Much has been made of Moana as a different kind of Disney princess. This essay suggests that Chief Tui is a different kind of Disney father. While Chief Tui exhibits misogynist behavior through the majority of Disney’s Moana, he learns at the film’s conclusion to “make way” for Moana’s skillful sea voyaging leadership. Philosopher Kate Manne’s account of the “logic of misogyny” supplies criteria for moral judgment of Chief Tui’s early misogynist behavior and later conversion to a profeminist masculinity. The essay proposes aspects of a profeminist ethic of making way and explores connections between gender and other social forces of oppression in Moana. It highlights the profeminist ethical imperative and political opportunity that Chief Tui represents where powerful men learn to make way for feminist women.
AlexeyeffKalissaMcDonnellSiobhan. 2018. “Whose Paradise? Encounter, Exchange, and Exploitation.” The Contemporary Pacific30 (2): 269–94.
2.
AnjirbagMichelle Anya. 2018. “Mulan and Moana: Embedded Coloniality and the Search for Authenticity in Disney Animated Film.” Social Sciences7 (11): 1–15.
3.
ArmstrongRobin. 2018. “Time to Face the Music: Musical Colonization and Appropriation in Disney’s Moana.” Social Sciences7 (7): 1–9.
4.
AzmiN. J.RashidRadzuwan AbRahmanMairas AbdSafawatiBasirah Z.2016. “Gender and Speech in a Disney Princess Movie.” International Journal of Applied Linguistics and English Literature5 (6): 235–9.
5.
BenhamouEve. 2014. “From the Advent of Multiculturalism to the Elision of Race: The Representation of Race Relations in Disney Animated Features (1995–2009).” Exchanges: The Interdisciplinary Research Journal2 (1): 153–67.
CheuJohnson, ed. 2013. Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability. Jefferson, North Carolina: McFarland & Company.
CoyneSarah M.WhiteheadEmily. 2008. “Indirect Aggression in Animated Disney Films.” Journal of Communication58 (2): 382–95.
15.
CoyneSarah M.LinderJennifer RuhRasmussenEric E.NelsonDavid A.BirkbeckVictoria. 2016. “Pretty as a Princess: Longitudinal Effects of Engagement with Disney Princesses on Gender Stereotypes, Body Esteem, and Prosocial Behavior in Children.” Child Development87 (6): 1909–25.
16.
DavisAmy M.2006. Good Girls and Wicked Witches: Women in Disney’s Feature Animation. Eastleigh, UK: John Libbey Publishing.
17.
———. 2014. Handsome Heroes and Vile Villains: Men in Disney’s Feature Animation. Bloomington, IN: Indiana University Press.
EaglyAlice H.WoodWendy. 2013. “Feminism and Evolutionary Psychology: Moving Forward.” Sex Roles69 (9): 549–56.
22.
EisenDaniel B.YamashitaLiann. 2019. “Borrowing from Femininity: The Caring Man, Hybrid Masculinities, and Maintaining Male Dominance.” Men and Masculinities22 (5): 801–20.
23.
EnglandDawn ElizabethDescartesLaraCollier-MeekMelissa A.2011. “Gender Role Portrayal and the Disney Princesses.” Sex Roles64 (7): 555–67.
24.
FeaseyRebecca. 2017. “Mascilini(ties) and the Male Celebrity Feminist.” Men and Masculinities20 (3): 283–93.
FraslBeatrice. 2018. “Bright Young Women, Sick of Swimmin’, Ready to…Consume? The Construction of Postfeminist Femininity in Disney’s The Little Mermaid.” European Journal of Women’s Studies25 (3): 341–54.
27.
FraustinoLisa Rowe. 2015. “‘Nearly Everybody Gets Twitterpated’: The Disney Version of Mothering.” Children’s Literature in Education46 (2): 127–44.
28.
GillRosalind. 2016. “Post-postfeminism? New Feminist Visibilities in Postfeminist Times.” Feminist Media Studies16 (4): 610–30.
29.
Goldrick-JonesAmanda. 2001. “Pessimism, Paralysis, and Possibility: Crisis-points in Profeminism.” The Journal of Men’s Studies9 (3): 323–39.
30.
GriffinMartynHardingNancyLearmonthMark. 2017. “Whistle While You Work? Disney Animation, Organizational Readiness and Gendered Subjugation.” Organization Studies38 (7): 869–94.
31.
HalberstamJack. 2011. The Queer Art of Failure. Durham, NC: Duke University Press.
32.
HearnJeff. 2014. “On Men, Organizations and Intersectionality: Personal, Working, Political and Theoretical Reflections (or How Organization Studies Met Profeminism).” Equality, Diversity and Inclusion: An International Journal33 (5): 414–28.
33.
________. 2019. “So What Has Been, Is, and Might Be Going on in Studying Men and Masculinities? Some Continuities and Discontinuities.” Men and Masculinities22 (1): 53–63.
HineBenjaminEnglandDawnLopreoreKatieHorganElizabeth SkoraHartwellLisa. 2018. “The Rise of the Androgynous Princess: Examining Representations of Gender in Prince and Princess Characters of Disney Movies Released 2009–2016.” Social Sciences7 (12): 1–23.
36.
HolcombJeanneLathamKenzieFernandez-BacaDaniel. 2015. “Who Cares for the Kids? Caregiving and Parenting in Disney Films.” Journal of Family Issues36 (14): 1957–81.
37.
HufferElise. 2008. “Women and Navigation: Does the Exception Confirm the Rule?” International Journal of Maritime History20 (2): 265–84.
38.
