cache.tias.com/stores/hga/pictures/38314a.jpg

21. Aladdin
 Released by Walt Disney Pictures in
1992, Aladdin was a firm step in a
new direction for the animation
studios of Disney. Aladdin marks
their first real departure in a full
length animated film from the
traditional European fairy tales to
those of other cultures, in this case
the Arab world. The film grossed
$217 million dollars in the US and
another $504 million internationally
making it the most successful film of
the year. At the 1993 Academy
Awards it won Oscars in the
categories of Best Song (A Whole
New World) and Best Original Score.

22. Persian Stereotypes and Controversy
Due to the fact that this was the first Disney film that
not only crossed studio norms but also examined the
Arab world, a number of inferences have been made
relating to the characters and their world.
 The culture of the world portrayed in the movie is a hybrid of
Persian, Arab, and Indian backgrounds
 Characters refer to “Allah” instead of “God”
 There is a distinct image that the majority of people in this world
are in poverty, illustrated by the vast number of street merchants
and the mud housing. This is contrasted to apparently the few who
are wealthy in the film who live a far more opulent lifestyle than
those they preside over. This is illustrated with the Sultan‟s palace
being roughly half the size of the entire city.

23. The Controversy with the Main Song
“Arabian Nights”
 A large controversy erupted over the original lyrics to the song
“Arabian Nights.” The lyrics initially featured in the film were
claimed by the American-Arab Anti-Defamation League to be
offensive and politically insensitive. As a result the following home
video release was edited to include replacement lyrics.
Original Lyrics Edited Lyrics
“Oh I come from a land, from a Oh I come from a land, from a
faraway place faraway place
Where the caravan camels roam Where the caravan camels roam
Where they cut off your ear Where it's flat and immense
If they don't like your face And the heat is intense
It's barbaric, but hey, it's home” It's barbaric, but hey, it's home

24. Pocahontas
 Released by Walt Disney Pictures
in 1995, Pocahontas was the 33rd
full length animated feature
released by the studio. The film
was the first Disney animated
feature to be based upon actual
events. The film follows in
Disney‟s trend of the 1990s of
straying from the traditional
European fairy tale story. The
film grossed $141.6 million
domestically and $347 million
internationally. It won the 1995
Academy Award for Best Song
for “Colors of the Wind.”

25. Controversies
 At the center of the controversy with this film is the fact that
the events of the life of Pocahontas have been romanticized to
the point where the story is historically inaccurate. As such the
debate remains as to what is potentially more dangerous,
exploring the actual darker truths of the original subject matter
with children or distorting historical events giving them less of
an impact
Other Controversies Include:
•Pocahontas‟s Age: In real life she was around the age of 11 when
the events of the film transpired. In the film she appears to be in her
early to mid 20s
•Distorted physical images of Native
Americans: While not as stereotypical as those
that appeared in the film “Peter Pan”, the Native
Americans in this film take an appearance that is
slightly European, much in the same way characters
in Aladdin shared the same trait.
http://lnx.ginevra2000.it/Disney/pocahontas1/0
14p.jpg

26. References to
Related Journal Articles
 Animation and Stereotypes
 The best cartoon you've never seen Jaime J Weinman. Maclean's. Toronto: Mar 27, 2006. Vol. 119,
Iss. 13; p. 57 (1 page) – A look at the short “Coal Black and the Sebben Dwarves”
 That„s Enough, Folks. Sampson, T., Henry. Lanham, Md.: Scarecrow Press, 1998. – a look at black
stereotyped characters from 1900 to the 1950s
 Snow Whitey? Robertson, Gail. Canadian Dimension. Winnipeg: Sep 1998. Vol. 32, Iss. 5; p. 42 (3
pages) – A look at the stereotypes in a number of Disney films
 Cartoons: One Hundred Years of Cinema Animation . Bendazzi, Giannalberto. London: J. Libbey, op
1994.
 Controversial cartoons: The unlikely animation of yesteryear Robert L Tefertillar. The World &
I. Washington: May 2000.Vol.15, Iss. 5; pg. 183
 7 Minutes: The life and death of the American animated cartoon Amy M Davis. Historical Journal
of Film, Radio, and Television. Dorchester-on-Thames: Jun 1999.Vol.19, Iss. 2; pg. 265, 2 pgs
 Disney and its conservative critics: Images versus realities
Ostman, Ronald E. Journal of Popular Film & Television. Washington: Summer 1996. Vol. 24, Iss. 2; p.
82 (8 pages)

