"I might be a duck, but I'm human" : an analysis of clothing in Disney cartoons

Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. I was able to identify five themes that played a large part in what kind of clothing a character wore; first, the character's gender and/or sexuality; second, what species or "race" the character was; third, the character's socio-economic status; fourth, the degree to which the character was anthropomorphized; and, fifth, the context in which the character and its clothing appeared in a particular scene or narrative. I concluded that all of these factors played a part in determining, to some extent, the clothing worn by particular characters at particular times. However, certain patterns emerged from the analysis that could not be explained by these factors alone or in combination. Therefore, my analysis also investigates the individual and collective attitudes and desires of the men in the Disney studio who were responsible for creating these characters and the cultural conditions under which they were created. Drawing on literature from the psychoanalytic approach to film studies, I argue that the clothing choices spoke to an idealized fantasy world to which the animators (most importantly, Walt Disney himself), and possibly wider society, wanted to return.

The Good, the Bad, and the Ugly: Critical Media Literacy and Disney Female Characters

The purpose of this research project was to use a qualitative approach to explore Critical Media Literacy (CML) with young girls by collaboratively analyzing Disney animated films. My goal was to provide a safe and encouraging space for children to share their perspectives and opinions of Disney animated female characters featured in The Little Mermaid (Ashman, Musker, & Clements, 1989), Cinderella (Disney, Geronimi, Jackson, & Luske, 1950), and The Princess and the Frog (Del Vecho, Clements, & Musker, 2009). I used CML as my theoretical framework as it provided an inquisitive approach to watching films, which, in turn, encouraged the participants to use critical thinking pertaining to the images of female characters in Disney. I also incorporated feminist theory as the majority of discussion revolved around the physical appearance of female characters as well as the participants’ understandings of femininity. I conducted two focus groups with 4 young girls, aged 7 to 11, to gain insight into their understanding of Disney female characters. An inquisitive and collaborative approach to watching films revealed three themes: (a) powerful women in Disney are mean and ugly; (b) heterosexual relationships are paramount; and (c) Disney Princesses are always pretty and nice. I concluded by recommending the importance of CML and collaborative film-watching with young children as the simplicity of asking questions encourages young people to become aware of, challenge, and think critically about the media they are consuming.

Cupolo's Sporting Goods Trophy

Coach Les Korchok presents Walt Szpilewski, the men's basketball Badgers' most valuable player, with the Cupolo's Sporting Goods Trophy.

British Methodist Episcopal Church Tithing Ticket, 1874

A quarterly tithing ticket from the British Methodist Episcopal Church, signed by Walter Hawkins, Minister, issued on August 16, 1874. This ticket was in the possession of the Richard Bell Family of St. Catharines.Minister Walter Hawkins was Superintendent of the Conference for the British Methodist Episcopal Church (Brant Co.) This excerpt from the Dictionary of Canadian Biography Online describes his role in reestablishing the BMEC in Canada following a period of reunion with the African Methodist Episcopal Church, an initiative spearheaded by Richard Randolph Disney, a free-born black American Methodist preacher. "By the end of the 1870s the BMEC had 56 congregations with about 3,100 members, the bulk of the latter being in the Danish West Indies and British Guiana. Because mission work outside Canada had overtaxed the church's financial resources, in 1880 Disney began negotiations towards reunion with the AMEC. The reunion was effected that year, and it was overwhelmingly ratified at a BMEC convention held at Hamilton in June 1881. A referendum showed that although a majority in Ontario was opposed, 86 per cent of the membership was in favour. Disney was accepted as an AMEC bishop and was assigned to its Tenth Episcopal District, a region embracing his former territory as well as some of the AMEC churches in Canada which had not joined the BMEC. Reunification appeared to have been a triumph for Disney, but trouble soon occurred. A majority of the Ontario churches and preachers, led by the Reverend Walter Hawkins of Chatham, sought to re-establish the BMEC, fearing the loss of their distinctive identity and perhaps feeling that the Caribbean groups had exercised too much influence on the reunification question. In 1886 this group held an ecclesiastical council at Chatham, at which it was claimed that Disney had defected to the AMEC. At a subsequent general conference that year the BMEC was reconstituted. The conference deposed Disney, agreeing to "erase his name and ignore his authority, and cancel his official relationship as bishop." The conference minutes also refer to a court case instigated by Disney which reached the High Court of Chancery in Britain, but records of this case have not been located. The reconstituted BMEC elected Hawkins as its general superintendent, avoiding the title of bishop for several years." Source: Dictionary of Canadian Biography Online. Government of Canada.

2nd Annual CIBPA Awards for Excellence, 2002

A certificate award from the Canadian Italian Business and Professional Association of Niagara. Mr. Ziraldo is presented with the Business Excellence award on October 26, 2002. The certificate is signed by Walt Lastewka, M.P. Caucus Advocate for SME's.