‘Book of Life’ crew member defends movie as not sexist

After reading my post ‘Book of Life’ ticks off tropes in most sexist kids’ movie of the year’ a member of the movie’s crew, Romney Marino, defended the movie, debating with me on Reel Girl’s Facebook page. While I appreciate the passion and intelligence of Romney’s arguments, I can’t see “Book of Life” as feminist given the structural sexism of the plot. I started my blog, Reel Girl, because I wanted children to experience fantasy worlds where gender equality exists. Still, reading Marino’s comments, I was struck by how much not only she cares about gender equality but also, as you will see when you read her post, so does the director of the movie, Jorge Gutierrez. On Reel Girl’s about page, explaining why I started Reel Girl, I wrote:

Most of the time, I don’t think there’s a conscious sexist conspiracy going on. I just think that for thousands of years women have been living in stories written by men.

While I don’t believe Guiterrez intended sexism, his efforts at equality are confined to a sexist framework. As far as the arguments “that’s just how it is,” in children’s movies we see magic, animals talk, lions befriend warthogs etc, yet when it comes to historical sexism or the lack of females, suddenly we become sticklers for “reality.” It’s believable that a talking rat can cook, but a female led french kitchen? Now way! Besides magic, “Book of Life”  has performances of contemporary music ( Radiohead’s “Creep” was one of my favorite parts of he movie.)

In the hope that we have the same goal, to create fantasy worlds– and ultimately a real world– where gender equality exists, I’m posting a blog written for Reel Girl by “Book of Life” crew member Romney T. Marino.

“The Book of Life” from another feminist’s perspective…

 

The reason for my writing this is in direct response to ReelGirl’s blog post calling The Book of Life ‘the most sexist kids film’ of the year along with linking it to her Facebok page with the comment: “please don’t take your children.” ReelGirl classified this film as another “Minority Feisty” or ‘MF’ film, defined when females in the cast are the in minority and only used as a tool to help the male protagonist achieve his goal. I will concede that The Book of Life is yet another animated children’s film whose protagonist is a male. Point made, ReelGirl, one more for the statistics. However, I think that is where the perceived sexism ends, and in fact, I’d go so far as saying Maria and La Muerte in The Book of Life are among two of the strongest written female animated characters I’ve seen in a long time, because they are played as equals to their male counterparts, Manolo and Xiabalba.

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ReelGirls’ post missed this and so many other positive things about the female characters in The Book of Life and the movie as a whole, because all she focused on was that it was an ‘MF’ film. That classification flattens out the fully realized and dimensional characters of Maria and La Muerte, and minimizes their actions as taken only to forward the male protagonist and his goals. Do not forget, at it’s core The Book of Life is a *love story* set during Dia de los Muertos, the Day of the Dead, and both couples (Maria-Manolo and LaMuerte-Xiabalba) have their own unique dynamic. One where the women hold their own and at times best their men. I would venture to say that the women from the village of San Angel are “minority equals”.

 

When discussing Maria’s strong, independent character, director Jorge Gutierrez said, “If feminism means men and women are equal, then, yes, this is a feminist movie. And besides, romance is the new punk. It’s OK to be emotional. It’s OK to care.” [1]

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I hope to defend the female characters in The Book of Life not only from the story told, how they are presented and their actions in the film, but also with some perspective from those whose passion brought those animated characters to life. I had a small part working with the Animation team in Production on the film, and know the film’s director Jorge and his wife Sandra, who designed all the female characters. Every step of the way, Maria and La Muerte, not to mention Manolo’s Grandma, his Mother Carmen, and his Cousins in the Land of the Remembered, are all strong female characters and positive role models for girls. From the beginning they were conceived to be that way, from the symbolism incorporated into their design, to their actions on screen.

 

However, I want to emphasize that at the end of the day, ReelGirl and I share the same goal, to get more female protagonists in children’s content, animated and otherwise. We just disagree about The Book of Life. So I say, ignore ReelGirl’s blog post, and watch the movie for yourself and make your own judgement. Below are some of the reasons why I believe this is the truth, or so help me La Muerte.

 

[WARNING: Spoilers ahead]

 

THE WOMEN OF SAN ANGEL:

 

LA MUERTE – The beautiful, majestic ruler of the Land of the Remembered, La Muerte is a fierce goddess who goes toe-to-toe with Xiabalba, the ruler of the Land of the Forgotten, in their wager over which boy will win the heart of Maria. La Muerte choses her champion, Manolo, and blesses him to always be pure of heart.

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La Muerte herself, is an important icon in the Latino community [2]. Designed by Sandra Equina, the director’s wife and “muse”, she has created an new modern image of the Latino cultural icon of Death, and brought her to the screen as a beautiful sugar-skulled goddess. She is graceful, imposing, wise, fallible, and sexy. Her design uses marigolds around her waist and bodice signify the feminine power using the flower that is a symbol of Dia de los Muertos said to help guide the spirits. She is a character that both women and girls alike are drawn to because of her power and beauty, and they want to be her for Halloween, Dia de los Muertos, and in Cosplay [3]. I for one would rather see little girls dressing up as more goddesses and less princesses, or ‘sexy’ whatevers.

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MARIA – Does not just say she is strong, but her actions prove it every step of the way. Throughout the story she is no damsel in distress, and in fact she’s always been the leader of the 3 amigos. Both she and Manolo struggle to fight the patriarchy within their own family and be true to their own heart, (but more on that to come).

 

Maria’s costume is a “nod to Frida Kahlo who wore folkloric clothing as a statement of her rebellion and an embrace of the people’s culture in Mexico.”* Maria’s clothing as a child and as an adult symbolizes Maria’s strength of character. In the Director’s own words: “I asked Sandra to design young Maria’s outfit to be an exact kid version of what she wears as an adult. Unlike young Manolo and Joaquin when we first meet all three kids in the cemetery, young Maria has already formed who she is.”*

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And who is Maria?

  • She’s an animal rights activist and freedom fighter. Young Maria decides that she must save the pigs because they can’t be butchered, “not on my watch.” It is Maria who initiates the action, and Maria who the boys try to catch up to. She is riding the pig at the head of the stampede with her sword held high chanting for freedom, while Manolo gleefully hangs on for the ride and Joaquin tries to stop her. Later in the film during Manolo’s first bullfight, she visibly sneers when Manolo dedicates the bullfight to her, but then she is the only one cheering in the audience when he does not ‘finish the bull’ (or kill it, for those not up on the brutality of bullfighting, which Manolo fights against). She is not afraid to take the action that she believes in, and to stand up for those beliefs even in the face of opposition from the entire town.

