Since 1937 – for 80 years, this year – Disney has been enchanting little girls’ hearts while simultaneously becoming the bane of a feminist’s existence. From the classic Snow White to the most recent blockbuster Moana, Disney princesses have become a huge part of our culture – for better or for worse – and seem to have evolved with our so
ciety’s culture along the way. While Disney currently only lists 11 “official” Disney princesses (as part of the franchise), we can assume for the sake of this article that newer princesses including Anna and Elsa (from Frozen) and Moana (from Moana) will eventually also be attending their royal Disney coronations. The last princess to join the party was Merida (from Brave) who was “officially” named a Disney Princess at her coronation in 2013 (Brigante).
Many feminists have condemned princess culture overall, especially Disney’s. A 2016 study found that “princess engagement” (exposure to media, toys, etc.) was highly correlated with stereotypical feminine behaviour over one year (for both girls and boys) (Coyne et al. 1920-1). While presenting feminine behaviours is not evil in itself, as the study explains, adherence to these gender roles can potentially limit children in their experiences both as children and as adults. For this reason, among others, feminists must consider the negative, anti-feminist messages in Disney princess movies (Alexander).
Why are Disney princesses looked so poorly upon by feminists? Early princesses such as Snow White (1937), Cinderella (1950), and Aurora (1959), receive the most flack for being the least feminist (and therefore sending the worst messages to young viewers). These girls are portrayed with very flat, demure personalities; waiting to be rescued and quickly married, their stories all revolve around their respective Prince Charmings. The original three meet all of the concerns laid out by Lamb and Brown, including body and beauty; gender roles; lack of support system; and need for men (336-7).
Newer, 
yet still classic princesses including Ariel (1989), Belle (1991), Jasmine (1992), Pocahontas (1995), and Mulan (1998) seem to be much more debated. It is generally agreed that these princesses have more well-developed personalities and are definitely more tough and daring than princesses of the past (AJ). This group also includes the first three women of colour as Disney princesses (Jasmine, Pocahontas, and Mulan). Each girl exhibits defiant and/or heroic behaviour at some point in their stories: Ariel defies her strict father to achieve her goals; Belle saves her father and does not put up the antics of Gaston or the Beast; Pocahontas risks her life to save John Smith’s and stands up for what she believes in; Jasmine refuses a marriage with a man she does not love; and Mulan disguises herself as a man to join the army in her elderly father’s place (oh, and saves China). However, Lamb and Brown argue that while these girls are bold and heroic, “the problem is that so much of the courage and feistiness is either in pursuit of romance or later put aside for it” (337).
Are the newer movies listening to feminist critique and becoming more feminist? It seems that, albeit slowly, Disney is becoming more feminist (intersectionally, even!) with every new princess movie (de Leon). The newest group of Disney princesses include Tiana (2009), Rapunzel (2010), Merida (2012), Anna and Elsa (2013), and Moana (2016). Two of these six are women of colour (so not that intersectional).
Some of the main critiques of Disney girls from Lamb and Brown include: body and beauty; gender roles; lack of support system; and need for men (336-7). Beginning with body and beauty, Disney has not come far in terms of body shape and size. Disney princesses have come under heavy fire for impossibly tiny waists and otherwise disproportionate bodies, some citing a likeness to Barbie (Lamb and 
Brown 336). Only the newest princess, Moana, has a more realistic body, being described as “athletic” and “idealized yet believable” (West; Frankel). Similarly, Disney is notorious for using very similar face shapes for all female characters in its CGI animated movies (Tangled, Brave, Frozen, Moana, etc.) (Okiesskees). Critics have said that Anna (Frozen) and Rapunzel (Tangled) are specifically similar, “showcasing once again Disney’s lack of diversity around race and beauty” (Strom). Hopefully, with this small step from Moana, Disney will continue to move away from the traditionally idealized white, thin, able-bodied, rich, heterosexual princesses, and continue to grow in terms of diversity (and in the name of feminism!)
The breaking or switching of gender roles has been a significantly more popular theme in Disney movies, dating back to Belle; the screenwriter for Beauty and the Beast (1991), Linda Woolverton, considered Belle to be the first feminist princess, and fought hard to have her portrayed that way in the movie (Berman). However, the most memorable smashing of traditional gender roles is in Mulan, of course, as she disguised herself as man to join the army (and save China). Our newer princesses also defy traditional gender roles in some ways; for example, Merida vehemently 
rejects a dainty, princess lifestyle and is show to be very active and, well, brave (no pun intended). Long gone are the days of princesses expected to do housework and raise children (and nothing else), with the exception of Rapunzel, to an extent, because what else is she supposed to do locked up in that tower?
Lamb and Brown also contend that most Disney girls do not have support systems and always need to rely on men (336-7). While all the movies in question (except Aladdin), do pass the Bechdel test (lipsredasroses), a common theme among Disney princess movies is that they have no (real) mothers, sisters, or female friends. From Pocahontas onward, we begin to see more supportive female-female relationships; however, the most notable relationship is of that between sisters Elsa and Anna (Frozen), where their familial love is 
the “true love” needed to break the curse. To continue, oftentimes when there is a lack of a support system, the princess turns to a man in her life for support (Lamb and Brown 336). This is true of most Disney princesses up to Rapunzel; Pocahontas, Mulan, and Rapunzel being notable exceptions as their movies do not end with a wedding or implied marriage, but do contain love interests. Disney tackles the concept of marriage in three different ways with the three newest princess movies. In Brave, Merida is supposed to choose a husband (out of three choices), but defies the tradition altogether and convinces everyone that one should be able to choose who they love. She also makes mentions of not being ready for marriage, and competes (in archery) for “her own hand” in marriage. In Frozen, Anna and Hans decide to marry after just meeting; several other characters, including her sister, express concern and the importance of getting to know someone before marrying them. They do not end up marrying and Anna ends the movie with a new love interest. Elsa has no love interests at all throughout the story. In the newest movie, Moana, romantic relationships and marriage are never discussed. Through these three movies, Disney has become mo
re feminist by challenging the concept of marriage in princess movies. In contrast with the older Disney films, the new-age Disney princesses are worth more than just being rescued and getting married. They are doing incredible things on their own and filling positions of power (e.g. Tiana, Rapunzel, Elsa, Moana).
While Disney still has miles to go in terms of feminism, they have definitely made efforts and strides forward over the past 80 years (about time), albeit very slow. We have (some) women of colour, but few have their cultures represented authentically. We have started breaking away from traditional gender roles, but have so much more room to grow. Disney still needs to work on representation (especially in terms of ability, ethnicity, sexuality, class, and body) of strong, powerful women in their storylines. In consideration of the potential disappointment each new movie brings, eons behind where it should be, Lamb and Brown write, “Draw a girl in with promises of something different and then bring in the same old thing through the back door.” While the sentiment is understood in many ways through the Disney films considered above, we can also have hope moving forward, considering new movies with girls like Moana. As a “princess” of colour who single-handedly saves her people through her own strength and determination, she is a true feminist icon for viewers young and old around the world.
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