A MultimodalAnalysis of Disney Animated Movies' Posters

Pakistan Journal of Social Sciences (PJSS)

Vol. 41, No. 2 (2021), pp. 421-432

De/constructing Feminist-Ideology:

A MultimodalAnalysis of Disney Animated Movies’ Posters

Muhammad Akbar Sajid Assistant professor NUML, Multan Campus

Hafsa Qadir Buzdar Lecturer, Department of English NUML Multan Campus

Email: [email protected]

Abstract: In this ultra-modern age of 3-D technology, visual language has

become aprevalent and pervasive phenomenon. The use of visual

image/imagery is obvious in almost every field of our modern life i.e.,

fashion, food, advertising, film, art, and entertainment, etc. Fascinated

by the omnipresence of the visual image/imagery, in general; and being

curious about its deliberate use,the present study aims to investigate

the maneuvering of visual language in promoting the feminist

ideologies in the field of Movie Advertising. More specifically, its main

objective is to confirm the application of the multimodal social semiotic

approach as proposed by Kress and van Leeuwen (2006). For this

purpose, three Disney animated movie posters (i.e., Moana, 2016;

Brave, 2012; & The Princess and the Frog, 2009) have been analyzed

by employing Kress and van Leeuwen’s (2006) model of multimodality

as an analytical tool and the feminist ideas of Julia Kristeva and Simon

de Beauvoir (1949) as a general theoretical framework.To validate the

findings of semiotic analysis, the researchers have also utilized

Kruger’s (2000) model to analyze the data gathered through

conducting two focus group discussions among the students of

linguistics and other disciplines. The analysis of the data reveals that

there isstrengthening evidence of the maneuvering of the visual

language, and has corroborated the operative power of Kress and van

Leeuwen’s brand of social semiotics.

Keywords: Visual language, Feminisms, Ideology, Multimodality, Social

Semiotics, Language of visuality/Visuality of language

I. Introduction Animation has played a role of vital significance in connecting the people of all

age groups. It is because that with the help of animated movies stories can be told in a

uniquely and easily manner which sometimes writing and live-action filmscannot.The

significance of animated movies is twofold. On one hand, they provide entertainment to

the viewers and simultaneously reinforce social ideologies through their cinematic

reflections. They represent dominant political ideologies about gender stereotypes. At the

same time, they are laced with social and cultural messages about the normative structure

of gender in a particular social set up. Animated cartoons most often carry jazz ideology

with them.

422 Pakistan Journal of Social Sciences Vol. 41, No. 2

Bignell (2013) opines that Visual narratives consist of visual signs that include

all images and graphics that are seen on the screen and aural signs consist of speech

sound and music which cinema screen shows. (Ross, 2014) argues that significance of

visual landscape has increased many folds in this ultra-modern age of 3-D technology,

because of word-picture conjunction. Therefore, visual, and verbal practices have

become a social praxis. In certain domains visual language is considered more effective,

powerful, descriptive, and emotive‖ (Lloyd, 2015).

Van der Laan (2018) conducted a research about knowing the effects of

animated movies on the behaviour of the children who regularly watch them. The

research mainly focused on determining that how Disney animated movies can inspire

children to help others immediately to others by watching the hero doing so. The data for

the research was collected from 113 Dutch children. The clips from Disney animated

movies were shown to the children. Media semiotic and linguistic analysis approach was

used to analyse the data. The research contends that that popular culture media discourses

play a significant role in shaping the character and world-view of the viewers.

UNICEF, UK‘s (2020) report about the function of animated movies and its

effects on young children and adult highlights that message imparted through using visual

and verbal means of communication go a long way in preserving a message in the

memory of viewers. The data for this research was collected from 62 pictures displayed

at a school. These pictures were about human nature in different spheres of life. The

illustrations highlighted that male characters are bossy and disrespectful to towards

female characters. Whereas, female friends are more encouraging to help other in trouble.