 

  • She is someone who not only fights against gender stereotypying, she wins in the end. One of the most important character arcs of the film is seen in the change in Maria’s father, General Posada. At the beginning of the film he is exactly the image of the overpowering father and cultural machismo that she must fight. After the pig stampede, the General sends Maria away to be taught by the nuns to “learn to be a proper lady” because “I said so!” and he embraces Joaquin as the masculine “Son I never had.” However, at the film’s end, Joaquin runs off to get his magical medal (which gave him his false strength) and it is Maria who is left behind to rally the village into defending themselves. General Posada finally sees the true strength in his own daughter, and says “You are like the son I never had, only prettier.” Posada follows his daughter into battle to save their town. When discussing Maria, this B-character’s arc can not be ignored.

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THE ADELITA COUSINS – A brief moment that for most may go unnoticed, but is a huge feminist shout-out, are Manolo’s Adelita cousins. When Manolo reaches the Land of the Remembered, he meets a whole barrage of his ancestors. Two of which are tall women with sombreros and bandoliers, he is introduced to them,

“These are your cousins, they fought in the Revolution.”

“And we won.” they say.

These two minor characters are a tribute to the women, or soldaderas who fought in the Mexican Revolution. La Adelita was a folk song from that era about a soldadera, and her name came to symbolize the archetype of a female warrior in Mexico, a woman who fights for what she believes. [3]

 

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I would go into the characters of Carmen, Manolo’s mother, who plays a significant and pro-active part in his journey through the lands of the dead, or his Grandmother who is a stoic voice of wisdom, and who used to be “a beast in the arena,” but I think I’ve made my point. The women in The Book of Life may not be the protagonists of the film, but for a modern day romance set in Revolutionary Mexico, I think both Maria and LaMuerte, and the rest of the women of San Angel are unforgettable and to be admired.

 

Maria is ALWAYS her own woman, as a little girl and even after she gets married.

 

I specifically want to address a comment that “Maria says she is strong, but never shows it.” Absolutely false, she shows it time and time again in what she stands up for and the actions she takes. I also want to address my point that Maria is more of an equal to Manolo in both their actions in the film. I’ll try to be brief, but here are some specific moments from the film:

 

  • IN THE CEMETERY, the boy children, Manolo and Joaquin, are already play acting their future battle for Maria. Young Maria jumps in and declares, “I belong to no one.” The three friends laugh together and then both Maria and Manolo get called home by their fathers.

 

  • THE PIG STAMPEDE, is all Maria’s idea. When the three amigos run into the square she leads them, this was by design. She knows the future for the pigs in the butcher’s pen, “not on my watch,” she says. Then she breaks the lock on the pen liberating them. In the chaos of the stampede she is riding the lead pig, sword held high declaring “Freedom is coming through!” Manolo is just happily along for the ride, while Joaquin is trying to stop it all.

 

  • GENERAL POSADA, Maria’s Father comes to having missed most of the action, but attributes the solution all to Joaquin, who is “So like [his] Father.” When Maria faces her father’s anger, the first thing she notices is Manolo’s broken guitar for which she feels guilty. The General declares that she will be sent to the convent so the nuns can straighten out her “rebellious nonsense” just because “I said so!” He then embraces Joaquin as “The son I never had.” When Manolo protests sending Maria away, his own father reminds him that “Fathers do what’s best for their children.” Both Manolo and Maria fight their father’s ideas for their own future the entire film.

 

  • SAYING GOODBYE, when finally “the three amigos would be no more” Maria does more than simply face her exile to boarding school bravely. First of all she takes responsibility for breaking Manolo’s guitar by replacing it. Manolo in turn gives her the little pig she saved, Chuy, to remind her of home. Second of all she parts by giving each of the boys sage advice knowing their true spirit, and then runs to the train hiding her tears. Manolo’s future mantra is inscribed on the guitar she gave him “Always play from the heart. – Maria”

 

  • DIFFERENT FROM THE CROWD, In Manolo’s bullfight celbrating Maria’s return, Manolo dedicates the bullfight to her. Maria, still the animal lover, visibly sneers in disgust. At the moment that Manolo must make the critical decision it is Maria’s reflection in his sword that he sees, and he decides not to finish the bull. Maria stands up and applauds Manolo, while the rest of the crowd boos him. She is not afraid to stand up for what she believes in, even against the entire arena.

 

  • LA MUERTE’S WISDOM, After Manolo’s defeat Xiabalba thinks he’s won, but La Muerte knows better, “it’s not over,” she says. Thinking he is alone, Manolo proceeds to sing from his heart, but Maria returns to retrieve her fan and sees his true self. Manolo, singing his heart out in the ring and not fighting a bull. It might be said that it is here that she falls for him. Even Xiabalba asks, “What just happened?!” and LaMuerte remarks, “You don’t know women, my love.”

 

  • THE DINNER PARTY, is thrown by General Posada in honor of Maria’s return, though he is scheming to connect Joaquin and Maria. At the dinner table when Joaquin compliments her beauty and says one day she’ll make a man very happy, Maria mockingly says how she’d love to cook and clean for him. When he clearly doesn’t get the joke, she immediately puts him in his place, “Are you kidding me? Is that how you see women? That we’re only here to make men happy?” She then dismisses herself from the table, in order to be surrounded by someone “more civilized,” her pig, Chuy. She insults Joaquin, and walks out on the entire affair with her head held high.

 

  • MARIA IS NOT THAT EASY, up in her room alone, Maria hears Manolo and the mariachis’ attempt to serenade her. More than one thrown vase discourages the 3 mariachis, leaving Manolo alone to serenade her from the heart. At the song’s romantic climax when everyone from Manolo to the audience is expecting them to seal it with a kiss, Maria lays a finger on Manolo’s lips, “Did you think it was going to be that easy?” and playfully pushes him over.

 

  • MARIA IS MORE THAN JUST A PRETTY FACE, she goes down stairs to help Manolo, but is surprised by the General and Joaquin who pops the question to her just as a dazed Manolo stumbles in. The two men begin to fight over her, and she yells “you two are acting like fools” before she takes her own sword, disarms them both and breaks up the fight, letting everyone know that she “also studied fencing.”

 

  • A PROPOSAL BETWEEN EQUALS, When Manolo proposes to Maria, notice that she also goes down on one knee when she responds to him. When the snake comes out Maria pushes Manolo out of harm’s way and is herself bitten. She acted to bravely and instinctively to save her love from harm, and she took the hit.

 

  • A PROPOSAL TO SAVE HER TOWN, When Maria wakes up and finds that in fact Manolo is the one who has died, her Father the General pleads with her to marry Joaquin so he will stay to defend the town. Joaquin knows where her heart truly is and even he protests, but she finds the strength within and accepts the proposal solely to help save her village. Even Joaquin can see she is putting duty before herself.