27.  Dumbo
 http://www.regent.edu/acad/schcom/rojc/wainer.html (this is a site that shows a specific
argument that those deeming Dumbo as racist are overreacting)
 http://www.washingtonfreepress.org/17/Disney.html (Here is a discussion of Disney‟s racism
in general)
 http://www.ferris.edu/jimcrow/coon/ (A great analysis of the coon stereotype)
 http://www.amazon.imdb.com/title/tt0033563/usercomments?start=30
(An online discussion between users on their contemporary reaction to Dumbo, including
racial issues)

28.  Aladdin
 "Saving Other Women from Other Men: Disney's Aladdin.“ Addison, Erin.
Camera Obscura: A Journal of Feminism, Culture, and Media Studies, vol. 31. 1993
Jan-May. pp: 5-25.
 "2 Films Spin Their Own Special Magic”.“Britt, Donna. (Column) Washington Post
v115 (Fri, Nov 13, 1992):D1, col 1, 18 col in. (comparing Walt Disney film 'Aladdin' to
documentary film about black soldiers in World War II)
 Corrigan, Don. "Aladdin - Like Much of U.S. Entertainment and Media - is
Flawed by Stereotypes." St. Louis Journalism Review v22, n153 (Feb, 1993):13 (2
pages).
 Felperin Sharman, Leslie "New Aladdins for Old." Sight & Sound ( III/11, Nov 93;
p.12-15. Discusses the attraction of the Aladdin story to filmmakers and its
representation of Arabs, with particular reference to the 1992 Disney production.
 Felperin, Leslie "The Thief of Buena Vista: Disney's Aladdin and Orientalism."
In: A reader in animation studies / edited by Jayne Pilling. London : J. Libbey,
c1997. --MAIN: TR897.5 .R43 1997 Fox, David J. "Disney Will Alter Song in 'Aladdin.'"
(changes come after Arab-Americans protest that lyrics are racist) Los Angeles Times
v112 (Sat, July 10, 1993):F1, col 5, 17 col in.
 Geist, Kenneth "Aladdin." (movie reviews) Films in Review March-April 1993 v44 n3-
4 p127(2) Gorchev, Leila. "When Will it be Okay to be an Arab?" (on Disney film
Aladdin and its portrayal of Arabs) (Column) Washington Post v116 (Sun, Dec 27,
1992):C7, col 2, 16 col in.
 Irwin, Robert "Aladdin." (movie reviews) TLS. Times Literary Supplement Dec 24,
1993 n4734 p14(2) "It's Racist, But Hey, It's Disney." (racist lyrics in song from Walt
Disney Productions movie 'Aladdin') (Editorial) New York Times v142 (Wed, July 14,
1993):A14(N), A18(L), col 1, 6 col in.

29.  Aladdin cont.
 Klawans, Stuart "Aladdin." (movie reviews) The Nation Dec 7, 1992 v255 n19 p713(4) UC users only Macleod,
 Dianne Sachko. "The Politics of Vision: Disney, Aladdin, and the Gulf War." In: The Emperor's old
groove: decolonizing Disney's Magic Kingdom / edited by Brenda Ayres. pp: 179-91. New York: P. Lang, c2003.
--Main Stack PN1999.W27.E48 2003 --Bus & Econ PN1999.W27.E48 2003
 Maslin, Janet "Aladdin." (movie reviews) The New York Times Nov 11, 1992 v142 pB1(N) pC15(L) col 3 (26
col in)
 Phillips, Jerry. "Telling Tales to Children: The Pedagogy of Empire in MGM's Kim and Disney's
Aladdin." The Lion and the Unicorn: A Critical Journal of Children's Literature vol. 20 no. 1. 1996 June. pp: 66-
89.
 Nadel Alan "A whole new (Disney) world order: Aladdin, atomic power, and the Muslim Middle
East." In: Visions of the East: orientalism in film / edited by Matthew Bernstein and Gaylyn Studlar. New
Brunswick, N.J.: Rutgers University Press, c1997. --Main Stack PN1995.9.E95.V57 1997
 Phillips, Jerry and Ian Wojcik-Andrews "Telling Tales to Children: The Pedagogy of Empire in MGM's
Kim and Disney's Aladdin." The Lion and the Unicorn 20.1 (1996) 66-89 UC users only
 Scheinin, Richard. "Angry Over 'Aladdin;'"Arabs decry film's racial stereotypes. Washington Post v116
(Sun, Jan 10, 1993):G1, col 1, 36 col in. Shaheen, Jack. "Aladdin: Animated Racism." Cineaste, vol. 20 no. 1.
1993. pp: 49 UC users only
 Sharman, Leslie Felperin. "New Aladdins for Old." Sight and Sound v3, n11 (Nov, 1993):12 (4 pages). Simon,
John "Aladdin." (movie reviews) National Review Dec 14, 1992 v44 n24 p53(2) UC users only
 Staninger, Christiane. "Disney's Magic Carpet Ride: Aladdin and Women in Islam." In: The emperor's
old groove: decolonizing Disney's Magic Kingdom / edited by Brenda Ayres. pp: 65-77. New York: P.
Lang, c2003. --Main Stack PN1999.W27.E48 2003 --Bus & Econ PN1999.W27.E48 2003
 White, Timothy R. and J. E. Winn "Islam, Animation and Money: The Reception of Disney's Aladdin in
Southeast Asia." Kinema, Spring 1995