The pictures also highlighted the significance of parents‘ role in the upbringing and

education of their children. The research contends that message imparted through

animated movies and still pictures remains in the memory for longer time.

In this regard, the present study intends to decode visual practices employed in

the posters of mentioned animated movies by employing Kress and van Leeuwen‘s

(2006) model of multimodality as an analytical tool and the feminist ideas of Julia

Kristeva and Simon de Beauvoir (1949) as a general theoretical framework, to know how

visual and verbal practices in popular culture are employed to propagate desired

ideologies to the target audience. The research answers are the following questions.

How has the concept of feminism (white/black) been challenged discursively

through the posters ofThe Princess and the Frog(2009) and Brave(2012)?

What social semiotic resources have been used, to convey desired ideologies

through the selected movieposters?

II. Language of Visuality/Visuality of Language Lively (1987) regards language as a museum present in human heads. It is so

built into the way people live that it has become an axiom of being human (Bolton,

1994). Saussure (1959) arguesthat language is just like a sheet of paper with its front and

back. According to him thought is the front and the sound the back; one cannot cut the

front without cutting the back at the same time. However, Kraus (2001) asserts that

language is the mother of thought. Fairclough (1995) believes that language embodies

ideological power. Wodak (2001) claimed that there is power within and behind the

language. Kress and van Leeuwen (1996, 2006; Kress, 2011, Kress, Garcia & van

423

Leeuwen, 1997) argued that not only we communicate verbally rather through other

means as well including images, gestures, body language, proxemics, color, movements,

space, and time. Danesi, (2017) firmly believes that non-verbal means of communication

are more powerful.

Discourse analysis mostly focuses on text and its texture Multi-modal social

semiotic approach attempts to focus on all the representational modes involved in the

formation of multi-model texts to analyze them linguistically and semiotically (Kress,

Garcia & van Leeuwen, 1997). In this regard the following six assumptions have been

outlined by Kress, Garcia, and van Leeuwen (1997):

Every text embodies different modes in the process of meaning-making.

Texts (linguistic and semiotics) are culturally oriented.

To decode the text, one needs to become competent in different modes of

literacy.

Power relations are reproduced and exercised through texts.

Signs and symbols are designed with the mutual consent of writers and readers.

One requires the knowledge of culture and history to decode the texts

comprehensively.

According to Kress and van Leeuwen (2006), the first three assumptions were

successfully addressed by the classical semioticians,whereas the rest are being studied by

social semiotic theorists.The present study draws upon the above-stated assumptions to

analyze the movie posters at linguistic and semiotic levels.

III. Methodological Perspectives The present research utilizes a qualitative research design because it isan

ideological analysis of the selected Disney animated movie posters carrying the concept

of de/construction of feminist ideology. The data for the present research has been

collected from the posters of the four (04) animated movies namely, Frozen, Brave,

Moana, andThe Princess and the Frog. These four animated movies deal with the concept

of black/white feminism. Out of four two movies, posters such as Brave and The Princess

and the frog were randomly selected to analyze at linguistic and semiotic levels by

employing the devised research medal.

Research Modal

Table 1: Adapted from: Kress & van Leeuwen (2006)

Contact

Image Act Offer (Information)

Demand (goods/services)

Gaze Direct (degrees of Engagement)

Indirect (degrees of Disengagement)

Social Distance

Size of Frame Close (Intimate/Personal)

Medium (Social)

Long (Impersonal)

Attitude

Subjective Image

Horizontal angle (degrees of Involvement & Detachment)

Vertical angle (degrees of Power to the viewer, to the represented participants, or relation of equality)

Objective Image Action Orientation (frontal angle)


Interactive meanings

Knowledge Orientation (top-down angle)

Modality

Colour Color saturation

Color differentiation

Color modulation

Objective Image Action Orientation (frontal angle)

Knowledge Orientation (top-down angle)