 

  • THE SON HE ALWAYS WANTED, at the wedding ceremony with Maria and Joaquin, the banditos attack. Joaquin realizes his magic medal is on his other coat and bolts leaving everyone behind. Maria does not miss a beat, and it is she who makes the rallying speech to the village. It is she that convinces them to fight for themselves, and it is she who opens her father’s eyes to the strength that has always been within his own daughter, “We can fight them together, Papa.” The General recognizes this in his own way, “You are like the son I never had, only prettier.”

 

  • SHE IS RIGHT THERE IN THE FIGHT, its the third act climax, Manolo has just returned from the dead, Joaquin is back, but is Maria who gives their familiar rally cry, “No Retreat!” and Manolo and Joaquin return “No Surrender!” And the 3 amigos go into battle. At one point, Chakal has Manolo on one arm and Joaquin on the other  and each guy is telling the other, “I got this.” Maria comes in with a flying kick to Chakal’s face, which lets them regroup and lets us know she also studied kung-fu. In the bell tower, she and Manolo fight together in a dance that is both beautiful and painful for Chakal. At one point, she takes the lead and says to Manolo, “Pretty good, guitarista, now it’s your turn,” and she pushes him into the fray.

 

  • SHE KISSES HIM, when Manolo returned from the land of the dead, he swoops Maria in a passionate kiss. When they are married SHE swoops HIM up in a kiss. Their final song is a duet from Us the Duo, that is all about supporting each other as equals.  http://www.youtube.com/watch?v=S6_-JoC8jpw

 

ONE LAST THING: You would never know this unless you worked on the film, but Jorge Gutierrez, the film’s director valued the female perspective so much that he insisted that all female characters have female Animation leads. This might not seem like a big deal, but in my years experience in feature animation, I’ve never known a director to care, let alone insist on female artists for more of the female perspective in the female characters. So I say, hats off to The Book of Life and especially its creator Jorge Gutierrez and his wife Sandra Equihua. They are an incredibly talented team, and I hope we will see more from in the future.

 

Please note my opinion does not represent that of the film makers, or any studios associated with the film. I simply had a small part in it’s production, and now The Book of Life has a big place in my heart.

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Romney T. Marino is a is a Director of Development and Associate Producer at Powerhouse Animation. She has worked in animation production for over 15 years at both independent and major animation studios across CG Features, VFX, and Television. A long time member of Women in Animation, Romney hopes to bring more women to the table and on the screen in animation, and more amazing cartoons and memorable characters to audiences. You can follow her on Twitter @RomneyTM

 

REFERENCES:

 

*from the Art of The Book of Life

[1]  http://theflama.com/the-book-of-life-latinos

[2] La Muerte references:

[3] La Muerte cosplay:

http://www.pinterest.com/pin/562950022145215893/

http://analogapocalypse.deviantart.com/art/WIP-La-Muerte-Costume-The-Book-of-Life-488106294

http://www.costume-works.com/la_muerte-3.html

https://www.facebook.com/photo.php?fbid=775362795842585&set=a.109996642379207.4822.100001066166583&type=1&theater

[4] Adelitas:

‘Rio 2′ is 5th kids’ movie of 2014 to star male protagonist

Before I saw “Rio 2,” I was holding out hope that Jewel, the bird played by Anne Hathaway, and her husband, Blu, played by Jesse Eisenberg, would be equals in the movie, meaning actual costars. I stuck with this possibility partly based on what I saw in the movie poster.

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While Jewel is posed coyly with a submissive head tilt and a pink flower on her head, she’s still front and center, right there with Blu. (All the other characters pictured on this poster are male.) I checked the synopsis for “Rio 2″ on imdb.com:

It’s a jungle out there for Blu, Jewel and their three kids in RIO 2, after they’re hurtled from that magical city to the wilds of the Amazon. As Blu tries to fit in, he goes beak-to-beak with the vengeful Nigel, and meets the most fearsome adversary of all – his father-in-law.

 

Not as promising as the poster, but still, when I counted 18 children’s movies in 2014 starring males, while just 6 star females for my annual Reel Girl’s Gallery of Girls Gone Missing From Children’s Movies, I initially put “Rio 2″ in its own category.

Well, I’m sorry to report that I’ve seen the movie with my kids and “Rio 2″ is Blu’s story. He’s clearly the star with all the screen time, he goes through the transition, and it’s his wits that save the world. So make that 19 children’s movies in 2014 that star males.

I have three daughters, ages 5, 7, and 10, and they’ve seen 5 movies so far this year: The Nut Job, The Lego Movie, Mr. Peabody and Sherman, Muppets Most Wanted, and Rio 2– Every single one features a male protagonist. Just in case you were wondering, only 5 children’s movies have come out so far this year. So once again, when our children go to the movies, they’re learning that males star while females belong in supporting roles. And — surprise, surprise– each children’s movie so far this year features Minority Feisty: female characters whose number are in the minority compared to males, but they’re allowed to be “strong” in these supporting roles. Usually, that means the females play a crucial part in helping the male complete his quest. That is, in kidworld, females are permitted power as long as its circumscribed. If you read Reel Girl, you know I call these female characters Minority Feisty because not only are they in the minority, but they are always referred to by critics as “feisty,” a seriously diminutive adjective. “Feisty” doesn’t describe anyone who is really strong but someone who plays at being strong. Would you ever call Superman feisty? How would he feel if you did?

To wit, in an article about Anne Hathaway in last week’s people magazine, the journalist writes:

There have been other big changes as well for the actress who reprises her role as the feisty macaw Jewel in the new animated film ‘Rio 2.’

 

Here it is in black and white.

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I make this point because the sexism in children’s movies is a ridiculously repetitive pattern, yet hardly anyone calls it out. The sexism is so obvious that paradoxically, it’s become invisible, the pink elephant of kidworld that gets ignored. If males starring and females supporting happened just sometimes, or even half the time, it wouldn’t be a big deal, but this sexism is relentless in narratives are created for kids.

Once again, I ask: In the imaginary world, anything is possible, so why is it so sexist? Why can’t we show children a magical world where there’s gender equality?

Reel Girl rates “Rio 2″ ***H***

See Reel Girl’s Galleries of Girls Gone Missing From Children’s Movies:

2014 http://reelgirl.com/2014/01/reel-girls-gallery-of-girls-gone-missing-from-childrens-movies-in-2014/

2013 http://reelgirl.com/2013/01/reel-girls-gallery-of-girls-gone-missing-from-childrens-movies-in-2013/

2012 http://reelgirl.com/2012/12/reel-girls-gallery-of-girls-gone-missing-from-childrens-movies-in-2012/

2011 http://reelgirl.com/2011/07/heres-a-visual/

 

Every dog needs a boy: ‘Mr. Peabody and Sherman’ continues pattern of sexism in kids’ movies

“Mr. Peabody and Sherman” repeats the same old sexist pattern of so many kids’ movies where male characters get to star while females are stuck on the sidelines, in supporting roles.

