Images of Animated Others: The Orientalization of Disney's Cartoon Heroines From The Little Mermaid to The Hunchback of Notre Dame

Because of the success of the first six animated feature films produced in the "new era" of Disney animation (The Little Mermaid, 1989; Beauty and the Beast, 1991; Aladdin, 1993; The Lion King, 1994; Pocahontas, 1995; The Hunchback of Notre Dame, 1996) and their mass merchandising, Disney animated characters became ubiquitous for children of the 1990s. Although Bell, Haas, and Sells (1995) suggested that Disney films present a "sanitization of violence, sexuality, and political struggle concomitant with an erasure or repression of difference" (p. 7), an increasing emphasis on sexuality and the exotic is evident in the construction of the female heroines in these films, particularly in the female characters of color. This article analyzes what may be referred to in Said's (1978) terminology as the orientalization of women of color in five of these six Disney animated films and posits how these representations of gender and cultural difference operate within Disney's consumerist framework, which provides "dreams and products through forms of popular culture in which kids are willing to materially and emotionally invest" (Giroux, 1999, p. 89). Using a critical lens, I interrogate the unity of images regarding gender and race that these Disney texts offer and the ways in which these meanings operate within the larger socio-historical framework regarding women of color and the notion of Whiteness.