index.comunicación | nº 10(1) 2020 |
Páginas 97-123
E-ISSN: 2174-1859 |
ISSN: 2444-3239 | Depósito Legal: M-19965-2015
Recibido el 23_09_2019
| Aceptado el 03_01_2020 | Publicado el 06_04_2020
MALE AND FEMALE
WORKERS. GENDER TREATMENT THROUGH PIXAR'S FILMS
TRABAJADORES Y TRABAJADORAS. EL
TRATAMIENTO DE GÉNERO A TRAVÉS DE LAS PELÍCULAS DE PIXAR
https://doi.org/10.33732/ixc/10/01Malean
Nerea Cuenca-Orellana
Universidad de Burgos
nerea.cuenca.orellana@gmail.com
orcid.org/0000-0003-2888-8403
Patricia López-Heredia
Universidad Autónoma
de Madrid
patricia.lopezh01@gmail.com
orcid.org/0000-0001-6935-2707
Para citar este trabajo: Cuenca-Orellana, N. y López-Heredia, P. (2020). Male and female workers.
Gender treatment through Pixar's films. index.comunicación,
10(1), 97-123. https://doi.org/10.33732/ixc/10/01Malean
Abstract: The concept of 'work'
encompasses knowledge, representations, activities and social relations that
organize and hierarchize society through roles and norms. During more than
fifty years, Disney represented women as the angel from the home and men as
brave and very hard workers. The distribution of tasks has been progressively
modified in our Western society, in animated films as well. In 1989 a new era
started in animation films: Disney changed some characteristics in male and
female characters, but the representation of female workers did not appear
until 2009 with The Princess and the Frog. Tiana is the first worker
princess; she is a waitress that wants to run her own restaurant and she gets
it at the end of the film. But, in 2009, Pixar had released ten films and its
first worker princess was the main character of Bug’s life (John Lasseter,
1998). At first sight, this seems as a very high evolution, but this work wants
to discover how Pixar has represented the world of work: as a way of dividing
characters depending on its gender or as a way of developing and showing
equality to the youngest spectators?
Keywords: characters;
animation; gender; world of work.
Resumen: Dentro del concepto ‘trabajo’ se engloban saberes, repre-sentaciones, actividades y relaciones sociales que organizan y jerarquizan la sociedad mediante roles y normas. Durante más de cincuenta años, se representó a las mujeres como el ángel del hogar y a los hombres como valientes y trabajadores. El reparto de tareas se ha modificado progresivamente en nuestra sociedad occidental, también en el cine de animación. En 1989 comenzó una nueva era en las películas de animación: Disney cambió algunas características en los personajes masculinos y femeninos, pero la representación de personajes en esferas laborales no apareció hasta 2009 con Tiana y el sapo. Tiana es la primera princesa trabajadora, una camarera que quiere dirigir su propio restaurante y lo consigue al final de la película. Pero, en 2009, Pixar había estrenado diez películas y su primera princesa trabajadora fue la protagonista de Bichos (John Lasseter, 1998). A primera vista, esto parece una gran evolución, pero, en este trabajo se busca descubrir cómo Pixar ha representado el mundo laboral: ¿lo ha hecho como una forma de dividir a los personajes según su género o como una forma de desarrollar y mostrar la igualdad a los espectadores más jóvenes?
Palabras clave: personajes; animación; género; mundo laboral.
1. Introduction
For centuries, it was considered that the
differences between masculinity and femininity were determined by nature (Veissière, 2018: 6). However, since the second wave of the
feminist movement took place in the United States in the sixties, researchers
concluded that the roles each gender carries out are determined by the gender
social system (Bogino, 2017: 163). This system, from
the beginning of Western civilization, had allotted women the domestic level
because of their reproductive capacity, while men were in charge of hunting,
ploughing and other physical tasks from the external field thanks to their
physical strength (Medina et al., 2014; Saldívar
et al., 2015). During the Industrialization (1750-1870), the external
field was understood to be indispensable for survival. This gave masculinity a
higher status compared to women (Wharton, 2012: 99). Thus, the role of women in
society was underrated (Ribas, 2004: 3). What started
as a separation set up for coexistence became a fixed ideal that distinguished,
prioritized and opposed human beings according to their gender (Sartelli, 2018: 200-201).
With the beginning of the Second World War
(1939-1945), married women that belonged to a middle class became responsible
for their household economy while their husbands fought on the frontline
(Coronado, 2013). When the conflict
ended in 1945, they stopped working outside their homes (Brioso,
2011: 341). Sometime later, in the fifties, American women managed to have
access to university education, although this opportunity was mostly offered as
a possibility to be at the same cultural level as their future husbands (Del
Valle, 2002: 99), because women had little to no room in the world of work and
so in the end, they got married and devoted themselves to domestic work (Jódar, 2013).
In
the sixties, Social Sciences analyse the
gender-specific division of labour and validate that
this is the cause of patriarchal domination in western societies (Brioso, 2011: 343). In turn, the women who were part of the
new generations and who were more qualified both academically and
professionally for the outside world, demanded opportunities in different
fields and professional sectors (Ramos, 2003: 268). These advances were
progressively achieved between the seventies and the eighties. They entry of women
into the labour market made their husbands take part
both in the household chores and in childcare. These responsibilities were
added to the traditional role of men as main economic providers of the
household, another responsibility that was shared between men and women (Cánovas, 2017: 6).