Let’s start with the title of the movie: “Mr. Peabody and Sherman.” Note this title features the name of not one, but two, male stars. That’s right– “Mr. Peabody and Sherman” is yet another father-son story. While movie studios strategically switched the title of “Rapunzel” to “Tangled” and “Snow Queen to “Frozen” to hide female stars, the marketing for “Peabody” showcases males, and I’m not only referring to the movie title. I live in San Francisco, and here’s the poster that my three daughters and I see all around town:

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Major close up of two male stars. Compare that to “Frozen,” one of the rare children’s movies to feature not one but two female protagonists. Anna and Elsa get buried in the snow. The marketing implies that Olaf, the snowman, is the star of the movie.

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A major problem with this sexist marketing is that even if your children don’t see the movies, they see the posters. From this media, kids see that boys get to be front and center while females get sidelined or are invisible all together. The repetition of these gendered images teaches all children that boys are more important and get to do more things that girls.

Like most children’s movies, “Mr. Peabody and Sherman” features a Minority Feisty. The Minority Feisty is “a strong female character” (or two or three) who plays a crucial role in helping the male star achieve his quest. There may be more than one Minority Feisty in a movie, but there are always a minority of female roles compared to male roles, even though girls are one half of the kid population. The purpose of the Minority Feisty is to make parents overlook the lack of female protagonists, because, hey, at least there’s a strong female in the narrative. To really get how sexist this gender ratio is, imagine gender flipping the characters. How likely is a it that a studio would put out a movie called “Ms. Peabody and Sharon” with a close-up of the two female stars on the poster? When is the last time you saw a children’s movie advertised with two female stars in the title and a just two females in the poster all around your town or city?

I blog a lot about a particular trope in children’s media that makes me crazy called “riding bitch.” While male characters often soar through the sky on all kinds of magical creatures, from dragons to hippogriffs, female characters usually are put in the passenger seat, not steering or deciding where to go, just along for the ride. Even though I’ve noted this trope endless times, I was shocked by how sexist it is in “Mr. Sherman.” Here’s what happens in the movie. Mr. Peabody, Sherman, and Penny go back in time to visit Leonardo da Vinci. Penny sees da Vinci’s flying machine and, as the Minority Feisty is wont to do, she hops on. Sherman is afraid but follows. Penny flies through the sky and whoops in delight while Sherman shrieks. My 7 year old daughter saw this scene in the preview and told me about it, she was so excited. But here’s the bummer:

Yes, Penny starts out flying the machine, but then she encourages Sherman to try. He refuses and she repeatedly tells him that he can do it. When Sherman continues to shy away, Penny lets go of the steering wheel, and they almost crash before Sherman finally takes control. This is the length the female character goes to put the male back in the driver’s seat. Sherman flies and he’s great at it, until Mr. Peabody sees him and says. “Sherman! You can’t fly!” reinforcing that all Sherman needed was a good girl to believe in him. When Sherman crashes, da Vinci runs up to Sherman, who is with Penny in a pile of debris, and says, “You are the first man to fly!” At no point does Sherman say, “No, actually Penny is the first woman to fly.” ARGH. What do my kids– and all kids– learn from this narrative? The same thing they learn from the whole goddam movie: it is the role of the female to help the male, to make him feel good and secure in his role as star, while she is happy and content as the sidekick; that’s where she belongs.

Lean In and Girl Scouts just started a “ban bossy” campaign which I love. But how much hope do these organizations have of getting a different message across when narratives like Penny’s are mass-marketed to little kids?

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There’s a lot more I didn’t like about gender in “Mr. Peabody.” Penny goes back in time, not to meet a suffragist or Joan of Arc or Queen Elizabeth, but to be the child bride of King Tut. That narrative is all about her wedding. UGH. If they wanted to do ancient Egypt, couldn’t she at least have encountered Cleopatra? Time and time again, Penny is a damsel in distress/ Minority Feisty who gets to play a small– but crucial role– in her own rescues, and is ultimately saved by Sherman again and again.

The last line of the movie pretty much sums up how males are front and center while girls go missing. Mr. Peabody, watching Sherman go off to school, says, “Every dog needs a boy.” What about a girl? What about at least saying “kid” or “child”? Instead, females don’t exist at all.

I get that this movie is a remake but that’s no excuse to recycle sexism for a new generation of kids. We had three Shrek movies (the first, of course, based on an original story) and in each one, Fiona, a Minority Feisty, gets a smaller part. This is a typical interpretation of “remake.” By the last Shrek movie, the narrative devolves into another father-son story (co-starring Justin Timberlake.) There was a spin off, and still, it was not Fiona, but Puss In Boots who got his own solo movie, featuring the Minority Feisty Kitty Softpaws. When will Kitty get her own movie? Ever? Do your kids even know who she is? The other problem with remakes is that when girls star, in each new incarnation characters like Strawberry Shortcake, Dora, the Powerpuff Girls, get “makeovers” where they get less powerful and more sexualized.

Once again, I write this: I would not have a problem with “Mr. Peabody and Sherman” if it were just one narrative. The problem is the repeated pattern of sexism that kids see again and again and again. Children learn through repetition, and I am beyond sick of this sexism marketed to kids. If you want a refresher of how many movies for kids star males versus how many star females take a look at Reel Girl’s Galleries of Girls Gone Missing From Children’s Movies:

2011 http://reelgirl.com/2011/07/heres-a-visual/

2012 http://reelgirl.com/2012/12/reel-girls-gallery-of-girls-gone-missing-from-childrens-movies-in-2012/

2013 http://reelgirl.com/2013/01/reel-girls-gallery-of-girls-gone-missing-from-childrens-movies-in-2013/

2014 http://reelgirl.com/2014/01/reel-girls-gallery-of-girls-gone-missing-from-childrens-movies-in-2014/

Reel Girl rates “Mr. Peabody and Sherman” ***H***

 

 

 

‘Smurfs 2′ and the Minority Feisty: Bad Brunette vs Good Blonde

My expectations were low but “Smurfs 2″ surpassed them.

Not only does “Smurfs 2″ feature the famous posse of too many to count males accompanied by just one female, but this movie is all about fathers. A movie for kids centered on fatherhood could be great, but when the Smurfs are already so creepily male dominated, the erasure of mothers is alarming and disturbing. The good, golden-haired female pitted against the evil, dark-haired female trope, central to “Smurfs 2,” is so tired in kid fantasy world (not to mention the grown-up world) that I was slack jawed to see it again, even though, of course, I shouldn’t have been. That’s why it’s a trope, right?