HylandNicola. 2020. “‘I Am Not a Princess’: Navigating Mana Wahine in Disney’s Moana.” Performance Paradigm15: 7–22.
Juarez-PazAnna V. OrtizKallisRhiannonXuYiwei. 2016. “Evolution of the Disney Princess: From Damsel in Distress to Damsel of Distress.” Journal of Communications Media Studies8 (1): 54–71.
KimmelMichael S.1997. “From Conscience and Common Sense to ‘Feminism for Men’: Pro-feminism Men’s Rhetoric of Support for Women’s Equality.” The International Journal of Sociology and Social Policy17 (1): 8–34.
45.
LeaderCaroline Ferris. 2018. “Magical Manes and Untamable Tresses: (En)Coding Computer-animated Hair for the Post-feminist Disney Princess.” Feminist Media Studies18 (6): 1086–01.
46.
LeslieCarolyn. 2017. “Island Idols: Custom, Courage, and Culture in Disney’s Moana.” Screen Education (86): 19–27.
47.
LewisDavid. 1994. We, the Navigators: The Ancient Art of Landfinding in the Pacific. Honolulu: University of Hawaii Press.
48.
The Little Mermaid. 1989. Film. Directed by Ron Clements and John Musker. USA: Walt Disney Pictures.
49.
MacalusoMichael. 2016. “The Postfeminist Princess: Public Discourse and Disney’s Curricular Guide to Feminism.” In Disney, Culture, and Curriculum, edited by SandlinJenniferGarlenJulie C., 52–7. New York: Routledge.
50.
———. 2018. “Postfeminist Masculinity: The New Disney Norm?” Social Sciences7 (11): 1–10.
51.
ManneKate. 2017. Down Girl: The Logic of Misogyny. New York: Oxford University Press.
52.
McRobbieAngela. 2004. “Post-feminism and Popular Culture.” Feminist Media Studies4 (3): 255–64.
53.
MehtaClaire Marie. 2015. “Gender in Context: Considering Variability in Wood and Eagly’s Traditions of Gender Identity.” Sex Roles73 (11–12): 490–6.
Moana. 2016. Film. Directed by Ron Clements and John Musker. USA: Walt Disney Pictures.
56.
RumensNick. 2017. “Postfeminism, Men, Masculinities and Work: A Research Agenda for Gender and Organization Studies Scholars.” Gender, Work & Organization24 (3): 245–59.
57.
SandlinJennifer A.MaudlinJulie Garlen. 2017. “Disney’s Pedagogies of Pleasure and the Eternal Recurrence of Whiteness.” Journal of Consumer Culture17 (2): 397–412.
58.
SeyboldSamantha L. 2020. “‘It’s Called a Hustle, Sweetheart’: Zootopia, Moana, and Disney’s (Dis) Empowered Postfeminist Heroines.” International Journal of Politics, Culture, and Society, January 3, 2020. https://doi.org/10.1007/s10767-019-09347-2
59.
ShieldsStephanie A.2013. “Gender and Emotion: What We Think We Know, What We Need to Know, and Why It Matters.” Psychology of Women Quarterly37 (4): 423–35.
60.
SignorielliNancy. 2011. “Television’s Gender-role Images and Contribution to Stereotyping: Past, Present, and Future.” In Handbook of Children and the Media, edited by SingerDorothy G.SingerJerome L., 2nd ed, 321–40. Los Angeles: SAGE Publications, Inc.
61.
SperbJason. 2012. Disney’s Most Notorious Film: Race, Convergence, and the Hidden Histories of Song of the South. Austin, TX: University of Texas Press.
62.
StreiffMadelineDundesLauren. 2017a. “From Shapeshifter to Lava Monster: Gender Stereotypes in Disney’s Moana.” Social Sciences6 (3): 1–12.
63.
———. 2017b. “Frozen in Time: How Disney Gender-stereotypes Its Most Powerful Princess.” Social Sciences6 (2): 1–10.
64.
StoverCassandra. 2013. “Damsels and Heroines: The Conundrum of the Post-feminist Disney Princess.” LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University2 (1): 1–10.
65.
TamairaA. Mārata KetekiriFonotiDionne. 2018. “Beyond Paradise? Retelling Pacific Stories in Disney’s Moana.” The Contemporary Pacific30 (2): 297–327.
66.
TamairaMārata KetekiriHerenikoVilsoniQolouvakiTagiUluwehi HopkinsJ.SteinerCandice Elanna. 2018. “Moana by Jared Bush (Review).” The Contemporary Pacific30 (1): 216–34.
WohlwendKaren E.2012. “‘Are You Guys Girls?’: Boys, Identity Texts, and Disney Princess Play.” Journal of Early Childhood Literacy12 (1): 3–23.
71.
WoodenShannon R.GillamKen. 2008. “Post-Princess Models of Gender: The New Man in Disney/Pixar.” Journal of Popular Film and Television36 (1): 2–8.
72.
WoodenShannon R.GillamKen. 2014. Pixar’s Boy Stories: Masculinity in a Postmodern Age. Lanham, MD: Rowman & Littlefield.
73.
YoshinagaIda. 2019. “Disney’s Moana, the Colonial Screenplay, and Indigenous Labor Extraction in Hollywood Fantasy Films.” Narrative Culture6 (2): 188–215.
Supplementary Material
Please find the following supplemental material available below.
For Open Access articles published under a Creative Commons License, all supplemental material carries the same license as the article it is associated with.
For non-Open Access articles published, all supplemental material carries a non-exclusive license, and permission requests for re-use of supplemental material or any part of supplemental material shall be sent directly to the copyright owner as specified in the copyright notice associated with the article.