Modality

Colour Color saturation

Color differentiation

Color modulation

Contextualization Absence of background

Full detail

Representation Maximum abstraction

Maximum representation

Depth Absence of depth

Maximally deep perspective

Illumination Full representation of light and shade

Absence of light and shade

Brightness Maximum brightness

Black and white or shades of light grey and dark grey

Coding Orientation

Technological

Sensory

Abstract

Naturalistic

IV. Brave (2012) Descriptively, in the movie poster of Brave (2012), the total focus is given to

Princess Marida (see Fig, 4.2 below). She is shown to be stretching an arrow in the bow

in an aiming position. She is dressed in a flowing dress of dark blues.Her bright fire-red

hair is disheveled all around her face, neck, and her back. She is shown in the background

of a dark jungle lighted with an ominous light. Describing from the position of the

viewers, Princess Marida is shown to be occupying more of the left side of the poster.

Just above her head, right at the upper edge of the poster, the title of the movie ―BRAVE‖

is imprinted in a glossy style.

Ideologically, the very first point to be noted about this movie poster is its

appropriation of the traditional gender-specific notion of ―Bravery‖. According to

Beauvoir (1949), throughout the entire history, man is projected as brave, courageous,

valiant, heroic, bold, daring, fearless, and plucky, while a woman is described as timid,

weak, faint-hearted, deserter, and quitter. Through these adjectives, man had enslaved

woman through the ages. However, it is obvious in the visual that this concept is,

now,appropriated in a new dimension and is associated with a female i.e. Princess

Marida. In contrast to the poster of Moana (2016), where she was projected as a warrior-

like with an oar in her lefthand, in this poster, Marida, becomes a warrior armed with a

bow and arrow.

Taking about the traditional association of the word ‗Brave‘, Beauvoir (1949)

has pertinently exposed that:

Clearly, a man wants woman‘senslavement when fantasizing himself as a brave

benefactor, liberator, orredeemer; if Sleeping Beauty is to be awakened, she must be

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sleeping;to have a captive princess, there must be ogres and dragons. Woman in the

history has mostly been represented as commodity and dependent. Most often her identity

is shown dependent. She is there at the mercy of a brave and strong man to come and to

rescue her. As a result, she was supposed to be beautiful and loyal. Her fate lies in

accepting the brave man as everything for her.

Figure 1: Movie poster of Brave (2012)

However, the movie poster under analysis challenges the constructed gender

stereotypes. It is a female with whom the word ―BRAVE‖ is associated. She is shown to

be enraged. Her fire-red disheveled hair is the symbol of warrior-like anger—a symbol of

her asserted emancipation. She is directly gazing at the viewers with sharp, focused, and

resolved looks, just in the position of aiming her target—an attacking position.

Semiotically, here, again the image act is that of demand. In the plot of the movie, she

demands her right of rejecting the suitors by portraying that she is eligible to compete for

her hand as the first-born of Clan Dunbroch. She defeats each of her suitors in an archery

contest, shaming the other clans.

Femininely, this is quite ideological. Beauvoir (1949) has disclosed that

throughout history, marriage and maternity have been both worshipped and reviled: the

mother is supposed to inculcate the ideology of being a slave to the husband to her

daughter/s that a woman‘s wellbeing depends on her obeying her husband by all means.

However, in the movie poster of Brave (2012), the traditional gender stereotypes are

deliberately appropriated with the visual archer-persona of Marida. She shoots the arrow

in an archery contest to assert her individuality. This is the novelty of her situation and


this movie poster that attracts the viewers to the counter -discourse of individualized

maternity and brave femininity.

Apart from the demanding image act, the discourse models of the viewers are

positioned and re-positioned through the size of the frame and subjectivity of the image.

In this context, the very first point to be noted in the visual is the size and place given to

the archer Marida. Kress and van Leeuwen (2006) have called it salience of the image.