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Did you know that evil Gargamel created Smurfette as a ploy to infiltrate the Smurfs? That’s right, Smurfette, the only female Smurf, isn’t even a real Smurf. It’s only when Papa Smurf comes to care for Smurfette as a daughter that he uses a magic potion to transform her. At that point, not only does he change her skin to blue but her hair to blonde, thus becoming Smurfette’s true father.

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“Smurfs 2″ opens with that backstory and then brings us to present day with a scene showing the Smurfs gawk at Smurfette as she swishes her blonde locks around in slow-mo. But there’s trouble in paradise: every year on her birthday, Smurfette is haunted by a dream in which she once again turns evil, and her hair, once again, turns brown.

vexy

Cut to Gargamel who has created/ fathered a new race: the Naughties. Evil, dark-haired Vexy has a similar mission to Smurfette’s years ago. Gargamel sends to Vexy to infiltrate Smurfville to recover his “daughter,” hoping that Smurfette will reveal to him the secret potion Papa Smurf used to turn her into a Smurf, thus Gargamel can create Smurfs himself.

neil-patrick-harris-winslow-son

Cut to the human world where Patrick is having a birthday party for his son, Blue, to which his father, Victor, arrives. (Got that? Three generations of males.) Victor serves the kids corn dogs that happen to be fried in peanut oil. A young party guest has an allergic reaction, and the celebration is ruined. That’s the latest in a long line of events that lead to Patrick’s deep frustration with his loving but bumbling father. Turns out, Victor is not Patrick’s biological father, but his step father. Patrick’s “real” father walked out on him years ago. So you see, the conflict of true paternity experienced by Smurfette– wondering if her “real” father Papa Smurf or Gargamel– is mirrored by the Patrick’s own dilemma: can his step-father be his “real” father?

Both Papa Smurf and Gargamel essentially “give birth” without any need of females, kind of like our own Judeo-Christian creation myth and its independent and endlessly resourceful male God. While Smurfette has no mother at all, Patrick’s mother is hardly mentioned in the movie. I couldn’t even tell if she’s dead or alive.

Now, for the good news. There are three Minority Feisty in this movie. This was my first Smurf movie so I don’t know if that’s a record, though the pathetic female to male ratio is of course where the term, the Smurfette Principle, originated from. In case you don’t know what Minority Feisty means here’s a cut and paste from Reel Girl’s review of “Planes.”

Today, if you see a movie for children, it will most often have a male protagonist, while females, who are, in fact, half of the kid population, are presented as if they were a minority. Within that minority, there will be a strong female or two who reviewers will invariably call “feisty.” I call these characters the “Minority Feisty.” The trope has evolved from the Smurfette principle in that there is often more than one, and she is presented as strong. But rarely is she the protagonist. Her power, lines, and screen time are carefully and consistently circumscribed to show that she is not as important as the male star. Still, the Minority Feisty is supposed to pacify parents, making them feel that, unlike those sexist films of yesteryear, this movie is contemporary and feminist.

Smurfette spends most of the movie as a captured damsel in distress who the male smurfs, and mostly male humans, must rescue, but like most Minority Feisty, she has her moments of courage and brilliance. Also, upon befriending her enemy, Vexy, while Smurfette never says, “I want to stay with you because I can’t stand being the only female in Smurfville,” she does express joy at having the sister she never did.

grace-interview-p

Grace is another Minority Feisty. She’s Patrick’s wife, Blue’s mom, and she’s cool and brave. But the central human, with the conflict and the transition, not to mention the lines and the screen time, is clearly Patrick.

Vexy is an okay Minority Feisty. I enjoyed her badness and watching her transition. Did you read that part about transition? We now have–are you ready– 2 female Smurfs! And Vexy stays brunette. Thus with “Smurfs 2,” the Smurfette principle truly evolves into the Minority Feisty: two females and one of them is a bad-ass. Is that progress or what? According to the Geena Davis Institute, at this rate, it will be only 700 years before we get gender equality in the fantasy world.

Reel Girl rates “Smurfs 2″ ***SS*** for gender stereotyping

See Reel Girl’s Gallery of Girls Gone Missing from Children’s Movies in 2013

 

 

‘Despicable Me 2′ latest children’s movie to star male, limit females to supporting roles

I really wanted to say great things about “Despicable Me 2,” so I’ll start with the positive. This movie made me laugh a lot. As far as personal enjoyment, I had a lot more fun watching “Despicable Me 2″ than I did watching “Monster University.”

It was great to see a movie with my three girls about three girls. Except “Despicable Me” isn’t really about three girls. It’s all about Despicable Me AKA Gru, the star of the movie, played beautifully by Steve Carell. Before you protest as I go on to call “Despicable Me” sexist, please read this next sentence carefully: If the male protagonist with females limited to supporting roles was featured in just a few children’s movies, or even half of them, I would have no problem with the gender roles. The problem is that kids hardly ever get to see a female protagonist in movies made for children. The fantasy world, where anything should be possible, is sexist and unfortunately, “Despicable Me 2″ is no exception to this rule.

The villain in “Despicable Me,” is also, surprise, surprise, male. I admit, this guy totally cracked me up. First of all, his name is El Macho. When Gru describes him, he says, “El Macho died in the most macho way possible, strapped to a shark, flying into a volcano.” Hilarious and only when I write this, do I remember sharks don’t fly.

Despicable Me 2

Though I was kind of uncomfortable with the Latin lover stereotype– Macho’s open necked shirt reveals a hairy chest and he wears a huge gold chain– I delighted in the gender play.

There is more gender play in “Despicable Me 2″ that could’ve been great– and that’s why I wanted to say good things about this movie– but again and again, instead misses the mark. Gru is a single dad of three girls, so there’s a lot to work with there. But just like “Monster University” had sororities with cool characters, but then gives them minimal lines and screen time, “Despicable Me” doesn’t pull off gender equality. It doesn’t try to.

The movie opens with a princess party (ugh)  for Agnes, the youngest daughter, and Gru is dressed as a fairy princess. Again, I laughed when I saw him, but frankly, seeing a female dress up in pink frills ought to be be just as ridiculous. But it’s not, of course. A female looking like this is normal and expected in kidworld.

fairygru

The minions also dress up as females to comic effect, as a maid and also in a grass skirt topped with a pair of coconut shells, to give just two examples.

minion-dressed-like-maid-photo

I laughed during these scenes too, but the whole “boys dressed up as girls, how hilarious” joke solidifies all kinds of gender stereotypes. I wish we could leave it out of kids’ movies. There are so many ways to get kids to laugh without teaching them this one.

Gru’s spy partner, Lucy, is a pretty good Minority Feisty. She’s smart, brave, and enjoys adventure. But Lucy is clearly Gru’s sidekick. After the initial capture, she follows his lead and becomes his love interest.

lucy

There is a truly awful scene where Gru goes on a date with the superficial Shanon, and Lucy shoots a dart in Shanon’s ass. All kinds of unfortunate things happen to Shanon after that, and this part of the movie I didn’t find funny at all.

