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Something wicked this way comes: How real life stepmothers are battling centuries of fiction to overcome stereotypes.This advertisement has not loaded yet, but your article continues below. She is an individual first and a mother second. Yes, she flirts with some nagging stereotypes, but generally speaking, Elastigirl offers the perspective that motherhood is not an all-encompassing identity. In fact, with the imminent release of The Incredibles 2, we have the first example of a Disney film that might be centred on the adventures of a mother, as Elastigirl takes centre stage. Being a parent in a Pixar film still grants you a higher than average chance of death, but films like Inside Out (2015) and The Incredibles (2004) at least attempt to fit their motherly visions with depth and nuance. In recent years, Pixar has done some work to fix the image of the dead or depressed mom, but it’s still mostly the same old song and dance. Of course, Disney isn’t the only game in town, but in the sensitive formative years of childhood, it has long dominated the market share for cinematic imagination. For young mothers, it creates an unattainable saintly status. What toll do these portrayals of motherhood take on us? For young girls, it delivers an either/or scenario: you can be a princess or you can be … dead. The dead mothers of Disney don’t make mistakes and they can never disappoint you. No mother in this universe is more whole, complete or perfect than a dead one. Most of the mothers who die become enshrined in their deaths, vague and perfect portrayals of motherly sacrifice. Even Mufasa, who dies a horrifying death in The Lion King (1994), remains an integral part of the storyline as he later appears as a ghost to guide his son, Simba.
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In movies like A Goofy Movie (1995), The Little Mermaid and Finding Nemo, fathers emerge as driving forces within their films if they suffer, they are at least afforded names and autonomy. Some might suggest that the fathers in the Disneyverse don’t fare much better, but at least they are allowed a measure of influence to the narrative. At best, a mom will serve a tertiary role within the grand narrative, but even that seems to be the exception rather than the norm. However, Disney still makes the choice to adapt these stories, and even when it’s not portraying mothers as suffering in life and death, it’s not exactly offering viewers a history of wonderful representation. Its history in literature can be seen from the fairytales that the studio chose to animate to the Harry Potter series. Of course, the “motherless character” is hardly a Disney-only trope.
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In addition to the films previously mentioned, The Jungle Book (1967), The Fox and the Hound (1981), The Little Mermaid (1989), Aladdin (1992), Tarzan (1999), Atlantis (2001), Lilo & Stitch (2002), Finding Nemo (2003), Brother Bear (2003), Frozen (2013), Big Hero 6 (2014) and even the live-action version of Beauty and the Beast (2017) all feature protagonists with mothers who have died, or been killed or captured. Over the past 50 years, across the Disney and Pixar (which became a subsidiary of Disney in 2006) oeuvre, there may be examples of mothers who are given a bit more to work with, but they are far outnumbered by the moms who die or suffer. If so, it’s a decision that has continued to influence the studio’s movies ever since. Some have speculated that the death of Disney’s own mother – from asphyxiation due to carbon-monoxide poisoning in 1938 – led to this creative choice. Lady only has puppies in the happy epilogue, and after giving birth to over 13 puppies (before adopting 88 others), Perdita had to face the trauma of having her offspring taken from her. Even then, both experiences should probably be fitted with an asterisk. Article contentīefore Walt Disney’s death in 1966, only two animated feature films exhibited anything close to a happy motherhood: Lady from Lady and the Tramp (1955) and Perdita from 101 Dalmatians (1961).