The bigger the size the more is the salience (Kress & van Leeuwen, 2006). It is obvious

in the poster that the highest salience is given to Marida encompassing from the upper

half of the poster to the whole bottom of it. All the other represented elements—i.e., the

dark green bushes, trees, and a ghost-like black bear with its shining eyes—are

modulated to be blurred. A Central focus is given to the brave Princess. Producers of this

poster want to direct the attention of the viewers towards the new ‗BRAVE‘ of the

modern era i.e. a female.

Moreover, Marida is depicted from the frontal high angle of the camera with a

projectedlow shot. This is quite significant. Kress and van Leeuwen have exposed that

such a low shot put the represented participantin a position of power. The power angle is

further intensified by her vertical bending projection provided by an aiming position. So,

the archer Marida is shown to be visually empowered by Disney Pixar. She is projected

with a rich contrast to the back-grounded image of the blurred black bear. Such detailed

contextualization enhances the ideological appropriation of the word ‗BRAVE‘—i.e.,

Marida is no more afraid of the jungle and its ghost-like wild creature. Moreover, the

black bear is depicted with a long shot, thus, its social distance is enlarged by the

producer of the poster, while Princess Marida is portrayed with a low shot, and thus, she

is shown to be more social by diminishing her social distance and increasing her size of

the frame.

In addition to this, all the markers of modality are slanted towards Princess

Marida. For example, all the color saturation and color modulation blue (i.e. different

shades of blue) is used to enhance the projection of Marida. A Fully detailed

contextualizedbackground is provided behind her figure. Right side of her face and hair

are more illuminated than the other represented elements. The Brightness of her hair

captures the focused concentration and responsiveness of the viewers. Thus, the visual

modality of the movie poster is increased enough to attract the viewers and change their

discourse model about bravery and femininity.

Rhetorically, this phenomenon is usually known as visual coherence—an

inherent quality of Augmented Reality in which ―the goal is to have visual augmentations

blend with the real world in a visually coherent manner‖. Turner has defined visual

coherence as ―the extent to which visual elements of a composition tied together with

color, shape, image, lines of sight, theme, etc.‖ (Turner, 2009). The same visual

coherence can be detected in the present visual, as various shades of blue and the dark

blues are modulated to direct the attention of the viewers towards the multi-modal

association of the word ‗BRAVE‘ and its personification i.e., Marida. Kress and van

Leeuwen (2006) have posited that the higher modalities of the visual, the more

powerfully aestheticize the audience to change their focus of attention.

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In terms of Compositional meanings,another thing to note is the information

value of the movie poster. Kress and van Leeuwen (2006) have discussed the information

value of the page in the terms of dimensions of visual space (as given Fig, 4.3 below).

According to these dimensions, something that lies in the Center is taken as the nucleus

of the information on which all the other elements are in some sense subservient and the

upper left corner is ideal space for the New Information (see Fig, 4.3), while the upper

right corner is ideal space for already known Given Information.

Figure 2: The dimensions of visual space by Kress and van Leeuwen (2006)

Keeping the above dimensions in mind, it becomes obvious that the word

―BRAVE‖—in the upper side of the poster—is an already known Given Information;

however, the position of Marida—the center of the poster—is its newly appropriated

female-association, thus, a New Information.

Thus, in the whole of the movie poster, the visual language is manipulated

considerably to encode the social meanings of the gendered ideologies. The already

known gender stereotypes of masculinity, bravery, and archery are deconstructed to

position the discourse models of the viewers towards the novel discourse of femininity

through the visualof language.

V. The Princess and the Frog (2009) The visual and verbal practices employed in the following movie poster give a

central focus to a once-a-waitress princess, Tiana, surrounded by a multitude of other

characters (see Fig, 4.4 below). She is smiling broadly and looking towards the turned-

into-frog Prince, Naveen. The frog-prince, Naveen is also smiling broadly looking at the

viewers. However, his body-angles are projected towards the princess, Tiana. In the

lowest part of the poster, under all the characters, the title name of the movie ―The

Princess and the Frog‖ is placed with a larger font size given to the words ―Princess‖ and

―Frog‖ than ‗Disney‘.