As far as Lucy’s lipstick taser which you’ve seen if you seen a preview, I for one, am sick of lipstick as a symbol of female empowerment. When Pat Benatar sang about a notch in her lipstick case 25 years ago, it was an original and ironic image. Now it’s a cliche, as overused and tired as an empowered woman ripping off her corset. Though I admit, I did laugh again when, in a desperate moment, Gru uses Lucy’s taser and she calls out “You copied me.” The final insult: the movie shows Lucy as the classic Damsel in Distress, strapped to a rocket and shooting into a volcano, and Gru, of course, saves them.

I liked the three girls, loved that there were three of them, and the oldest is named Margo.

despicableme-girls-group-600-290-01

I would LOVE to see a movie where these three are the stars with Margo as the protag and Gru in the supporting role. Universal, are you listening?

Before you comment on this post, let me say three things:

(1) I like this movie. I love going to the movies in general. That’s why I started blogging about them. Like Anita Sarkeesian of Feminist Frequency who makes videos about sexism in gaming but loves to play: I criticize media because I enjoy it. I want it to be better.

(2) I am not advising you not to take your kids to see these movies. I thought that was obvious because I blog about taking my own kids to see these movies. I try to teach my kids to watch with a critical eye. If the movie is sexist, I usually will not see it again, rent it, buy it, mention it much and try to avoid buying my kids games or clothing with the characters. If the movie has a female protag, I will buy a lot of that stuff. Some movies, I do avoid, for example, I didn’t go see “Oz” or take my kids. I couldn’t take what they did to Dorothy and Ozma, but that was a personal decision as yours, of course, should be.

(3) I wrote this already, but the problem is the repetitive pattern of marginalized females. The pattern, okay? Kids learn from what they see, through repetition.

In children’s media, females, who are half of the population, are presented as a minority. That is why I came up with the term Minority Feisty. Often, today, there is not jut one token female (as with the Smurfette Principle) but several and she is “feisty” ( a demeaning way to describe strong, usually reserved for females, and often used by film critics describing females in kids movies.) But the Minority Feisty is not enough. If we keep moving along at this slow rate, the Geena Davis Institute reports, we won’t have gender parity for 700 years. Your kids won’t experience it, nor will their kids, nor will their kids, on and on.

“Despicable Me” is a classic example of this sexist pattern. There are hundreds, if not thousands, of male minions. Why are there are no females? These scenes are so funny, my favorite parts of the movie, but females are excluded from them.

Two great posts came out this week about sexism in film and the Minority Feisty issue:

The U.N. women’s agency is teaming up with actress Geena Davis to support the first global study of how women and girls are portrayed in family films, saying the images have a strong impact on how females see themselves. Lakshmi Puri, acting head of UN Women, says “the dearth of female characters of substance in the media means children are being taught that girls and women ‘don’t take up half of the space in the world.’ Please read this if you haven’t yet. It’s pretty exciting.

The other great post is from the New Statesman: “Men grow up expecting to be the hero of their own story. Women grow up expecting to be the supporting actress in somebody else’s.”

Please don’t be distracted by the Minority Feisty in children’s movies. She is there to distract you, to make you forget the lack of female protagonists. To the point the New Statesman made, and I have made numerous times on Reel Girl: We are all heroes in our lives. We all have our dragons to slay. But too often, women are trained to find a man in power, someone we can rely on to do the scary deed for us, instead of taking the risk ourselves. No risk, no reward, right? Except that women often don’t get the same cultural rewards men do for being heroes.

In fantasy, a world we can control, why can’t we show children a place where females and males are treated equally instead of perpetuating sexism? If we can’t imagine equality, we can’t achieve it.

Reel Girl rates “Despicable Me 2″ ***S*** for gender stereotyping

Update: Just learned there will be a 2014 spin off of “Despicable Me.” YAY, I thought, a movie starring the three cool girls: Agnes, Edith, and Margo, just like I hoped for. But no. It will be a movie about the all male minions. Read about it here.

 

 

Cheerios box shows kids girls gone missing

My four year old daughter loves Cheerios, and last night, my husband brought home a new box. Excited for breakfast this morning, we got it out. Here’s what we saw on the front: Shrek, Puss In Boots, and Donkey, 3 male characters from “Shrek.”

cheerios

“Shrek,” a movie starring a male and titled for the male, has two sequels. Where is Fiona, Shrek’s co-star (though I admit that moniker is stretching it) on this package? Puss In Boots got his own eponymous spin off movie. Perhaps that’s why he made it on the DVD/ package? “Puss In Boots” is a buddy movie starring Puss’s frenemy, Humpty Dumpty. Kitty Softpaws is a great Minority Feisty in that film, but where is her own movie, titled for her? Have you ever heard of her? Do your kids remember who she is?

Besides “Shrek,” there are 3 other Cheerios collectible DVDs where we can “catch up with all our favorite DreamWorks characters.”

Unlike other cereal brands that have their own mascots, a cast of no less than 100% male characters, Cheerios borrows its crew from DreamWorks. But, apparently, these favorites don’t privilege females either, to say the least. “How to Train Your Dragon” pictures a boy and his male dragon, the two stars. We do see a girl riding bitch. Then, there’s “Kung Fu Panda” starring…Kung Fu Panda! And finally, Madagascar showing 6 male characters: the zebra, lion, and 4 penguins. Where is the hippo, the Minority Feisty in that movie?

Hippo does show up in the “fame game” on the reverse side of the box.

rosecheerios

 

See, there she is down on the left. There are 8 characters and she is the only female. The game your kids play is “match each character to what they are famous for.” While characters are known for “Training the Furious Five” or “Being the Dragon Warrior,” what’s the hippo known for? “Loving a Giraffe.” No joke. Incidentally, my six year old daughter told me that hippo’s feelings are not reciprocated; giraffe never wants to dance with her.

See that little box to the right with the Croods character? He’s one the males from that movie too.

I write this a lot, but if this Cheerios box were one of many images kids see, it would not be a big deal. But again and again, kids see females go missing. It’s totally normal in their world. They don’t think anything of it and neither do we. But females are half of the population, so why are they presented as a tiny minority in kidworld practically everywhere outside of the Pink Ghetto? It’s an annihilation that acclimates a whole new generation to expect and accept a world where females go missing. Hey, Cheerios, can you make at least half of the characters on your box female? There’s no reason for the imaginary world to be sexist.

