Mad at Disney: The Media's Impact on Young Minds

When children are the target audience of media productions, extra care is crucial, as they are in a developmental stage of their lives. The Canadian psychologist Albert Bandura explored whether social behaviours could be acquired through observation and imitation in his 1960s social experiment. It involved children, their parents, and a Bobo doll. Children (ages 3-6) observed adults interacting aggressively with the doll, and their behaviour was then analysed when left alone with it. Bandura concluded that children's learning processes are strongly influenced by social interactions. Applying this to children's media consumption, young audiences can be impacted by the content they watch.

Generation Z is politically and socially progressive, actively deconstructing taboos and prejudices inherited from previous generations. Recently, they have turned their attention to the media they consumed as children, questioning its role in shaping behaviour, often unintentionally.

Disney, for example, is loved worldwide and is one of the renowned "Big Six" movie studios. Many of its productions hold historical significance in cinema and are cherished by generations.

Throughout its 100 years of storytelling, Disney has made three notable attempts at inclusivity. The first occurred during the Second World War, when Disney entered its wartime era, producing short propaganda films reflecting the Good Neighbour Policy. This foreign policy, introduced by President Roosevelt in 1933, encouraged friendly relations and mutual defence among nations in the Western Hemisphere. Disney reflected this through films like Saludos Amigos (1943) and The Three Caballeros (1944), which introduced Latin American characters such as Zé Carioca (Brazil) and Panchito (Mexico).

Walt Disney Animation Studios evolved alongside its audience, achieving success after success and securing a place in the hearts of millions. Disney's history can be divided into different eras, each marked by artistic and narrative shifts.

Golden Age (1937-1942): This era saw Disney’s rise with Snow White and the Seven Dwarfs (1937), its only box office success at the time, offering an escape during the Great Depression. The film was a pioneering achievement, creating the illusion of three-dimensionality using the multiplane camera. Another significant film from this era, Bambi (1942), was the first Disney movie to feature a story centred on a talking animal. The period is known for its emotional contrasts—dark themes sandwiched between uplifting moments, deeply engaging audiences.

Wartime Era (1943-1949): With many Disney artists enlisting in the military, the studio focused on anthology films and war propaganda, including anti-Nazi campaigns and efforts to encourage citizens to buy war bonds. Due to budget constraints, Disney collaborated with Latin America through the Good Neighbour Policy and experimented with abstract and experimental animation techniques.

Silver Era (1950-1967): This post-war period marked Disney’s restoration, characterised by narrative-driven animations and large-scale productions. Visually, films featured ornate backgrounds, soft colour palettes, and innovative techniques like the CinemaScope anamorphic format. Music became a key component, with stories crafted around songs.

Bronze Age (1970-1977): A transitional period marked by experimentation and a decline in the studio’s influence. With the original Disney animators retiring or passing away, a new generation of creatives took over, bringing technological changes such as xerography. However, films from this era struggled to leave a lasting impact due to lower budgets and recycled animation. Disney also diversified into live-action films and television.

Dark Ages (1981-1988): This era saw the final productions influenced by Walt Disney himself before his passing. Stories and characters became darker, with more menacing villains and heightened stakes. Computers were used in Disney animation for the first time.

Renaissance (1989-1998): Disney returned to its roots, adapting classic fairy tales with a refined approach. Films followed a Broadway-style narrative structure, where characters expressed their emotions through song. Every movie during this era became a major box-office success. However, Disney faced competition from Pixar, which offered complex, emotionally rich storytelling through digital animation.

Post-Renaissance (1999-2009): During this time, Disney experimented with new plot structures and visual styles, focusing on themes of family, personal growth, and identity. The studio sought innovation in storytelling while moving away from Eurocentric settings. However, with growing competition from Pixar, Marvel, DreamWorks, and fantasy franchises like Harry Potter and The Lord of the Rings, Disney struggled to redefine itself. The acquisition of Pixar (2006) and Marvel (2009) marked a turning point. Dinosaur (2000) became Disney’s first fully CGI-animated film, signalling the transition to new animation techniques. This era also saw the diversification of source material, including Disney’s first attempt at science fiction.

Revival Era (2010-present): Disney blended traditional storytelling techniques with CGI. Romantic love took a backseat to protagonists’ self-discovery and confidence. The “twist-villain” trope emerged—characters initially portrayed as kind and innocent revealed themselves as antagonists. Additionally, Disney embraced diversity, expanding representation across different backgrounds.

The second notable attempt at inclusivity came with the introduction of non-white protagonists, such as Tiana (The Princess and the Frog), Mulan (Mulan), Jasmine (Aladdin), Mowgli (The Jungle Book), Kuzco (The Emperor’s New Groove), and Kenai (Brother Bear). However, many of these characters still conformed to Eurocentric beauty standards and were often voiced by actors who did not share their ethnic backgrounds. Disney also employed a recurring trope—transforming minority characters into non-human forms for most of the movie, effectively masking their identity.

Beyond protagonists, secondary characters and villains often reinforced harmful stereotypes. Many portrayals from Disney’s past have not aged well, reflecting outdated social norms. The studio has also been criticised for its lack of LGBTQ+ representation, its adherence to traditional gender binaries, and the noticeable absence of characters with disabilities. Additionally, Disney has faced backlash for cultural appropriation, both historically and in recent productions.

The third wave of inclusivity came after Shrek (2001), which challenged traditional fairy tale conventions. This prompted Disney to diversify its narratives, recognising its global influence. Following the launch of Disney+ in 2019, the company added disclaimers to older films, acknowledging problematic portrayals.

That being said, Disney is not the sole focus of Generation Z’s critique. Networks like Cartoon Network and Nickelodeon have also been scrutinised for offensive content and misrepresentation.

Off-screen, problematic themes are deeply embedded in classical children's literature, where biases regarding class, gender, ethnicity, disability, religion, and sexuality reflect past societal norms. It is crucial to differentiate historical context from modern values while recognising how these narratives shaped perceptions. However, resistance to change persists, with some storytellers clinging to traditionalism and rejecting inclusivity.

Today, media is more accessible than ever, allowing audiences to explore narratives beyond their own socio-geographical bubble. However, this also raises concerns about Western cultural dominance. When Western values are imposed on Eastern cultures, media consumption can become a form of cultural colonialism, mirroring past patterns of ethnocentrism. As Spanish philosopher George Santayana said, “Those who do not remember the past are condemned to repeat it.”

With this in mind, it is disheartening to hear that Disney Channel will no longer exist in Brazil due to low viewership (as of 25 February 2025). Its legacy, however, remains. I feel like Marty McFly witnessing the disappearance of major childhood channels—first Cartoon Network, and now Disney. But the memories live on, and its impact is still felt.

Storytellers hold immense power in shaping young minds. As media continues to evolve, it is their responsibility to craft narratives that reflect and respect diverse voices, ensuring that future generations grow up with stories that inspire inclusivity, empathy, and critical thinking.