Figure 3: Movie poster of The Princess and the Frog (2009)

Ideologically, this movie poster deals with the ‗Black Feminism‘— ―an

ideological separation from white feminism‖ (Breines, 2002); and appropriates the race-

specific stereotypical nexus of ‗Beauty‘ and ‗Princess‘. Traditionally, the concept of

beauty has always been associated with ‗white beauty‘ only. And all the princesses had

always been white, delicate, and, hence, beautiful. This narrative has been naturalized

throughout human history dating from Romans and Greeks. No one could imagine that a

black or a bit black or a wheatish color may also be used to describe the beauty of a

‗princess‘. Thus, the concept of beauty became a questionable racist notion, as the notion

of ‗white beauty‘ marginalized all the races except the white one (Hill-Collins, 1990).

Therefore, in this postmodern age of ideology, the counter- narrative of ‗black beauty‘ is

being propagated through various means of mass media. The same narrative is being

promoted in the present visual.

Analytically, in contrast to the movie posters of Moana (2016) and Brave

(2012)—in which all the central female characters were gazing directly at the viewers, —

here, the black princess Tiana is not gazing directly at the viewers. Her black beautiful

face and her eyeballs are noticeably turned towards the frog-prince Naveen. So, in sharp

contrast to the demand image act of the above two movie posters, this poster presents the

image act of an offer. According to Kress and van Leeuwen (2006), the represented

participants in the image act of offer address us indirectly. No contact is made. They do

not want the viewers to establish any relationship with them. Rather they are presented,

―as items of information, objects of contemplation, impersonally, as though they were

specimens in a display case.‖ Thus, the black princess Tiana is presented to the viewers

as the specimen of ‗black beauty‘ and as an object of contemplation that a princess can

also be a black one—or at least that a black princess exists. This is also to be confirmed

429

by the bending gesture of frog-prince, Naveen. He is happily gazing at the viewers

making the image act of demand. Consequently, it seems that he is demanding the

viewers to have a look at his black beauty. The overall message becomes: Look! This

black beauty is the Princess. How skillfully the visual language is maneuvered to bear the

burden of ideology in this movie poster!

Apart from this, another contrasting point to be noted in this poster is the

placement of the title of the movie in the visual field of the poster. In the above-analyzed

two movie posters, the title of the movies is placed in the upper portion of the poster,

while in this poster title is given at the bottom of the poster just below the princess in the

central position of the visual field.

According to the vertical dimensions of the information value of the image

proposed by Kress and van Leeuwen (2006, see Fig, 4.5 below), the place, where the title

―The Princess and the Frog‖ is positioned, is the ideal space for New Information of the

image. Hence, the black princess, Tiana is presented as New Information and as a figure

to be idealized by the girls.

Figure 4:The Information value of the visual image (Kress & van Leeuwen, 2006)

Keeping in view the dimensions of the visual space of Fig, 4.3 above (Kress &

van Leeuwen (2006), it is quite easy to notice that the black princess Tiana is depicted as

the nucleus of the movie poster. She is marked by a circle, surrounded by various other

characters and elements. Moreover, the phenomenon of visual coherence can also be

noticed here, as most of the other surrounded characters are depicted in the same shades

Margin

Margin

Ideal

Ideal

Given

New

Centre

Margin

Margin

Ideal

Ideal

Given

New


of the black color of which the princess is meant to be portrayed. Even the face of the

blonde female, shown in the lower right of the poster, is also modulated with mixed tints

of black and white. Thus, the black princess Tiana is presented as a nucleus of

information and focus of attention for the viewers.