 

Rick Riordan and the persistence of the Minority Feisty

My nine year old daughter is tearing through the Rick Riordan books for the third time. Third time. She’s obsessed. She reads them at breakfast and then in the car on the way to school. She’ll forget the book at school and beg me to go to the bookstore down the street and buy her another because she can’t imagine getting through the night without huddling under her covers, reading, with her flashlight. Of course, I refuse, so she calls up her seven year old cousin who is also addicted and asks to borrow it. She won’t give it up because she’s reading it.

Middle Grade experts recommended that I read Rick Riordan since I am writing an MG book and he has “perfect pacing.”

I read the first three and liked them very much. The characters and stories are compelling, and I’ve always loved Greek Mythology, though there is a challenge for female characters in a series based on legends of a patriarchy. That patriarchy is not something in the background but an integral part of the narrative. In the three books I read, there is a lot of talk about “the big three:” Zeus, Poseidon, and Hades. When I blogged about Lightning Thief, I rated it ***H***.

There is a strong female character, Annabeth. It is striking how similar the gender ratio and relationships are to the Harry Potter series: two boys and a girl who are BFFs. This is the essence of the Minority Feisty set up: there is a girl and she is strong, so we can all sigh with relief, but she is not the protagonist. She helps the male on his quest.

I know, don’t judge a book by its cover, but but there are so many Riordan books, and so many covers. Let’s check them out and see what they have in common.

The Lightning Thief:

thelightningthief

Here’s the movie poster from 2010:

movie_the_lightning_thief_ver3_000

Sea of Monsters, the second book in the series:

The_Sea_of_Monsters-1

Here’s the movie poster, coming out this year and shown in Reel Girl’s Gallery of Girls Gone Missing From Children’s Movies in 2013. On Google, you can find posters with Annabeth, but I doubt that is the version our kids will see around town. This movie, like the Harry Potter movies, prominently displays the male protag’s name.

Percy Jackson 2 Sea of Monsters

Next in the series is The Titan’s Curse and the cover shows a solo male astride a magical creature. It’s a beautiful, exciting image and a thrill females in the imaginary world rarely get to experience:

the-titans-curse

Battle of the Labyrinth:

PercyBattleLabyrinth

The Last Olympian:

lastolympian

So that’s the first Riordan series: 5 books, 2 movies, male protag/ male star, male solo on 4 out of 5 books. Male’s name in the title every time. Once again, I am a fan of Riordan. These books are great. But just imagine your kids– girls and boys– getting the opportunity to read a fantasy series of 5 books with a female protag, her female BFF and male BFF helping her on her quest. And just to be clear, this series is the definition quest narrative.

Girls fare better in the Egypt series: The Red Pyramid is narrated by siblings Sadie and Carter. Though there are more males than females, there is another very cool female, Zia. I wish the book was all about her. The cover is good, too. Sadie makes it on, though behind Carter.

Riordan_Red pyramid

And now, my favorite Riordan cover: Throne of Fire.

THRONE_OF_FIRE_jktFINAL[1]

 

The Serpent’s Shadow also has a pretty great cover:

The-Serpents-Shadow

The next Riordan series, Heroes of Olympus, goes back to the standard Minority Feisty imagery. Here’s the first cover. See those three on the cover? They are not Percy, Annabeth, and Gus. They are Jason, Piper, and Leo. Guess who the protag is?

The Lost Hero

In Son of Neptune, Percy is the protag again, and this time, his friends are Hazel and Frank. It’s remarkable how consistent, persistent, and repetitive the Minority Feisty model is in the imaginary world.

SoNcover

Are you ready for the next one, and this is the BEST one, really according to my daughter and her aunt: Mark of Athena. YAY. A female makes it into the title! There are 7 main characters in this one and 3 are female. Less than half, so still the Minority Feisty, but not a bad showing for the consistent sexism in fantasy kidworld, right? But check out the cover:

The_Mark_of_Athena

WTF? No girl riding a pegasus and the owl of Athena fading into the background. ARGH!

 

 

 

The Smurfette principle ‘evolves’ into the Minority Feisty

This year, children will get to see Smurfs 2:

smurfs-2

See that lone, blonde Smurfette surrounded by 5 male Smurfs?

This is a poster for just one of 21 children’s movie posters coming out in 2013. All but 4 movies for young kids feature male protagonists. Of the “female-centric” films, “Dorothy of Oz” lists 7 famous male actors at the top of its poster. “Epic” shows the female protagonist surrounded males. Only two movies with female protagonists are titled for the female while 10 of the 16 movies with male protagonists are titled for the male star. Please look at Reel Girl’s Gallery of Girls Gone Missing From Children’s Movies in 2013. It looks like this year will be the worst one for female characters in movies for young kids since I started Reel Girl.

Back in 1991, feminist critic Katha Pollitt wrote about the ‘Smurfette principle‘ for the New York Times: the idea that kids’ narratives too often allow just one lone female character to exist in a group of males.

Here is the “progress” 22 year later: girls are half of  the kid population, but in movies for young children, females are presented as a minority. If you see an animated film today, it’s likely to include one or two strong female characters who reviewers will call “feisty.” In “How to Train Your Dragon,” Astrid; in “Toy Story,” Jessie; in “Ratatouille,” Colette. She’s supposed to make us feel like the movie is contemporary and feminist, unlike those sexist films of yesteryear. She is the Minority Feisty.

remy3

The problem is that because Pixar or Disney has so magnanimously thrown in this “feisty” female (who may even have some commentary about sexism or male domination) we’re no longer supposed to care that almost all of the other characters in the film are male, including the star who the movie is often titled for and usually his best buddy as well. The crowd scenes in the film are also made up of mostly males.

There can be 1, 2, or 3 Minority Feisty in a children’s film. (The term is like “fish,” it can be singular or plural.) Whatever the number, the gender ratio will heavily favor male characters.

Parents, the next time you watch a children’s movie, try not to let the “feminist” character(s) distract you. Except for the pink ghetto, in children’s films females are presented as a minority. This is the definition of marginalized. When your children go to the movies, they learn that boys are more important and get to do more things than girls.

On tvtropes.org, a link to my blog described the Minority Feisty as “essentially a more modern take on the Smurfette Principle.” In response, someone protested: “the term Minority usually points to racial minority as opposed to gender.”

Exactly. Females are not a minority, yet they are presented as one in films for children. Why?

Here is an interesting correlation: 16% of protagonists in movies are female. All across America, in most professions, women at the top don’t make it past 16%. Children’s movies normalize an entire new generation to a world where females go missing.

 

 

See “Pixar’s female problem: Please stop asking ‘What about Jessie?,” a great post by Peggy Orenstein on the Minority Feisty issue

 

 

Reel Girl’s Gallery of Girls Gone Missing From Children’s Movies in 2013

In 2012, I waited until the last possible minute. It wasn’t until December that I posted Reel Girl’s Gallery of Girls Gone Missing from Children’s Movies in 2012. Even though in the age of the internet, the facts were impossible to miss, I kept hoping that, somehow, I’d overlooked something.

