Representations of Ethnicity in Disney's Aladdin
Introduction:
Within this essay I will be applying methods of textual analysis, to explore the ways in which ethnicity is represented in Disney’s 1992 classic, Aladdin. Looking at the representations and stereotypes of Arabic culture due to the little diversity Disney has to offer through its world of fairy tales. With ‘Aladdin’s’ Jasmine being the first Disney princess offering some racial diversity to the list of ‘fairest’ princesses, after 55 years since the first Disney princess. It is interesting that Disney is known to be some of the first ways for children to depict the world, however, with little representations of culture, it is important to recognise the little representation there is and how it is presented to a younger audience. Looking into theories of racial representations in mainstream media along with published literature on the world of Disney and racism, I will be analysing the ways ethnicity is represented in Aladdin.
Literature review:
With the world of Disney being a worldwide phenomenon and the craftwork of Disney’s films giving impressions on children from a young age, the representations, primarily in ethnicity, gender and class, it is crucial for these representations to be accurate of the diversity that surround us today. One book that looks into the relation of children and seeing colour and the effects of these representations, is Hurley’s (2005) ‘Seeing White: Children of Color and the Disney Fairy Tale Princess.’ Exploring the white supremacy that is represented in all Disney movies, even Aladdin, a film that is a supposed representation of Arabian culture and life. Hurley continues to address the ‘absence of positive representations of eastern or Arabian culture’ for children throughout the book in relation to Disney’s Aladdin.
In Johnson Cheu’s ‘Diversity in Disney Films’ (1969-2013), the discussion of trying to find cultural reflection through the world of Disney is almost impossible, due to the little reflection being inaccurate to the real cultural aspects. The discussion of women of colour within Disney movies being shown as exotic and sexual creates negative connotations of both women and their ethnicity. This is furthermore explored in Lacroix‘s 2009 article ‘Images of Animated Others: The Orientalization of Disney's Cartoon Heroines’ which thoroughly explores the representations of princess Jasmine in Aladdin in relation to representations of Arabian Women.
A further text I found used full was Nittle’s (2018) research into ‘Common muslin and Arab stereotypes in TV and Film’ as these are the modern stereotypes still used today to marginalise Arabic culture are the same as the ones used in Aladdin (1997). Demonstrating the lack in development and change of ethnic stereotypes in society. Finally Karaman and Wingfield’s (1995) discussion on ‘Arab Stereotypes and American Educators’ and how Arabs are represented in popular culture as well as Disney’s Aladdin and the effects it has on the Arabian communities and people.
Methodology:
The methodologies I have chosen to analyse my text is both critical discourse analysis (CDA) and faming analysis. I have chosen to do two analyses due to both language and the framing of images being a key part of analysing the discourse created in Disney’s Aladdin. Norman Fairclough’s social theory used to analyse power relations and ideology through the use of CDA is key when discussing the representations of ethnicity within Aladdin. This is due to the way language is used within the film to create stereotypes, inequalities and myths, which becomes impressionable on its younger audience (Hurley, 2005). Using the three levels Micro, Meso and Macro I will be analysing the language used within the film and its effects using CDA.
Furthermore, combining framing analysis alongside CDA to look at the visuals throughout Aladdin to furthermore enforce the stereotypes, myths and inequalities of the Arabian culture that Aladdin falsely represents in the Disney classic. Through framing, also looking at the semiotics specifically the encoding and decoding model by Stuart Hall (Shaw, 2017). I will be looking at how Aladdin can be decoded and the readings from the film that can be found. By combining CDA, framing analysis and Stuart Hall’s semiotics, I will be able to analyse the representations of ethnicity in Aladdin and how enforced ideologies are created.