30.  Pocahontas
 Disney's Pocahontas: Reproduction of Gender, Orientalism, and the Strategic Construction of
Racial Harmony in the Disney Empire Kutsuzawa, Kiyomi. Asian Journal of Women's Studies. Seoul:
Dec 31, 2000. Vol. 6, Iss. 4; p. 39
 Disney's 'politically correct' Pocahontas--Race in contemporary American cinema: Part 5 Kilpatrick,
Jacquelyn. Cineaste New York:1995. Vol. 21, Iss. 4, p. 36
 Jamestown's Pocahontas Schwartz, Amy E. The Washington Post. Washington, D.C.: Aug 26, 1995. p.
A13
 Coming to classrooms: The real Pocahontas storyKershaw, Sarah. New York Times (Late Edition
(East Coast)). New York, N.Y.: Jul 12, 1995. p. B6
 Is 'Pocahontas' really for children?
Black, M Sean. New York Amsterdam News. New York, N.Y.: Jun 17, 1995. p. 25
 Song of the South
 "Take a Frown, Turn It Upside Down": Splash Mountain, Walt Disney World, and the Cultural De-
rac[e]-ination of Disney's Song of the South (1946) Jason Sperb. Journal of Popular Culture. Bowling
Green: Aug 2005. Vol. 38, Iss. 5; p. 924 (15 pages)
 Disney vs. history Graham, Otis L Jr. The Chronicle of Higher Education. Washington:
Sep 14, 1994. Vol. 41, Iss. 3; p. B1 (2 pages)
 http://www.corporate-ir.net/ireye/ir_site.zhtml?ticker=DIS&script=1010&item_id=1225645
(webcast of Disney Stockholder Meeting of 2006)
 www.songofthesouth.net (website devoted to the preservation of the film with articles)

31. Retrospective
 Over the course of the 20th century, the Walt Disney company has
become a symbol of the American people and it shared culture and
beliefs. Among the majority of organizations that branched out globally
during the course of the century, it has been noted in refraining from
goal displacement in staying true to its intentions of providing wholesome
family entertainment. However as illustrated by the subject matter of
some of its films, we come to question what exactly is deemed
wholesome to the American public. A number of questions emerge that
need to be mulled over including:
•Is there a line to be drawn between •Should the correcting of past
artistic liberty and the opinions of the mistakes involve the censoring of
public? images, despite their historical
significance?
•Does Disney have a responsibility to
show politically appropriate material •How should one cater to all
to the public? audiences without offending anyone?
•How should images be marketed in a •Is there a line that denotes what
world that is now highly globalized? should and should not be censored?
If so how do we decide where that
line is and how does it shift?