This year, I’m going to face the upcoming year of multi-million dollar sexism marketed directly at my three daughters– ages 3, 6, and 9– head on, in January.

Of the 21 movie posters for young kids pictured below, only 4 appear to feature a female protagonist; 16 seem to feature a male protagonist and 10 are named for that male star. In one case, “Peabody and Mr. Sherman,” the movie is titled for its 2 male protagonists.

Of the 4 movies starring females, just two are titled for the star. It’s the small budget 7 million film from Moscow, “Snow Queen,” that was brave enough to name its film after a female. “Frozen” is the title chosen for Disney’s version, the same movie studio that changed “Rapunzel” to “Tangled,” to obscure its female star. Fittingly, in the poster for “Frozen,” the woman’s image also fades into the background.

Both “Dorothy” and “Epic,” buffer the female on the poster with males, Epic with a constellation of them and “Dorothy” by listing no less than 7 famous male actors.

The poster for “Planes” may look mysterious, but it comes from the producers of “Cars,” a movie which had many more male than female characters. Tellingly, the preview for “Planes” doesn’t show a single female character.

From the position of characters on the poster in “Cloudy With A Chance of Meatballs 2,” it looks like the male is the star, but maybe, hopefully I’m wrong. When you look at the poster, try to imagine a gender flip, the female in front and the male’s legs and hip in the female’s red-carpet-ready pose. That image will make you laugh.

If you are going to argue that there could be strong females in all of these movies, even if they are not the star of the movie, that’s not the same. Please read The curse of the Minority Feisty in kid’s movies.

“Saving Mr. Banks” is coming out in 2013 but does not have a poster yet. On imdb.com, it’s described:

Author P.L. Travers travels from London to Hollywood as Walt Disney Pictures adapts her novel Mary Poppins for the big screen.

That movie could be really cool. But why, why, why is the movie called: “Saving Mr. Banks?” If there is a female protagonist in this film, could she be concealed any more?  I know the androgynous “P.L. Travers” is how the writer’s name is shown on her books, but Mary Poppins came out in 1934. The writer had to use the initials to sell her book. Of course, J.K. Rowling opted for the same tactic years later, but hasn’t her success done anything for women writers? The year is 2013. When are writers going to be able to come out as women? Finally, and I hate writing this, and I hope that I’m wrong: From what I see on the internet it looks like the protagonist of the movie is, in fact, Walt Disney played by Tom Hanks.

There’s a movie I’ve heard of with no poster and I’m not sure if it’s coming out: an indie, English dubbed release of the French movie “Ernest and Celestine”

I have not yet seen any of these movies. As I’ve written about a lot on Reel Girl, movie posters are their own media. Even if a kid doesn’t see the movie, she sees the ads drive by her on the sides of buses or loom above her pasted on walls. She hears the movie titles. Not to mention, she sees the protagonists on TV, cereal boxes, diapers, clothing, toys, sheets, and in video games.

The posters below are found from Google images. There are multiple posters, and I chose the one I’m predicting that I’ll see around town. Whenever I see a movie poster on a bus or wall with a female character solo, front and center who is not surrounded by multiple male characters, or when multiple female characters are shown, I rush to post the sighting on Reel Girl.

As you look at the posters below, ask yourself: Who looks like the star/ leader/ protagonist of this movie? What would this poster look like if the positions, number of male characters, and title references were switched to female characters? Why are females, half of the kid population, presented as a minority in children’s films? Why is the imaginary world, a place where anything should be possible, sexist at all?

So here we go.

Reel Girl’s Gallery of Girls Gone Missing from Children’s Movies in 2013

Monsters University

MU

 

Despicable Me

despicable_me_2_movie_poster_01

Smurfs 2

Chapter 14 smurfs-2

Percy Jackson: Sea of Monsters

Percy Jackson 2 Sea of Monsters

 

Leo the Lion

leo

Cloudy With a Chance of Meatballs 2

cloudy-with-a-chance-of-meatballs-movie-poster1

Mr. Peabody and Sherman

sherman

Frozen

frozen

The Hobbit: There and Back Again

kinopoisk.ru

Escape From Planet Earth

escape_from_planet_earth_ver2

Jack the Giant Slayer

jack-the-giant-slayer-poster

Oz the Great and Powerful

OZ-The-Great-and-Powerful-Movie-Poster-oz-the-great-and-powerful-31464719-511-755

The Croods

croods_xlg

Epic

epic

From Up on Poppy Hill

poppyhill

DofOZ_IDW_ad.indd

The Snow Queen

The_Snow_Queen_Movie_Poster

Planes

Planes

Turbo

Turbo Movie Poster

Batman The Dark Night Returns

batman-the-dark-knight-returns-part-2-poster

Tarzan

tarzan-poster

Boys will be boys, girls will clean up

blue milk blogger saw her three year son watching the Australian animated show for toddlers “Bananas in Pyjamas.” She blogs:

I was so bewildered by it that I ended up watching the whole episode again on iview to be sure about what I was seeing.”

In the series, there are two banana adult figures and three bears, 2 girls and 1 boy, all friends. In the episode blue milk saw, the boy bear buys a Super Bear costume and then causes all sorts of trouble, getting caught up in his imagination and believing he really is a superhero. The bananas try to help out a little, but don’t get too involved, knowing they get to return home soon. So the clean up is left to the girl bears.

blue milk goes on:

Tellingly, the little girl bears deal with these problems in a way that doesn’t involve Super Bear having to know about it because he would only cause more mess if he tried to help and because they do not want to hurt his dignity or spoil his fun. Worse still, his fun interrupts their own fun and plans and when they express some irritation about it all the Bananas encourage them to be careful not to ruin the boy bear’s illusion of himself as a superhero. It wouldn’t have particularly disturbed me as a story if it was about a parent or uncle cleaning up after the little boy teddy bear…But the sight of two little girls doing the cleaning up and taking care of, instead of  having fun and adventures themselves? And the idea that the little boy got to experience the thrill of danger while the little girls got to worry about him? It all struck me as so, so wrong.”

First of all, I am amazed, once again, though I know I shouldn’t be, how universal sexism in kidworld is. It doesn’t matter if you’re a kid in Australia or a kid in the USA, if it’s PBS or Disney, if it’s a movie or TV: except for the Minority Feisty, boys will be boys and girls will clean up.

The TV show blue milk describes really irks me because my whole blog, Reel Girl, is about protecting the imagination of children (and hopefully, eventually, the adults they grown into.) I guess you could look at this episode as enlightening: Look, this is just what happens in real life. Males are encouraged and supported by the world to imagine and act; females are not. But somehow, I suspect three year old children don’t get irony.