Analysis:
‘When American children hear the word “Arab" what is the first thing that comes to mind? Perhaps the imagery of Disney‘s Arabian Nights fantasy film Aladdin’ (Karaman & Wingfield, 1995)
Disney’s Aladdin has received criticisms since its release in 1992 over the representations of Arabs and race within the film. Throughout this analysis I will be combining both my methodology and published literature on the topic of representations of ethnicity and culture within Disney’s Aladdin. The image that springs to mind when thinking of ‘Arabs’ is those from the Middle East and North Africa, hot sand, belly dancers and market stalls. All these images created by the media and fed to the audience to create stereotypes, a clear example of the hypodermic syringe model (Shaw, 2017) many of these images engraved in the minds of children from films of the likes of Aladdin. Furthermore, at such a young age it is crucial for children to develop a positive self-image, to see ‘themselves’ or their images in texts (Hurley, 2005). Moreover, with Disney taking 55 years to release Aladdin, the first film that represented any other race than white, shows that ethnically diverse children were deprived of relating themselves to a Disney text at young age. Although Karaman and Wingfield (1995) see Aladdin in ‘many ways charming and artistically impressive,’ the film also represents Arabs in a negative disposition, from the opening if the film through the use of ‘Arabian Nights’ song.
‘Oh, I come from a land, From a faraway place, Where the caravan camels roam, Where they cut off your ear If they don‘t like your face, It‘s Barbaric, but hey, it‘s home.’ (Clements & Musker, 1992)
The language of the song sets the opening tone to the piece, thus the film instantly characterizes the Arabic world as ‘barbaric,’ and “othering” its people. Although Aladdin is based in the imaginary city of Agrabah, with the image of what is supposedly the Taj Mahal (see appendix A) in the opening sequence, we know that that location of the film, due to ‘camels roaming’ refers to the desert areas of the Middle East. The shocking lyrics of the song arguing that due to being ‘home’ the actions of cutting someone’s ear off is justified. Encoding the dominant reading to be that Arabic people are barbaric, violent and unjust from the opening line. Karaman and Wingfield (1995) also express after a closer look at the film it ‘reveals some disturbing features’ which are deployed throughout the film.
Not only are representations of Arabs in the lyrics, but are further expressed through the musical score that accompanies the film throughout. Adding this exotic music alongside the images on screen filled with the repeated colours of red, blue and gold which are all royal colours, further expressing the exotic luxurious setting of the Arabian world. The title screen made from the rolling sand dunes forming ‘Aladdin’ in a gold exotic font following this theme of luxury (see appendix B). Giving the stereotype that this Middle Eastern landscape embodies luxury, warmth and exoticism.
The first character introduced to the film is a scheming travelling merchant (see appendix C), he instantly fits the stereotype of an Arabic male, with an exaggerated size turban, large nose and dark skin (Nittle, 2018). Here is the first example of the mixed American- Arabic culture by the merchant using language such as ‘on sale today’ and ‘…also makes julienne fries’ both Westernised terminology to make the predominantly western audience to associate and relate to the story from the beginning. The merchant throughout is represented as mysterious and initially presenting the lamp, making Arabia seem almost “magical.” Throughout the whole of the film Arabic males are all represented as either scheming, violent, mystical, stupid or greedy (Srambeau, 2010). A key example of this barbaric behaviour of Arabs crafted within the film is when a merchant threatens to cut off the princess Jasmines hand, for stealing an apple to give to a child (see appendix D). This barbarianism looking like a social norm being an unfair and unjust society, yet again further absence of positive representations of Eastern or Arabic culture (Hurley, 2005).
The main male character of the film Aladdin is represented entirely different to the other Arabs, as he is westernised and practically an American youth (see appendix E). His accent is not heavy like the other males and his features differ entirely making him appear softer. The only stereotype of an Arab he follows is a thief. However, he is represented as a ‘Robbin Hood’ like character stealing from the rich to give to the poor. Furthermore, his outlook on life following the American Dream- ‘which life should be better and richer and fuller for everyone’ (Amadeo, 2018) does not match his Arabian culture. Moreover, other Arabic characters on screen are framed in a completely different way- thick facial hair, turbans and heavy accents, marginalising and whole social group to one description (see appendix F & G). This could be predominantly due to the Gulf War being at the same time Aladdin was made. Due to the US’s perspective on Israel and the fear or rising military threats in the Middle East, were still fresh in the minds of American audiences (Bridges, 2016) the film could have been crafted to ‘other’ Arabs. It is thought that Jafar is based upon Saddam Hussein (Bridge, 2016) after he tortured thousands of his people, much like Jafar (see appendix H) in the ‘fight scene’ when he forces Jasmine and the Sultan to bow down to him and banishing Aladdin. This further negative framing of the “enemies” in the Gulf War against the Americans.