32. Works Cited and Bibliographies
 Media
 Aladdin (Disney Special Platinum Edition) (2004) Disney
2004
 Alice in Wonderland (Masterpiece Edition) (1951) Disney
2004
 Dumbo (60th Anniversary Edition) (1941) Disney 2001
 Looney Tunes - Golden Collection (1955) Warner Bros 2003
 Looney Tunes - Golden Collection, Volume Two Warner
Bros 2004
 Peter Pan (Special Edition) (1953) Disney 2002
 Pocahontas (10th Anniversary Edition) (1995) Disney
2005
 Walt Disney Treasures - On the Front Lines (1943) Disney
2004

33.  Texts
 Harris, C., Joel. Uncle Remus. D, Appleton and Company. New York and London 1908
 Sampson, T., Henry. That„s Enough, Folks. Lanham, Md.: Scarecrow Press, 1998. – a look at black
stereotyped characters from 1900 to the 1950s
 Various Writers. Oriental Tales XIII: Alaeddin and the Enchanted Lamp. 1914
• Websites
Peter Pan
•http://en.wikipedia.org/wiki/Peter_Pan#Controversy
•http://parentcenter.babycenter.com/reviews/bigkid/gentertainment/view/
5-249
•http://www.surlalunefairytales.com/boardarchives/2005/dec2005/racism
disney_1.html
•Harvard Business School Case. Disney: The Entertainment King. Case
No. 9-701-035 Page 21. Exhibit 7: Top Grossing Animated Films of All
Time.

34.  Websites
Dumbo
 "Center for American Music." Minstrelsy. Center for American Music.
May 2006 <http://www.pitt.edu/~amerimus/minstrel.htm>.
 Wainer, Alex. Reversal of Roles: Subversion and Reaffirmation of
Racial Stereotypes in Dumbo and the Jungle Book. Spring 1994.
Sync: The Regent Journal of Music and Video. May 2006
<http://www.regent.edu/acad/schcom/rojc/wainer.html>.
 Wasko, Janet. Understanding Disney: the Manufacture of Fantasy.
Malden: Blackwell Inc., 2001.
Animation
 http://en.wikipedia.org/wiki/Animation_Before_Hollywood:_The_Sil
ent_Period
 http://en.wikipedia.org/wiki/Animation_in_the_United_States_in_th
e_television_era
 http://en.wikipedia.org/wiki/Looney_Tunes

35.  Images
 http://www.animationusa.com/picts/wbpict/2_Amuck.jpg
 http://en.wikipedia.org/wiki/Image:Warner_Bros_logo.jpg
 http://www.toontracker.com/felix/felix.htm
 http://en.wikipedia.org/wiki/Snow_White_and_the_Seven_Dwarfs_%281937_film%29
 http://en.wikipedia.org/wiki/Image:Shaggy-scooby-scared-1969.jpg
 http://en.wikipedia.org/wiki/Image:Flintstone-family.jpg
 http://en.wikipedia.org/wiki/Image:1942_Coal_Black_And_De_Sebben_Dwarfs_Ad.jpg
 http://www.citizenlunchbox.com/famous/dogs/pix/fitz.jpg
 http://en.wikipedia.org/wiki/Image:AuntJemima.jpg
 http://en.wikipedia.org/wiki/Image:Early-Speedy.jpg
 http://en.wikipedia.org/wiki/Image:Speedy.jpg
 http://www.thefileroom.org/documents/dyn/DisplayCase.cfm/id/931
 http://www.wildwilderness.org/images/d-day.jpg
 http://www.telechron.net/temp/bosko.jpg
 http://www.magicalears.com/clipart/Classic%20Characters/Mickey%20Mouse/mickey-003.gif
 http://www.oneposter.com/UserData/Poster/Poster_10883.jpg
 http://www.tvsquad.com/images/2005/09/fat%20albert.jpg
 http://images.google.com/imgres?imgurl=http://www.tvcrazy.net/tvclassics/wallpaper/cartoons/mike/super
friends.jpg&imgrefurl=http://www.tvcrazy.net/tvclassics/wallpaper/cartoons/superfriends.htm&h=600&w=8
00&sz=83&tbnid=rTVH9BCkW9GitM:&tbnh=106&tbnw=142&hl=en&start=2&prev=/images%3Fq%3Dsupe
rfriends%26svnum%3D10%26hl%3Den%26lr%3D%26c2coff%3D1%26rls%3DGGLD,GGLD:2005-
01,GGLD:en%26sa%3DN

36.  Done by Christina Baez, Evelyn Chuang,
Katiria Gonzalez, and Lloyd Johnston
 Animation History Segment – Lloyd Johnston
 Dumbo – Evelyn Chuang
 Peter Pan – Katiria Gonzalez
 Aladdin – Christina Baez and Lloyd Johnston
 Pocahontas – Christina Baez and Lloyd
Johnston
 Song of the South – Lloyd Johnston