Researcher suggests beloved Disney classics convey an idealized image of fatherhood

For decades, Disney animations have shaped perceptions of family relationships and gender roles. Although much focus has traditionally been on princesses and female characters, a new study shifts attention to fatherhood and the evolving ideals of masculinity.

“In the history of Disney films, female characters and princess imagery have been widely analyzed, yet the role of masculinity has been explored far less. My research aims to deepen our understanding of the male ideals Disney has constructed and how they reflect the values of their time,” says MA Aino Isojärvi, who will defend her thesis on the subject at the University of Oulu, Finland, on November 29.

Isojärvi’s dissertation focuses on Disney classics from 1940 to 1970, which laid the groundwork for the company’s animation style and storytelling.

According to Isojärvi, Disney’s portrayal of fatherhood reflects Western societies’ social values and ideals of masculinity. Her research reveals how these interpretations have been passed down through generations, especially since Disney films are now a part of modern childhood as well.

Disney father figures, such as Jiminy Cricket from Pinocchio and Baloo from The Jungle Book, exemplify men who often shape the social dynamics and plot of the films, guiding viewers toward a happy ending. While later Disney father figures, like Mufasa from The Lion King, reinforced the image of an omnipotent, protective, and guiding father, Disney’s portrayals of fatherhood encompass a range of interpretations.

Disney fatherhood is tied to its time. The absoluteness and hierarchy of wartime masculinity are best seen in Bambi (1942), where Bambi’s father treats him like a general would a recruit. In the 1950s, the nuclear family and home take on special importance, defining the father’s role as the responsible breadwinner.

In Lady and the Tramp (1955), Tramp spends a romantic night with Lady but then leaves, raising disapproval over their premarital relationship. Ultimately, Tramp takes responsibility for his actions, is adopted into Lady’s family, and assumes a role as father and example to his pups. The sexual liberation of the 1960s pushed against previous conventions. In The Aristocats (1970), even a blended family is formed.

However, the freer fatherhood of the 1960s did not achieve the same foothold in storytelling, as newer Disney films have drawn from the wartime guiding father ideal and the postwar role of the father as head of the family.

VHS brought Disney into homes

The generational bond with Disney films was strengthened during the VHS era of the 1980s–1990s when films could be watched repeatedly at home. Disney’s commercially significant renaissance era is closely tied to the VHS format. As the movies could be marketed as classics on videotapes, many films achieved iconic status, visible today in the growing popularity of remakes.

“The legacy of VHS culture is also seen in how remakes of animated films are expected to resonate with contemporary viewers. Beloved stories are revisited because people have become accustomed to watching them even regularly.”

Isojärvi’s research is the first of its kind to examine Disney fatherhood so broadly from a cultural-historical perspective. It provides an in-depth look at how Disney has constructed various portrayals of men and how these images have influenced perceptions of masculinity across different eras. At the same time, it brings new discussions to the study of popular film and emphasizes that these are cultural stories that impart moral and social values to generations.

“Disney films not only entertain but shape perceptions of family relationships and gender roles. It’s just as important to study portrayals of masculinity and fatherhood as those of female characters, as all of these are essential to the appeal and societal impact of Disney stories,” Isojärvi summarizes.

The company itself also appears aware of the modern expectations placed on entertainment. Disney animation films of the 2020s are already more diverse and modern in values. They do not emphasize fatherhood in the same way as before and instead present a broader range of experiences of womanhood, girlhood, and motherhood.

The dissertation became a fan project

Aino Isojärvi’s interest in Disney animation began with her master’s thesis. “I was complaining to my mother that I couldn’t think of a topic for my thesis. She pointed out that I had spent years collecting animated films, hoarding animation books, and watching documentaries about animated movies. She suggested, ‘Why not write your thesis on animation?'”

Isojärvi’s personal favorite has always been 101 Dalmatians (1961). In her view, it’s almost anarchistic within the Disney world: modern and flamboyant. The film features a couple whose roles do not conform to the male and female roles typically depicted in 1950s American media culture. Roger lacks career-driven ambition doesn’t leave home to work and finds fulfillment in fleeting bursts of creativity. His future wife Anita is shown reading and writing, not as a domestic caretaker. The couple doesn’t have children—this is never even hinted at; instead, they end up with over a hundred dogs.

The film’s villain, Cruella de Vil, is a uniquely empowering figure. According to Isojärvi, the film’s line work has an appealingly sketch-like, non-hierarchical quality, and the whole creation is topped off with effervescent jazz.

“In a certain way, my dissertation could even be seen as a long-term fan project driven by curiosity, which is a common pitfall for Disney researchers.”

Aino Isojärvi is believed to have one of the largest 101 Dalmatians memorabilia collections in Finland.