Her meant-to-be idealized figure is further enhanced through the other modality

markers of the visual: The black princess is presented against the colorful sharp

background of sun-setting villas. She is metaphorically presented as the moon of the

coming night, as in the background sun will set shortly. It is she who will shine after the

sunset. In contrast to the other corners of the movie poster, the whole place where Tiana

is placed is relatively much more illuminated. Her tiara, cheeks, teeth, necklace, arms and

the dress all are sparkling with the color of moon-lit light. Thus, she is presented as an

ideal figure. A counter-specimen of the whitely beautiful princess.

The overall impression of the image is that the producers of the poster have

deconstructed the race-specific stereotype of white princess by drawing on various

linguistic and semiotic resources and, have been very effective in encoding the new

feministic social signifiers and the ideological signifieds.

VI. Focus Group Findings One of the objections that areusually leveled against semiological analysis is

that it privileges semiotician‘s perception about the visuals and the general perception is

altogether excluded. In order to meet this objection, the researcher has conducted two

focused group discussions on the selected movie posters to incorporate participants‘

views to validate their analysis. Some of the remarks of the participants from the two

groups have been mentioned in the following section. They are as under:

―I think the movie posters represent an element of change. The production of

these animated movies on the surface seems for the younger generation but they have

two-fold appeal. They are highly ideological and want to shape the tender minds in a

way. There is a message for the grown-up people as well. On one hand, they provide

entertainment and on the other, they embody gendered and cultural ideologies in them.‖

―Through these movies, an attempt has been made to make female gender more

liberal. The producers want to make our young generation westernized and this is

proving harmful for us because of our cultural and religious constraints.‖

―Change should be there but that can be embraced by us staying within our

limits. However, female fender should be empowered but not in western style.”

The remarks of the focus group participants illustrate that women should be

empowered but the western style of women‘s emancipation is not acceptable for us

because of cultural and religious constraints. However, the stereotypical marginalization

of women from the mainstream power should be discouraged. In this way, the

researchers‘ analysis of the visuals was validated up to great extent.

431

VII. Conclusion Based on the analysis of the data the research concludes that Disney animated

movie posters are an important genre for the propagation of desired gendered ideologies

about propagating different versions of feminist ideology.These movies are meant for the

younger generation but the desired feminist ideologies are disseminated through Disney

animated movies to win general consent about being male or female at large. The study

finds thatthe movie posters are not an innocent entity to be ignored nonchalantly. They

are responsible for instilling powerful ideologies through their more interactive pattern

and structure. The study has examined that the movie posters are noticeably modulated,

both at linguistic and semiotic levels, to bear the burden of language of the visuality. The

language used in the visuals is meant to disseminate politicized versions of feminist

ideology. The very notion of the construction of feminist ideology implies that

construction and reconstruction go side by side. Everywhere female is most often

represented as commodity and sex object meant to please the male partner.

In this respect, the study has pointed out that, by employing the concept of

word-picture conjunction the posters of Brave and the Frog Princess illustrate that an

attempt has been made through the selected data to deconstruct the century‘s old

gendered notion about being a woman. Different markers of modality (like illumination,

color, depth, and brightness) are predominantly manipulated to encode the various

ideologies of liberal feminism, radical feminism, metaphysical feminism, and

blackfeminism. It is an attempt to highlight the two-fold significance of animated movies

that besides entertainment they impart desired ideologies to the target audience as well.

Consequently, the analysis of the research highlight that the visual discourse models of

the target viewers are positioned interactively to view and review their traditional

stereotypical perceptions about patriarchy and matriarchy. The last but not least, the study

has found strengthening evidence of the operative power of Kress and Van Leeuwen‘s

(1996, 2006) brand of social semiotics which claims that ideology is propagated through

various modesi.e. of representational and communicational. The findings highlight that

the Multi-model approach is significant in de/constructing feminist ideologies and

popular culture is one of the best sites for investing various ideologies including the

feminist one.

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A MultimodalAnalysis of Disney Animated Movies' Posters

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