The model of a woman to emulate, in Disney’s worldview, is one who lives to get her man. She may adopt some of the contemporary feminist attitudes, including being more vocal, being physically strong, and being self-sufficient, but she only finds fulfilment in romantic love.
(Ward, 2002; 119)
The historical relationship between Disney’s female protagonists and feminist thought has always been conflicted, if not contradictory. While early characters (such as Snow White and Cinderella) may have lacked personal agency due to their inherent damsel-in-distress nature, more recent depictions of female protagonists (including The Little Mermaid’s Ariel, Mulan or Pocahontas) are undeniably progressive in comparison. However these newer characters still struggle with many of the same limitations that affected their predecessors; Disney’s heroines have traditionally been romantically minded and strictly emblematic of heterosexual lifestyles. Annalee Ward summarises this problem by concluding that Disney’s animated films repeatedly imply that ‘females can be strong and self-sufficient, but females are only truly happy when they have a man.’ (Ward, 2002; 119)