2. State of the art
The lack of equality in male and female representation, assigning a lower scale to women when they are compared to men, is still presented in today's audiovisual content for all audiences, although it is an issue that began to be investigated in the 80s (Iadevito, 2014: 226). Nowadays, animation is a very powerful tool and children learn both the masculine and feminine ideals that predominate at a particular moment in history through their favorite characters (Pietraszkiewicz, 2017). Those stories help to perpetuate, eliminate or modify behavior patterns according to the gender assigned to the different characters and to what they do within the narrative (Bustillo, 2013: 6). Currently, “(…) preocupa sobre todo la violencia mediática que recae tanto en la representación de mujeres y hombres, en el tratamiento que se les concede a los personajes masculinos y femeninos, así como el efecto que causa sobre las y los espectadores”[1] (Sánchez-Labella, 2915: 9).
For
more than seventy years (1937-2009), Disney did not depict work as a subplot to
develop relationships and/or as a tool to create conflicts amongst the
different characters (Fonte, 2001: 131). It is true that different male
characters such as the hunter from Snow
White and the Seven Dwarfs (1937), the butler from The Aristocats (1970), the explorer John
Smith from Pocahontas (1995), or the
Beast’s servants (Beauty and the Beast,
1991) had jobs and these jobs were important within the story. However, in
these examples, their occupation is just another piece of information about the
characters and there barely is any screen time where these characters are shown
doing their job.
Disney used the traditional feminine roles in their feature films. They chose to keep the more traditional vision of femininity that still prevails in our modern age. Due to this, male perceptions dominated the world view that was used for film adaptations. Thus, in its stories, the studio adhered to the traditional role of women within marriage and the home (Davis, 2006: 102). In addition to this, the studio also made stories to be a “factor de transmisión cultural utilizado principalmente durante la socialización primaria que permite inculcar valores diversos” (Sartelli, 2018: 213).
In
2009, the Princess and the Frog was released,
and Disney’s first working princess emerged (Johnson, 2015). In this film, work has an influence on the
main character’s moods, on her decision-taking and even on her relationships
with the rest of the characters (Aguado &
Martínez, 2015: 56).
By
then, Pixar had already been producing feature films for fourteen years. In
particular, between 1995 and 2015, eleven out of the sixteen films that were
released (66%) address the topic of work and the division of labour as an essential matter in the subplots of their
scripts. Since their second release, A
Bug’s Life (1998), work is part of both the individual and the collective
identity of the characters. Jonathan Decker’s research emphasizes that Pixar is
an example to follow. In Decker’s analysis all the characters appeared between
1995 and 2010 have access to the same conditions and opportunities in the labour market, regardless of their gender (Decker, 2010: 86
& 87). Following Decker’s statement, an analysis is carried out to try to
determine whether that statement is true for the two decades that have been analysed.
3. Methodology
This
research aims to describe and analyze the male and female characters in
Hollywood's commercial animation cinema through the viewing of the sixteen
films made by Pixar Animation Studio since 1995, the year in which they began
production, until 2015.This
current research starts by quantifying the number of characters that are shown
working in the sixteen films released by Pixar between 1995 and 2015. Once
these results were obtained, it has been determined which are the occupations
for men and for women that have been depicted in the representative sample
quantifying again. Finally, we have added a table in which the name of the character,
his/her gender, his/her profession and his/her narrative archetype are
organized in order to define how Pixar presents professions in male heros and/or male/female secondary characters.
Through
the quantitative and qualitative analysis of the characters will allow us to
detect and define the patterns of the masculine and feminine types created by
Pixar and their evolution throughout the study time. Similarly, a comparison
can be made between these and those that appeared in the Disney studio films.
Through the study of differences and similarities in issues such as social
representation, the physical aspect, the values they hold or gender
relations, the aim is to determine to what extent society has changed and what
is the image that is currently projected from the animation movies.
4. Results
4.1. Quantity results
In
60% of Pixar’s stories, characters seek the same objective: to have
professional success. In Pixar, this accomplishment is linked to maintaining
their jobs, to having social recognition, or to both. In relation to the
quantification of male and female workers, we can appreciate a big difference
as it is represented in the following graph:
Graph 1.
Quantification of male and female characters in the representative sample
(1995-2015)
Source:
own elaboration
After
reviewing the films that were analyzed (Table 1 in Anex),
it can be said that Cars (John
Lasseter, 2006) and Ratatouille (Brad
Bird, 2007) are the two films were there are more working male characters. On
the other hand, A Bug’s Life, Cars and Brave (Mark Andrews and Brenda Chapman, 2012) are the films where
we can find more working female characters: four in each of them. And Monsters University, (Dan Scanlon, 2013)
despite the fact that it is a film with many male characters, it is the most
equitable film out of the sixteen when it comes to work-related issues.
In
fact, in 56.25% of Pixar’s films, the rupture of the everyday routine which the
characters undergo is due to work-related issues. And in 43.75% of the cases,
the beginning of this adventure that the main male characters are responsible
for starts with their jobs. Only in two films there are female characters whose
plots start with their jobs. This entails 12.5% of the feature films. One of
them is Wall-E (Andrew Stanton, 2008), where EVE is in charge of
searching for life on Earth. Her task marks the beginning of the
adventure.
It
is worth stressing that the main objective that the characters from 60% of the
films released by Pixar have, is related to labour
issues. Moreover, in 56.25% of Pixar films, the break in the balance suffered
by the characters in the story is due to a labour
issue. And in 43.75% of the cases, the male protagonists are responsible for
the start of this adventure in order to advance in their job and improve their
status.
The
crisis suffered by the company Monsters Inc. (Pete Docter,
2001) in the film affects Sully beyond his vocation as scary. Unwittingly,
Sullivan is involved in a whole web of corruption and deception. In particular,
Waternoose himself, the owner of the company, has an
agreement with Sully’s rival, Randall, so as to introduce human children in the
factory for the purpose of increasing the energy levels, but also to recover
his power and thus to supply all the city. All Monstropolis
believe that children are toxic. The triggering incident that begins the story
is when Sully discovers a small human girl who is two or three years old in the
factory.
Mike's
dream, at Monsters University, is to
get to the best college of scarers. But although he
studies and works very hard to achieve his dream, he does not have enough
faculties. Thus, the green monster finds that he can be expelled from the
university if he does not pass the exam. This is how Mike sees his dream falter
and with it, his future work.
Laziness
in Bob's work and his subsequent dismissal are the trigger for The Incredibles (Brad Bird, 2004). This
situation coincides with the proposal of a new job position, adjusted to his
profession of superhero. He does not hesitate to accept the successive missions
proposed by Mirage, who is, in reality, the villain Syndrome’s secretary and
partner. In this way he begins his first internal change: with the new job, Bob
is happier, he integrates better in his family, and both his adventure and his
arc of transformation begin.
The
missions for which Eva and Wall-E are programmed are, precisely, their
respective jobs. The trigger to start the adventure in Wall-E arises when Wall-E decides to leave his job and his planet
to take care of Eva, who has been picked up by a ship after entering a state of
hibernation. This fact is relevant from the narrative point of view: the hero
leaves his habitat and moves to his beloved leaving all his world behind. The
beginning of the adventure coincides with what it was the ‘happy ending’ of
Disney films starred by princesses. But, in this case, it is the male character
who leaves everything to start a new life with his beloved Eva.
The
breaking of the balance in the work environment also occurs in Cars, Lightning McQueen is used to
competing and he feels he is the best on the track. McQueen cannot win the
Piston Cup in the first race and travels to a new destination to get it. On the
way he gets lost and does not reach the new competition. During his time in
Radiator Springs, he discovers and learns values such as respect and
friendship and to enjoy small moments. When he returns to work, McQueen has a new
personality, with new values and real friendships.
In
Cars 2 and Ratatouille the protagonists are involved in a work-related lie:
Mate, as a spy and Lingüini, as a cook. Lingüini
maintains the wrong idea that Gusteau's workers have
made of him during a half of the film, while
Mate barely realizes that he is working for some spies and that his
contribution is very valuable. Both
mistakes lead to the development of professions for which they do not seem to
have the necessary skills. However, both Lingüini and
Mate begin a journey in which they discover that they can be very happy
exploiting their abilities and using themselves.
Only
in two films there are female Pixar characters whose plot begins with work.
This means 12.5% of the films. One of them is Wall-E, where Eva is responsible
for looking for life on the planet Earth. Her mission is the trigger for the
adventure to begin.
Atta’s
future job in A Bug’s Life is the
trigger to evolve and this leads to an adventure. Atta has to manage the ant colony,
still with the help of her mother. Atta feels stressed and does not know how to
face her new position. As soon as
she starts exercising, even though
all the ants are perfectly organized, Flik throws the
food collected for months for the grasshoppers into the river. This is the
beginning of an adventure for her to collect food again, which implies a greater organization and supervision of the
members of the colony that this demands.
In
18.75% of the films, the responsibility in the work and narrative objective of
their male partners directly affects female characters such as Helen, Colette
and Riley. Helen abandons her housework and motherhood, her profession until
she decides to go in search of Bob. Colette's adventure begins when she meets Lingüini. She is already a professional and Chef Skinner
asks her to show him how Gusteau's kitchen works.
After putting her trust in Lingüini, Colette loses
her to discover that she has lied to him and decides to leave but realizes that
Chef Gusteau's dream has come true: anyone can cook.
In
Inside Out, Riley's father accepts a
new position in San Francisco, and that's why the whole family move to the new
city. His father’s new job is the trigger that breaks the balance of the
eleven-year-old girl. She is happy in her school, in her hockey team, with her
friends and playing with her parents. However, in her new home her parents do
not have so much time to spend with her, she does not have friends, she is not
selected by another hockey team and she does not adapt to the new school.
In
46.6% of the films, work is an element that provokes the arc of transformation
of, at least, one of the characters. For example, the internal evolution of
Helen in The Incredibles means that
from the middle of the film until the end she takes care of her family, of
combating evil and of supervising her image.
And with work there is also the fear of not
measuring up, of doing it badly, although this fear is expressed unequally in
male and female characters. Atta, Shiftwell and Helen
have at some point a feeling that is not seen in the performance of the
professions of male characters, except in Lingüini
and this is because the boy is lying about
his capabilities. 18.75% of the
films have female characters who suffer crisis in their jobs that are due to
the lack of security in themselves to show their ability as professionals and
solve the contingencies that arise. On the other hand, male characters do not
suffer professional crisis in the same way as female characters, they are
confident in the performance of their tasks and know their abilities, as well
as how to use them to achieve professional success.
Graph 2. Labour sectors. Pixar’s male characters (1995-2015)
Source:
own elaboration
The
vast majority of working male characters (74 out of 91 characters) are
dedicated to professions included in the tertiary sector (services), but there
are also 9 characters whose work activity belongs to the secondary (industrial)
sector and 5 male workers in the primary sector (agriculture).
Graph 3. Labour sectors. Pixar’s female characters (1995-2015)
Source:
own elaboration
In
33.3% of the Pixar filmography, female characters appear in jobs that, before
the 80s, were conceived as typical of the male gender. Out of 125 worker
characters, only 29 are women: almost all (25) work in the tertiary sector.
The
vast majority of working male characters (74 of 91 characters) are dedicated to
professions included in the tertiary sector (services), but there are also 3
characters whose work activity is included in the secondary (industrial) sector
and 5 male workers, in the primary sector (agriculture).
In
any case, the social changes of the last fifty years have allowed women to
enter the world of work outside the home. And this moved to the cinema from the
90s. Although 81.25% of female characters occupy positions with little
decision-making capacity or in traditionally feminine areas (education, care
for others, sewing, cleaning, cooking), Pixar has also created female
characters that break the work box. Female characters begin to occupy high
positions: 18.75% of the films include female characters who lead a company or
even a community.
With
all this information we can summarise that,
quantitatively, Pixar underrepresent female characters when it comes to the
employment sphere. But, beyond this quantification, we will continue our
analysis by describing what the jobs are for each gender to find that there
also is underrepresentation in the job positions. In order to do this, and
before describing the professions of each character (and their narrative
archetype in the story) we have included a table in Anex
(Table 4. Characters, gender and professions in the representative sample. Compilation).
4.2. Quality results
4.2.1. Male jobs in Pixar’s films
In
Pixar, the division of labour outside the home has
been influenced by the Western gender division (Medialdea,
2016: 90). Pixar represent the traditional system of task division which has
always been associated to the family as an institution, and its influence on
the gender-specific division of labour can be seen in
The Incredibles and in Brave (Martínez, 2017: 354). Bob (The Incredibles, 2005) and Fergus (Brave, 2012) are the husbands within a
traditional family which starts by getting married to their wives and then
having children, in that order (Gálvez, 2009: 11).
The two of them represent the ‘breadwinner’
(Wharton, 2012: 104). Their wives, Helen and Elinor, respectively, do not
work outside their homes. Helen does leave to rescue her husband as a
superheroine, but she does so because of her duty as a housewife that cares for
her family, and as someone that wants to keep all of them together, not as part
of her professional development. As for Elinor, she is the queen and she is to
raise her daughter Merida so that she is ready to inherit her role. Elinor
always does so inside the castle as part of her maternity. It is also worth
mentioning here that for Bob, his job is an essential aspect of his own
individual/personal development. Bob’s own apathy when it comes to his job and
his subsequent dismissal are part of the trigger in The Incredibles. This situation happens at the same time as Bob
gets an offer for a new job position which matches his job as a superhero. He
does not hesitate to accept the following missions that are proposed by Mirage,
who in reality is the villain Syndrome’s secretary and partner. His first
internal changes start like this: with his new job, Bob is happier, his relationship
with his family improves, and both his adventure and his transformation start.
In
Pixar, the jobs that the male characters have are quite varied: chef, sheriff,
space ranger, athlete, chief detective, firefighter, soldier, entrepreneur,
administration chief or judge, amongst others[2]. Sulley and Mike from Monsters,
Inc. work in the Monsters, Inc. Company scaring children. Both of them are
happy and they are successful thanks to their hard work and their daily
efforts. This situation can also be seen at Gusteau’s
restaurant in Ratatouille, where all
the workers are male except for Colette. Haute cuisine has always been
considered a male domain and Ratatouille
still represents this work environment in this way (Del Valle, 2002: 96).
Within
Pixar’s masculinity, there is a complex hierarchical system where preference is
given to those males that fulfil the established social norm: the workers that
are successful are those who are tolerant, modest, who know to work in teams
and whose sense of team spirit has been developed, giving preference to the labour necessities that others have, even over their own.
This can be seen in Remy, from Ratatouille,
and this is what McQueen, from Cars,
and Bob, from The Incredibles, learn.
Teaching
and cleaning are two jobs that are barely relevant to male characters within
Pixar, but they do appear respectively in Finding
Nemo and Toy Story 3. Cleaning
has been a task traditionally assigned to women as part of the household
chores, and something that they could continue doing outside it (Goñi, 2002). The figure of the teacher has always been a
clear reference to authority and power in the western society (Del Valle, 2002:
117). Showing a male preschool teacher in one of their first films reinforces
Pixar’s search of progress towards gender equality. Different sectors such as
education and the health service have always been associated to the female
gender (Medialdea, 2016: 93).
4.2.2. The inclusion of Pixar’s female
characters in the world of work
Social
changes like divorce or women’s access to university allowed women to enter the
labour market outside the home, regardless of their
marital status (Gálvez, 2009: 15). These changes were
reflected in animation films during the nineties[3].
81.25% of the Pixar’s female characters analysed hold
positions with little decision-making capacities, or in areas that have always
been traditionally associated with women: education, caring for others,
dressmaking, cleaning, or cooking. Pixar have also created female characters
that break the stereotypes related to the inability to climb the professional
ladder, but this does not happen very often.
In 33.3% of Pixar’s films, there are female characters
that hold job positions that, before the eighties, were traditionally
associated with men. Only three female characters hold the position with the
highest responsibility within the companies where they work, thus copying the
western social model that prevailed at the moment of filmings
(Gómez, 2018: 178). These characters are Roz (Monsters, Inc., 2001), dean Hardscrabble (Monsters University, 2013) and Atta from A Bug’s Life (1998). According to Eisenhauer, we have been
socially educated to understand that both power and authority are male
characteristics, while femininity is characterised by
the lack of power (Eisenhauer, 2017: 14-15). Focusing on Roz and Hardscrabble,
both have a masculine aspect, an idea that makes reference to independent,
strong, active, determined and self-confident women (Del Valle, 2002: 167-168).
Roz (Monsters, Inc., 2001) is an
undercover agent. Dean Hardscrabble, in Monsters
University, faces the responsibility of leading an entire university campus
after being promoted since she started as a student. In both films we can see
two female characters that are presented as modern women, that “(…) se han atrevido a transgredir los roles y estereotipos
de género prescritos tradicionalmente”[4]
(Ramos, 2003: 268).
Roz
and Hardscrabble have something in common: their professional activity is
linked to a personality where they stand firm in their convictions and strict
in their way of acting. This is the idea of leadership in the real world
(Martínez Ayuso, 2015: 50). Montesinos (2002: 49)
considers that these are two characteristics that appear in women when they
have to lead because it was job position that in previous decades was
traditionally male, and they take that as reference.
Roz
and Hardscrabble establish cold and distant relationships with the rest of the
characters. This can be compared with the image of the woman that abuses her
power and which has been reflected in Disney’s witches and female villains
until 2016 (Streiff & Dundes,
2017: 9). In fact, throughout the film, we do not know anything about the
private lives of these two characters. We only know them through their job
interests. The lack of social relationships, or their non-appearance (in
particular, family and love relationships) may have to do with this full
dedication to their jobs, because this is how it happens in the real world (Medialdea, 2016: 96). These characteristics have nothing to
do with the traditional view of femininity in which women were understood to be
sensitive and close to others, which facilitated their relationships with
others (Lamo de Espinosa, 2000: 82). Roz and dean
Hardscrabble are proof that, nowadays, any woman can lead a university campus
or be part of the judicial field, which has traditionally been led by men.
However, the strict way in which they do their jobs and teach the characters is
rejected by the audience, at least at first. Both Roz and dean Hardscrabble
represent the idea of femininity and leadership that was proposed by Colón,
Plaza and Vargas (2013: 68): “(…) las mujeres que transgreden el mandato social se estigmatizan todavía como poco respetables
y confiables, mala mujer y madre”[5].
At the end of the films, it is confirmed that the strict attitude the two of
them had, was based on everybody’s protection and well-being when fulfilling
the established rules, and that shows a more positive image.
Atta
in A Bug’s Life (1998) inherits the
leader position in the ant colony from her mother, so she rules as queen. It is
important to emphasise that she has this power
because she inherits it, not because she has earned it or because she has
proven that she can be the colony leader. In the real world, family businesses
are usually inherited by men (Gatrell, 2008: 12).
This is an important change: Princess Atta actively participates in the public
life and she progresses socially without the need of a husband or another male
to attain her position. Let us remember that Disney did not include a leader
princess exercising her responsibilities without a spouse until Elsa in Frozen (2013) (Johnson, 2015: 24). Del
Valle believes that female leadership is different from that of males.
Regarding the former, she states that women are more concerned about doing
things right, while men tend to be more individualistic (Del Valle, 2002: 195-200).
It is also worth mentioning that Atta’s future job is the trigger needed to
evolve and this results in an adventure. Atta has to manage the ant colony,
although she still has her mother’s help.
Despite all that has been mentioned before, in Pixar
there is a predominance of women whose jobs indicate there are inequalities
between men and women. In this regard, Pixar’s films strengthen Haywood’s idea
that says that the distribution of job positions has not changed (Haywood,
2003: 25). In this sense, Pixar adjust to the pace that the society which the
films are directed to, have. The jobs that women have held, even after their
access to the university sector and the world of work, are linked to their
service to others: health, education, household chores, restaurants and hotels
(González, 2004: 6-9).
Colette,
in Ratatouille, and Edna from The Incredibles, have a lot to do with
this. The former is the only female cook at Gusteau’s
and she tells Lingüini the efforts she has made in
order to work there. Edna is a dressmaker, and sewing was linked to household
chores until the middle of the 20th century, and therefore, to
women.
In
Pixar there are also female secretaries, waitresses, female teachers, flight
attendants or receptionists. Pixar represent these occupations through female
characters in 20% of the films. Out of all of them, only the job as a teacher
is portrayed by a male character. It is exactly within that care for others
where the teacher’s job lies. It is thought that the job as primary teachers is
mainly carried out by women because “(…) la sociedad supone que las mujeres son cooperativas, comprensivas, amables y apoyan a los demás”[6]
(Ramos, 2003: 273). Every single teacher we see at Sunnyside (the Toy Story 3 nursery) are women, just
like Mike Wazowski’s teacher in primary school, which
can be seen at the beginning of Monsters
University, is also a woman. The performance of this work with little
children is connected to the traditional idea that states that women are
equipped with an emotional development that makes it easier for them to look
after and meet the needs of babies and children until primary school much
better than any man would (Pascual, 2014). There are other female characters in
professional fields that have traditionally been associated with women, such as
Barbie, in Toy Story 2, and Gypsy,
from A Bug’s Life. Both of them are
flight attendants and they share the importance that their physical aspects
have in order to do their jobs and their ability to serve others.
5. Conclusions
To start with, it is important to take into account that this research has the limitations of an experimental design based on a limited number of observations, but, we have to bear in mind that the results are relevant to have a much better knowledge of how male and female representations are built in animation films. As it is known, we cannot forget that “el hecho de que los dibujos animados contengan gran cantidad de referencias de la vida real hace que los consumidores a veces entiendan las historias y las acciones como verosímiles”[7] (Sánchez-Labella, 2015: 10).
While
Disney proposed the first working male character in Snow White and the Seven Dwarfs (1937) and the first working
princess in 2009 with Tiana and the frog,
Pixar already present work as a main field. In it, male and female characters
develop their capacities and success since its second premiere: A Bug’s Life (1998). Therefore, in
Pixar, the male and female role at
work is, without a doubt, the relationship that has developed the most in Pixar if we compare it with Disney.
In
Pixar’s labour world, like in the western real world,
power is embodied by men (Meza, 2018: 11). In this way, Pixar follow the idea
of presenting working female characters. However, only a minority of them hold
high positions. Following the system that still remains in the current western
world, jobs are still highly sexualized (Hidalgo Marí,
2017: 310-311), as films analyses showed us. This also happens in the real
world, in particular in positions such as receptionists, secretaries or
waitresses (Gatrell, 2008: 42).
After
this analysis, we can also prove that helping, services and caring for others
are qualities which are still associated with the female identity (Jenaro, 2014: 51). Regarding male characters, Pixar still
present male success as part of having a good job which makes them grow. Working on developing masculinity and femininity in equality, Pixar have only needed twenty years to increase and improve their gender
representation.
The
female characters of Pixar are professionals able to work in any field and
demonstrate with their skills that they are 'competent professionals' in their
area, although the services sector is still the one that covers the vast
majority of female characters in the 20 years analysed:
they work there 81.25% of the times. Revising this information and comparing
with the western world nowadays:
The EU’s aim is to reach a 75 % employment rate for men and women by 2025. In 2017, female employment continued to increase slowly but steadily, similarly to that of men, and reached 66.6% in the third quarter of 2017. Despite this progress, women are still a long way off achieving full economic independence. In comparison to men, women still tend to be employed less, are employed in lower-paid sectors, work on average 6 hours longer per week than men in total (paid and unpaid) but have fewer paid hours, take more career breaks and face fewer and slower promotions (European Union, 2018: 9).
In
fact, Pixar’s female characters suffer a vertical segregation in access to jobs
with power. Therefore, despite the evolution shown by the characters under the
icon 'superwoman', they continue to work, mostly, in positions traditionally
assigned to the female gender, as also happens with male characters, where
there is only one teacher, one waiter and one cleaner out of the total 16
films:
No obstante, la
igualdad no se ha conseguido, pese a que sea indiscutible que se ha producido
un cambio en los modelos de feminidad y masculinidad actuales respecto al siglo
XX. Los datos económicos y
laborales más actuales muestran que los antiguos roles de género todavía no han
sido desterrados del mundo del trabajo (…)[8] (Martínez, 2017: 135).
Pixar’s
male characters live devoted to their work and that is the reason for the
beginning of the adventure (or it is related to it) in just over half of the
films (56.25%). Therefore, this masculine behavior (valuing work above or at
the same level as other relationships) is presented as something natural.
Mass
media are a very powerful tool to present different options regarding
masculinity and femininity that can guide us towards equality and a stage of
normalization (Johannah, 2018). In addition to this,
it is essential to point out how necessary it is to design characters that
attract children but that encourage them as well, in order to choose their
future work life because of their abilities and interests and not because of
their gender. In addition to this, it is needed to point out how necessary is
to design characters that attract children but that encourage them as well, in
order to choose their future labour life because of
their abilities and interests and not because of their gender.
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Anex
Table 1. Quantification of characters in the representative sample. Compilation
|
Film |
Total number of male characters (workers) |
Total number of female characters (workers) |
Total number |
|
Toy Story (1995) |
3 |
0 |
3 |
|
A Bug’s Life (1998) |
8 |
4 |
12 |
|
Toy Story 2 (1999) |
4 |
3 |
7 |
|
Monsters, Inc. (2001) |
6 |
2 |
8 |
|
Finding Nemo (2003) |
2 |
1 |
3 |
|
The Incredibles (2005) |
6 |
3 |
9 |
|
Cars (2006) |
15 |
4 |
19 |
|
Ratatouille (2007) |
12 |
1 |
13 |
|
Wall-E (2008) |
4 |
1 |
5 |
|
Up (2009) |
8 |
1 |
9 |
|
Toy Story 3 (2010) |
5 |
3 |
8 |
|
Cars 2 (2011) |
7 |
1 |
8 |
|
Brave (2012) |
4 |
4 |
8 |
|
Monsters University (2013) |
3 |
3 |
6 |
|
Inside Out (2015) |
1 |
0 |
1 |
|
The Good Dinosaur (2015) |
3 |
2 |
5 |
|
Total |
91 |
33 |
125 |
Source:
own elaboration
Table 2. Labour sectors male characters.
Compilation
|
Film |
Primary sector (agriculture) |
Secondary sector (industry) |
Tertiary sector (services) |
|
Toy Story (1995) |
|
|
3 |
|
A Bug’s Life (1998) |
1 |
|
7 |
|
Toy Story 2 (1999) |
1 |
|
3 |
|
Monsters, Inc. (2001) |
|
6 |
|
|
Finding Nemo (2003) |
|
|
2 |
|
The Incredibles (2005) |
|
|
6 |
|
Cars (2006) |
|
|
15 |
|
Ratatouille (2007) |
|
|
11 |
|
Wall-E (2008) |
|
2 |
2 |
|
Up (2009) |
|
1 |
8 |
|
Toy Story 3 (2010) |
|
|
4 |
|
Cars 2 (2011) |
|
|
7 |
|
Brave (2012) |
|
|
4 |
|
Monsters University (2013) |
|
|
1 |
|
Inside Out (2015) |
|
|
1 |
|
The Good Dinosaur (2015) |
3 |
|
|
Source:
own elaboration
Table 3. Labor sectors female characters. Compilation
|
Film |
Primary sector (agriculture) |
Secondary sector (industry) |
Tertiary sector (services) |
|
Toy Story (1995) |
|
|
|
|
A Bug’s Life (1998) |
|
|
4 |
|
Toy Story 2 (1999) |
1 |
|
1 |
|
Monsters, Inc. (2001) |
|
1 |
1 |
|
Finding Nemo (2003) |
|
|
1 |
|
The Incredibles (2005) |
|
|
3 |
|
Cars (2006) |
|
|
4 |
|
Ratatouille (2007) |
|
|
1 |
|
Wall-E (2008) |
|
|
1 |
|
Up (2009) |
|
|
1 |
|
Toy Story 3 (2010) |
|
|
1 |
|
Cars 2 (2011) |
|
|
1 |
|
Brave (2012) |
|
|
4 |
|
Monsters University (2013) |
|
|
2 |
|
Inside Out (2015) |
|
|
|
|
The Good Dinosaur (2015) |
2 |
|
|
Source:
own elaboration
Table 4.
Characters, gender and professions in the representative sample. Compilation
|
Film |
Character’s name |
Gender |
Profession |
Archetype |
|
Toy Story |
Woody |
Male |
Sheriff |
Hero |
|
Toy Story |
Buzz |
Male |
Astronaut |
Hero |
|
Toy Story |
Andy’s mother |
Female |
Mother |
Hero’s mother |
|
Toy Story |
Pizza Planet’s delivery man |
Male |
Pizza Planet’s delivery man |
Secondary character |
|
A Bug’s life |
Atta |
Female |
Princess |
Helper |
|
A Bug’s life |
Atta’s mother |
Female |
Queen |
Trickster |
|
A Bug’s life |
Flick |
Male |
Inventor and colector |
Hero |
|
A Bug’s life |
P.T. |
Male |
Circus’ owner |
Trickster |
|
A Bug’s life |
Gipsy |
Female |
Event hostess |
Trickster/Helper |
|
A Bug’s life |
Manny |
Male |
Fortune teller |
Trickster/Helper |
|
A Bug’s life |
Francis |
Male |
Juggler |
Trickster/Helper |
|
A Bug’s life |
Slim |
Male |
Juggler |
Trickster/Helper |
|
A Bug’s life |
Rosie |
Female |
Tamer |
Trickster/Helper |
|
A Bug’s life |
Dim |
Male |
Circus’ beast |
Trickster/Helper |
|
A Bug’s life |
Truck y Roll |
Male |
Comedians |
Trickster/Helper |
|
Toy Story 2 |
Woody |
Male |
Sheriff |
Hero |
|
Toy Story 2 |
Buzz |
Male |
Astronaut |
Hero |
|
Toy Story 2 |
Madre de Andy |
Female |
Mother |
Hero’s mother |
|
Toy Story 2 |
Pete |
Male |
Foreman |
Shadow |
|
Toy Story 2 |
Jessy |
Female |
Cowgirl |
Helper |
|
Toy Story 2 |
Barbie |
Female |
Stewardess |
Trickster |
|
Toy Story 2 |
Al |
Male |
Toy Shop’s owner |
Threshold Guardian |
|
Monsters Inc. |
Sully |
Male |
Scarer (Factory’s operator) |
Hero |
|
Monsters Inc. |
Mike |
Male |
Scarer’s helper (Factory’s operator) |
Hero/helper |
|
Monsters Inc. |
Sr. Waternoose |
Male |
Factory’s owner |
Shadow |
|
Monsters Inc. |
Randall |
Male |
Scarer (formerly) |
Threshold guardian |
|
Monsters Inc. |
Fungus |
Male |
Scarer’s helper (Factory’s operator) |
Threshold guardian’s helper |
|
Monsters Inc. |
Roz |
Female |
Secretary/CDA Boss |
Shapeshifter |
|
Monsters Inc. |
Celia |
Female |
Recepcionist |
Trickster/Helper |
|
Monsters Inc. |
CDA workers |
Male |
CDA workers |
Secondary character |
|
Finding Nemo |
Marlin |
Male |
Father |
Hero |
|
Finding Nemo |
Nemo |
Male |
Student |
Hero |
|
Finding Nemo |
Mr. Ray |
Male |
Teacher |
Trickster |
|
Finding Nemo |
Dr. Philippe Sherman |
Male |
Dentist |
Threshold guardian |
|
Finding Nemo |
Barbara |
Female |
Recepcionist/secretary |
Secondary character |
|
The Incredibles |
Bob |
Male |
Insurance seller, superhero |
Hero |
|
The Incredibles |
Gilbert |
Male |
Bob’s boss |
Threshold guardian |
|
The Incredibles |
Helen |
Female |
Housewife/superheroine |
Helper |
|
The Incredibles |
Edna |
Female |
Dressmaker and designer |
Herald |
|
The Incredibles |
Director colegio |
Male |
School principal |
Secondary character |
|
The Incredibles |
Dash’s teacher |
Male |
Teacher |
Secondary character |
|
The Incredibles |
Syndrome |
Male |
Inventor |
Shadow |
|
The Incredibles |
Mirage |
Male |
Secretary |
Shapeshifter |
|
The Incredibles |
Frozone |
Male |
Superhero |
Helper |
|
Cars |
Rayo |
Male |
Race runner |
Hero |
|
Cars |
Mate |
Male |
Crane |
Helper |
|
Cars |
Chik Hicks |
Male |
Race runner |
Threshold guardian |
|
Cars |
El Rey |
Male |
Race runner |
Secondary character |
|
Cars |
Sally |
Female |
Lawyer and hotel’s owner |
Herald |
|
Cars |
Flo |
Female |
Waitress |
Trickster |
|
Cars |
Ramón |
Male |
Workshop’s owner |
Trickster |
|
Cars |
Doc Hudson |
Male |
Jude
and ex- race runner |
Mentor |
|
Cars |
Mia |
Female |
Cheelader |
Trickster |
|
Cars |
Tia |
Female |
Cheelader |
Trickster |
|
Cars |
Luiggi |
Male |
Mechanic |
Trickster |
|
Cars |
Sheriff |
Male |
Sheriff |
Trickster |
|
Cars |
Mack |
Male |
Driver |
Trickster |
|
Cars |
Broadcaster (2) |
Male |
Broadcaster |
Secondary character |
|
Cars |
Manager |
Male |
Manager |
Secondary character |
|
Cars |
Guido |
Male |
Mechanic |
Trickster |
|
Cars |
Rojo |
Male |
Firefighter |
Trickster |
|
Cars |
Fillmore |
Male |
Militay |
Trickster |
|
Ratatouille |
Lingüini |
Male |
Cooker |
Hero |
|
Ratatouille |
Remy |
Male |
Cooker |
Hero |
|
Ratatouille |
Colette |
Female |
Cooker |
Helper |
|
Ratatouille |
Chef Skinner |
Male |
Chef |
Shadow |
|
Ratatouille |
Ego |
Male |
Culinary critic |
Threshold guardian/Shapes. |
|
Ratatouille |
Gusteau |
Male |
Chef |
Herald |
|
Ratatouille |
Inspector |
Male |
Sanitary Inspector |
Secondary character |
|
Ratatouille |
Ambrister |
Male |
Waiter |
Secondary character |
|
Ratatouille |
Horst |
Male |
Subchef |
Secondary character |
|
Ratatouille |
Larousse |
Male |
Cooker |
Secondary character |
|
Ratatouille |
Mustafa |
Male |
Waiter |
Secondary character |
|
Ratatouille |
Talon |
Male |
Lawyer |
Secondary character |
|
Ratatouille |
Django |
Male |
Unknown |
Threshold guardian |
|
Wall-E |
Wall-E |
Male |
Trash compactor |
Hero |
|
Wall-E |
EVA |
Female |
Explorer |
Helper |
|
Wall-E |
M-O |
Male |
Maintenance operator |
Ally |
|
Wall-E |
Captain |
Male |
Ship Captain |
Ally |
|
Wall-E |
Auto |
Male |
Computer |
Shadow |
|
Up |
Carl |
Male |
Retired – exballon’s seller |
Hero |
|
Up |
Russell |
Male |
Student and explorer |
Hero |
|
Up |
Kevin |
Male |
Mother |
Ally |
|
Up |
Charles Muntz |
Male |
Explorer |
Shadow |
|
Up |
Ellie |
Female |
exballon’s seller |
Ally |
|
Up |
Dug |
Male |
Vigilant |
Ally |
|
Up |
Beta y Gamma |
Male |
Vigilant |
Shadow’s helper |
|
Up |
Nurse A.J. |
Male |
Nurse A.J. |
Secondary character |
|
Up |
Nurse George |
Male |
Nurse George |
Secondary character |
|
Up |
Construction manager |
Male |
Construction manager |
Secondary character |
|
Toy Story 3 |
Woody |
Male |
Sheriff |
Hero |
|
Toy Story 3 |
Buzz |
Male |
Astronaut |
Hero |
|
Toy Story 3 |
Andy’s mother |
Female |
Mother |
Herald |
|
Toy Story 3 |
Jessy |
Female |
Cowgirl |
Helper |
|
Toy Story 3 |
Barbie |
Female |
Cowgirl |
Ally/Trickster |
|
Toy Story 3 |
Bonny’s mother |
Female |
Teacher |
Secondary character |
|
Toy Story 3 |
Maintenance operator |
Male |
Maintenance operator and cleaner |
Secondary character |
|
Toy Story 3 |
Lotso |
Male |
Dictator |
Shadow |
|
Cars 2 |
Finn Mcmisile |
Male |
Spy |
Mentor |
|
Cars 2 |
Shiftwell |
Female |
Apprentice |
Ally/helper |
|
Cars 2 |
Mate |
Male |
Crane |
Hero |
|
Cars 2 |
Rayo |
Male |
Race runner |
Herald |
|
Cars 2 |
Miles Axelroad |
Male |
Bussinessman |
Shadow |
|
Cars 2 |
Proffesor Zündrap |
Male |
Gangster |
Threshold guardian |
|
Cars 2 |
Bernoulli |
Male |
Race runner |
Secondary character |
|
Cars 2 |
Sydelli |
Male |
Driver |
Secondary character |
|
Brave |
Fergus |
Male |
King |
Hero |
|
Brave |
Elinor |
Female |
Queen |
Mentor/heroine |
|
Brave |
Mérida |
Female |
Princess |
Heroine |
|
Brave |
Maudie |
Female |
Housekeeper |
Secondary character |
|
Brave |
Dingwall |
Male |
Lord |
Trickster |
|
Brave |
Macintosh |
Male |
Lord |
Trickster |
|
Brave |
Bruja |
Female |
Witch |
Herald |
|
Brave |
MacGuffin |
Male |
Lord |
Trickster |
|
Monsters University |
Mike |
Male |
Student |
Hero |
|
Monsters University |
Sulley |
Male |
Student |
Hero |
|
Monsters University |
Abigail Hardscrabble |
Female |
Doyenne |
Threshold guardian Shapshifter |
|
Monsters University |
Professor Knight |
Male |
Professor |
Secondary character |
|
Monsters University |
Karen |
Female |
Teacher |
Secondary character |
|
Monsters University |
Mrs Squibbles (Mummy) |
Female |
Mother |
Secondary character |
|
Inside Out |
Bill Andersen |
Male |
Boss |
Ally |
|
Inside Out |
Jill Andersen |
Female |
Unknown |
Ally |
|
Inside Out |
Riley Andersen |
Female |
Student |
Heroine |
|
The Good Dinosaur |
Poppa |
Male |
Farmer |
Mentor |
|
The Good Dinosaur |
Momma |
Female |
Farmer |
Secondary character |
|
The Good Dinosaur |
Buck |
Male |
Farmer |
Secondary character |
|
The Good Dinosaur |
Libby |
Female |
Farmer |
Secondary character |
|
The Good Dinosaur |
Arlo |
Male |
Farmer |
Hero |
Source: own elaboration