A crucial aspect of the Disney classic is the whitewashing of all the Disney princess’s leading to Jasmine. Hurley (2005) discusses the depiction of ‘white supremacy’ with both Jasmine and the Sultan (see appendix I) being the most powerful characters, they appear most ‘whitewashed’ with lighter skin and American attributes and language. The occasional improper use of the word ‘Allah’ is repeatedly used by the Sultan as a way of cussing “Allah forbid you!” (Clements & Musker, 1992). This is something that would not be acceptable or done so by someone of religion, especially the Sultan.
Hollywood has always narrowly represented Arabic women; being portrayed as scantily belly dancers, harem girls or silent women in shrouded veils and hijabs (Nittle, 2018). This minimalist representation is the same within Aladdin, with princess Jasmine. The whole crafting of the princess depicts Jasmine in a more sexualised light through her clothing and shape of her body which differs to all previous princesses who wore dresses which hid their figures (see appendix J). Her skin tone is appropriately darker for the Middle Eastern setting, along with her large almond shape eyes (see appendix K) which accurately represent her heritage (Lacroix, 2009). However, she still retains many white features such as her small nose and mouth to westernise her character, to the predominantly American audience. Jasmine’s values, like Aladdin’s do not reflect an Arabic woman’s. As she dreams to marry for true love and break against her father’s wishes, which is not typical of the religious and patriarchal traditions, rather following an American Dream ideology. Furthermore, ‘othering’ the traditions of Arabian culture.
All the other women in the film are represented in a similar way, the young women are displayed as ‘belly dancers’ in bright similar attire to Jasmine, but with sheer coloured veils covering their mouths (see appendix L). Yet again with small noses and mouths to enhance their large almond eyes, making them appear exotic, their clothing sexualising them. The older women however, are shown much differently, in duller colours of clothing that completely cover their bodies, all in hijabs or Burka’s (see appendix M). In relation to the reasons behind women wearing hijabs is to appear ‘a chaste, modest and pure women’ (Islam women, 2018) therefore in Aladdin, the older women represent their hidden sexuality, kept for their husbands. The younger women however, are to be more sexualised and exotic in the attire they wear. This representation of Arabic women is not at all accurate, as women of all ages choose to wear a Hijab or a Burka for both religious and cultural reasons. This yet again is a negative depiction of Arabs that Lacroix (2009) expresses that the female characters of colour ‘represents racist imagery of women of colour as sexualized beings, whose bodies are privileged as the sites of their power and agency.’ Through the framing of these female characters it gives another dimension to the negative representations of ethnicity and culture within Aladdin.
Conclusion
It is clear throughout the film that Disney has failed to represent the Arabian ethnicity through Aladdin accurately. As the predominant oppositional reading is that it stereotypes a whole ethnicity as either barbaric, unjust, sexualised, thieves or shrews. Opposing to Disney’s preferred reading of the text which is- it is just a story. There are obviously more issues with the representations, as Karaman and Winfield (1995) state, of many ethnicities in today mainstream media. However, it is crucial that these stereotypes and ideologies of diverse ethnicities change. The same way all White people are not the same, as Hurley (2005) argues should be reflected equally through ethnic representations within the media.
References:
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Shaw, A. (2017). Encoding and decoding affordances: Stuart Hall and interactive media technologies. Media, Culture & Society, 39(4), 592–602. https://doi.org/10.1177/0163443717692741
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Appendix:
