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FEDERAL STATE AUTONOMOUS EDUCATIONAL INSTITUTION

FOR HIGHER PROFESSIONAL EDUCATION

NATIONAL RESEARCH UNIVERSITY HIGHER SCHOOL OF ECONOMICS

St. Petersburg School of Social Sciences and Area Studies

BACHELOR'S PROJECT

Modernization of archetypal female images: dynamics of gender characters in cartoons released in 2000-2020

Field of study: 39.03.01 Sociology

Irina Sergeevna Selivanova

Supervisor:

Doctor of Social Sciences, Professor

Rozhdestvenskaya E.Y.

Saint Petersburg 2020

Table of contents

• Introduction
• Literature review
• Gender
• Gender stereotype in cartoons
• The influence of the cartoons' characters' physical appearance on the viewer's own body perception
• The influence of cartoons on children's behavior model
• Dynamics of gender characters in the work of previous researchers
• Key findings
• Research Program
• Data and methods
• Justification of time specificity of the sample
• Justification of specificity of selection of empirical material
• Sample type
• Criterion for selecting empirical material
• Data analysis
• Gender dynamics analysis
• Cartoons produced between 2000 and 2006
• W.I.T.C.H.
• Winx Club
• Totally Spies
• Comparison of cartoon heroines within the period 2000-2006
• Cartoons produced between 2007 and 2014
• Monster High
• My Little Pony: Friendship Is Magic
• Comparison of cartoon heroines within the period 2007-2010
• Cartoons produced between 2015 and 2020
• Miraculous: Tales of Ladybug & Cat Noir
• Star vs. the Forces of Evil
• Comparison of cartoon heroines within the period 2015-2020
• Overall findings based on the analysis of cartoons from 2000 to 2020
• Conclusion
• Discussion
• References

Introduction

In recent years researchers have become increasingly interested in influence of cartoons on children's perception of themselves and their assimilation of gender roles and behavior patterns (Lee & Choi, 2018, Wiedeman, Black, Dolle & Coker, 2015). A few studies have highlighted the reasons why children tend to use some characters as role model (Peruta 2017, Figen Akзa & Nuray Koз Зilekзiler 2019). But the majority of studies have concentrated on the tremendous changes that have occurred in the representation of characters of female gender. They focus on the fact that cartoons stop depicting female characters as stereotypical archetypal images, where women are weak, soft and gentle, and a fundamentally new female image arises (Thompson & Zerbinos, 1995, England, Descartes & Collier-Meek, 2011, Sб and Tavares, 2017, Lacroix, 2004). Studying this issue is very important, because children tend to adopt patterns of behavior from cartoon characters. And fundamental changes in the images of female characters can lead to the adoption of new gender practices and patterns of behavior.

Each of these previous studies, however, has researched only a part of this complex issue. First, prior studies have not noted enough attention to the analysis of cartoon series, while they form an important part of the media culture and can affect children even more than full-length cartoons. Second, all these studies are not contemporary enough and cannot fully reflect the picture of reality. In recent years, many new cartoons have been released, which have not yet been studied, as well as old cartoons have undergone significant changes. Third, previous studies have highlighted significant changes in the images of female heroines and the transition from classic fairytale princesses who are in need of salvation and want to marry a prince, to new princesses, more independent and with an expanded horizon of opportunities and desires. However, in cartoons produced over the past 20 years, the dynamics may not be as impressive. Female characters have already undergone tremendous changes since 1980 and are now changing less rapidly and the dynamics may not be as noticeable. However, it does exist and needs to be studied.

The purpose of the present paper is to study the dynamic of the image of women in cartoons produced between 2000 and 2020. Specifically, the study will examine: a) changes in the visual image of female characters b) changes in the agency for female characters c) modifications of female characters compared to archetypical images of female heroines.

Content analysis and narrative analysis are planned to be used as the main method of analysis, as these methods are the most relevant for the analysis of such empirical material as cartoons. The cartoons for the analysis will be collected using the theoretical sampling method (Auerbach, Silverstein, 2003). In other words, the number of cartoons in the sample will change to the number needed to fully answer the research question.

The object of research in the study are female cartoon characters, the subject of the study are changes in representation of gender characters in cartoons over time.

Literature review

Literature review will be divided into several sections. First of all, as my research covers the dynamics of gender characters, it is necessary to consider the basic sociological theories about gender and the ways of constructing and assimilating gender roles.

The next step is to examine the basic gender stereotypes that are presented in cartoons. We discuss which of them are most common and how they can affect the socialization and assimilation of gender roles.

Separately, we will examine the impact of visual images of heroines on girls' assessment of their appearance and how satisfied they are with their bodies. And also, we will look at the influence of cartoons on children's behavior model.

The last step is to examine the work of researchers who also analyzed the dynamics of gender images of cartoons' characters.

Gender

When we talk about gender, it is important to remember that it is a sociological term that has been introduced by researchers. The term gender is not the same as the term sex. Sex is a set of physiological traits that define a person as male or female. Gender, on the other hand, is a set of requirements and expectations that exist in society.

Sex is something that exists regardless of social norms, but gender implies certain interactions between people. Gender is constructed in the process of these interactions.

For example, in Marx's classical theory of sociology (The German Ideology, 1932), gender arises in the process of industrial relations. Marx believed that the division of labor between men and women is necessary and justified by the difference in physical and psychological characteristics of men and women. In other words, a woman is positioned as an actor who is unable to perform certain tasks due to her biological characteristics.

Durkheim (1996) also believed that the division of labour is necessary for the existence and development of society. Moreover, he emphasized in his work that in the process of human development, the natural differences between the sexes made women more emotionally aware and men more intellectually aware.

Parsons (1942) also considered this idea in his work, suggesting that the roles of women and men in the social system of interaction were strictly distributed and enshrined. Parsons defined an expressive role for women and an instrumental role for men. In other words, Parsons limited the role of women to the housekeeper, who maintains an atmosphere of comfort in the house, taking care of the emotional and psychological state of the husband and children. The men's functionality in his system includes the roles of a protector and a breadwinner.

According to Parsons' model (1955), the right gender role models are learned through socialization. Matching gender expectations is encouraged by society, and non-compliance leads to various sanctions.

Another important paradigm in gender sociology was Goffman's theory (1977), which suggested that gender relations are built in the process of social interaction rather than in the production process. Goffman believed that in situations of interaction, men and women perform a number of specific actions or rituals that are a natural expression of their male or female nature. To describe these ritualized actions, Goffman introduced the term "gender display". He believed that the gender display was an expression of inner essence of men and women.

West and Zimmerman (1987), however, believe that the distribution of gender roles is not determined by biological traits. More accurately, certain roles and practices are assigned to specific genders in the process of social interaction. In other words, based on their theory, gender is a set of practices and relationships prescribed by a particular sex, rather than being the natural manifestations of the essence of the sex.

If we sum up all of the above, we can see that gender is an artificially formed concept, necessary for the regulation of social relations. By limiting people to the concept of gender, certain role models and rules of behavior can be imposed on them, both in the framework of labour relations, social interaction, or family relations. Such limitation and distribution of gender practices is called the gender contract.

Through the concept of gender contract, biological sexes are assigned a number of roles, expectations and requirements that concern their appearance, their feelings and desires, their role in society. For example, women are assigned to the practices of caring for children and family, caring for themselves and striving for attractiveness. Female gender is posed as more emotional and less prone to rational thinking.

Gender also determines how men and women have to be realized in society in order to be considered successful and gain public approval. For example, in order to meet gender expectations, men must realize themselves in the role of defender and breadwinner. Female gender realization is going through external attractiveness and possibility to attracting the attention of the opposite sex. Achievements in science, sports or careers for female gender are not so important if the woman does not successful in building romantic relationships.

Gender roles and expectations are learned in the socialization process through various socialization agents such as family, peers, and media characters.

Proper assimilation and reproduction of gender roles is encouraged, and wrong assimilation leads to social sanctions. Giddens wrote about this in his theory of structuration (1984).

Gender stereotype in cartoons

After clarifying the meaning of the term "gender", learning how gender is constructed and how gender roles are distributed in society and how the gender contracts regulate interactions between people, we can now begin to analyze how gender stereotypical role models are portrayed in cartoons.

Karniol (2000) states that gender stereotypes, like other examples of behavioral practices, serve as scripts that children learn to implement in situations where they need to behave in accordance with their gender. However, gender behavior scripts are very different from all other scripts because they include not only prescriptions for how to behave in a particular situation, but also an understanding of whom the person is and his/her role and place in life. Gender stereotypes serve to understand the world in terms of the gender dichotomy that a child needs for a full life in society.

Similarly, to Karniol, Gцkзearslan (2010) claimed that despite the fact that most cartoons primarily carries an educational aspect and helps children develop and integrate into society, there are some serious negative points. In particular, it concerns the assimilation of gender stereotypes. Small children, according to Gцkзearslan, are not yet able to distinguish fiction from reality, as well as acceptable and healthy behavior from behavior, exaggerated to achieve greater effect in the cartoon. Children perceive cartoon characters who behave in accordance with the stereotypes existing in society as full examples to follow, just like their mothers, grandmothers, or peers, which can lead to the adoption of the wrong behavioral scenarios.

According to this studies, strong correlation exists between children's favorite cartoon and their chosen model of behavior. However, it would be wrong to reason about influence of gender stereotype from cartoons without specifying what exactly stereotypes represent in cartoons.

Stereotypes about gender role in cartoons formed the central focus of a study by Kassay (2018) in which the author found that traditionally, in cartoons for girls, the main characters are the bride or princess, who gets into trouble and waits to be saved by the prince. Also, the main female heroine is always incredibly beautiful, the author uses as example Barbie, as well as Rapunzel (Disney), which have very beautiful long hair and slender figures. Girls who watch such cartoons try to imitate their favorite heroines, wear crowns, beautiful dresses and wigs, but since not all girls can meet the standards of beauty Barbie or Rapunzel, it leads to the fact that plump girls are offended and teased by others.

In the same vein, Azmi (2016) notes that women in cartoons are portrayed as gentle, dependent, and softhearted, while men are strong, brave, and independent. She also mentions that women usually speak less than men, and their voices are quieter and gentler, and they use fewer verbs in their speech. This view is supported by Hentges & Case (2013) who write that in children's shows and cartoons, men are more likely to be portrayed as protagonists, they can demonstrate physical superiority and aggression, and they are more likely to show analytical skills, such as ability to plan actions, while women are portrayed with a strong romantic interest, and they are often concerned about their appearance.

Similarly, Gutekunst (2016) reported that gender stereotypes about women represent them as those who only acquire their value when meet by male characters. As the romantic friend of the protagonist, his loving mother or the villain who opposes the protagonist. Such a narrow set of roles almost does not leave girls with a choice of examples to follow. The author emphasizes that the requirements for female characters are very high: they must be young and attractive on the outside, as well as kind and flexible.

The influence of the cartoons' characters' physical appearance on the viewer's own body perception

From the researchers' work it becomes clear that girls who watch cartoons, trying to copy not only stereotypical gender role models and patterns of behavior, but also the appearance of female characters. They put on long dresses and crowns. However, girls who are too fat or too thin to look like princesses, are criticized.

The impossibility to meet the standards that are broadcast through media, in the case of children - through cartoons - can lead to various negative consequences.

Harrison and Cantor (1997), for example, focus on gender stereotypes and their connection with wide spreading of eating disorders among young women. He has found that women who suffer from low self-esteem tend to lose weight in order to comply with the thin-ideal from movies and cartoons.

Thompson (2014) reported negative influence of social and mass media on people especially on women and young girls. He points out two main factors that leads to distorted perception of person's own body. First of them is "a generic media influence related to… movies"; second is “internalization of athletic and sports figures". Similarly, Tiggemann (2017) found that for women who look at images of beautiful and slim athletic figures noted decreasing of satisfaction and increasing of negative mood.

Likewise, Groesz and Levine (2012) holds the view that women who look at images of thin women's bodies become much more dissatisfied with their own body than others. They also propose that the effect is stronger for young people under the age of 19.

The influence of cartoons on children's behavior model

Lee & Choi (2018) believe that the media have a tremendous impact on children by forming their worldview and understanding of social roles, values, and ideals. In other words, media somehow help them to socialize. It becomes possible, because young children, with a flexible mind and no established norms and values, inclined to be influenced by external factors and to adopt the views, judgments, and norms of behavior that they see in the media.

Similarly, to Lee & Choi, Wiedeman, Black, Dolle & Coker (2015) found that people, being in the society and getting different kinds of experience of interaction with surrounding people and environment, form some scripts and knowledge structures. These scripts help people structure information about how to behave in a particular situation. For example, a dating script may contain information on how to communicate with people of the opposite sex or buy a ticket to a movie theater. However, because children cannot have much experience of interacting with people and the world around them, they learn these scripts through the experiences of others. For example, it could be their parents or older siblings (it is important that they are of the same gender as children tend to identify only with those of their gender). And since today children spend a lot of time watching cartoons, these role models could also be cartoon characters.

In order to understand which cartoon characters children choose as a role model, it should be firstly noted that as Peruta (2017) claimed in his research, the main criterion for imitating a character's behavior is whether the child can associate himself/herself with he or she or not. In other words, whether the child can say that the character is the same as him or her. This sameness may relate to the character's gender, age, and appearance, including skin and hair color. And if the child thinks that he or she is like the character, then he or she is very likely to apply in life scripts of actions that this character implements. If the child does not think that the character is similar to himself or herself, for example, if the character is a girl and the child is a boy, or if the color of skin of the character is different from the color of the child's skin, he or she is less likely to choose such a character as a role model.

And secondly it should be clarified which features (external or internal) make the character desirable to follow as a role model. Figen Akзa & Nuray Koз Зilekзiler (2019) state: `in the content analysis conducted about which characters children want to be, five themes gained importance: ability (n = 10), physical features (n = 12), interest, personal characteristics (n = 5), and expectations (n = 5)'. From this statement it becomes obvious that children tend to follow characters, which are admirable for them. For girls, the most popular characters were Elsa (Frozen), who is beautiful, strong and have ability to froze everything she wants. And it has no matter that she almost kills her sister (by accidentally) and froze all her kingdom. What is also interesting in this study, is that children do not want to be like some character, if he or she is not pretty and strong enough, even if such character has some positive characteristics. For example, most girl tend to choose Bloom from Winx Club, despite the fact that this cartoon presents five other female characters, who are also beautiful and kind, but not as strong as she.

Dynamics of gender characters in the work of previous researchers

As the last section of my literary review, I want to review the authors who focused on the changes that have occurred with the classic cartoon plots and changes that have undergone stereotypical images of characters.

One of the first changes that occurred in the representation of female images in cartoons is described in the work of Perea (2015). The author claimed that these changes were due to purely economic reasons. Whereas previously cartoons for girls were created only to sell dolls, which looked like the main characters in cartoons, after 1991, the situation changed. Sales of dolls decreased, and creating cartoons was too expensive to create them only for a large female audience, then it was accepted to create cartoons for girls, which would also be interesting to boys. This was the reason for the emergence of completely new images of women in cartoons.

Thompson & Zerbinos (1995) found that the representation of female characters has changed significantly since 1980. The number of women in cartoons increase (but still less than men), they are depicted as more independent, competent, confident. Stereotypical characteristics such as sensitivity, tenderness, softness and tenderness began to occur a little less frequently than in cartoons before 1980.

England, Descartes & Collier-Meek (2011) conducted a comparative analysis of Disney princesses from three different eras (early Disney cartoons, such as Snow White and Sleeping Beauty, middle cartoons - Pocahontas and Mulan, and modern cartoons - Princess and Frog). They found that the middle cartoons and modern cartoons female characters are statistically the same as male characters on the signs of femininity and masculinity. However, in terms of active and passive actions, there is still a significant difference between male and female characters.

Likewise, Sб and Tavares (2017) holds the view that despite the fact that women's images in cartoons remain stereotypical, they are undergoing a huge change. On the example of cartoons such as Adventure Time and the Steven Universe, they show how much the female images have changed. In these cartoons it is possible to observe different types of female figures, ranging from fat and absurd to skinny, and the heroines have different voices (sometimes rough and vulgar), they occupy a variety of professions (including military) and do not always have romantic lines.

Key findings

After studying the most significant works of sociologists, we can draw some general conclusions:

· Gender is an artificially created concept, which, however, creates a number of rules and regulations governing human behavior.

· Acquisition of gender roles takes place in the process of socialization. The agents of socialization can be parents, peers, school, and the mass media.

· The correct assimilation of gender roles is encouraged, and the incorrect assimilation and reproduction of gender roles is sanctioned.

· Cartoons, as an agent of socialization, are a source of role models for children.

· Children tend to copy the behavior patterns of characters that are similar to them. Girls reproduce the role models of female characters, and boys reproduce the role models of male characters.

· Children tend to imitate characters, which they find beautiful or handsome.

· At the same time, children can compare their body and appearance of the characters and feel dissatisfied with their own bodies.

· Children do not know how to separate fantasy from reality or exaggerated examples from reality, so they can copy stereotypical patterns of gender behavior.

· Gender stereotypes in cartoons are expressed through the representation of female characters weak, emotional, cute, quiet, unable to stand up for themselves and seeking a romantic relationship. Female characters are also portrayed as being perfectly beautiful.

· Researchers' work shows that since 1980 there have been significant changes in the images of female characters in cartoons. Female characters are given more rights and opportunities to choose their life trajectories. Classic Disney Princesses, who need rescue and want to get married, are replaced by new princesses. The new image of the female heroine includes features previously unique to male characters.

Now, after we have formed a theoretical basis, as well as analyzed what research was done and what results were obtained, we can begin the second part of my research work.

Research Program

The aim of the study: to identify changes in the representation of female cartoon characters between 2000 and 2020. To assess the dynamics of these changes and draw conclusions

Subject: changes in representation of gender characters in cartoons

Empirical object of research: female cartoon characters

Tasks of research:

1. Formulate a literature review covering the most significant aspects of the study of gender cartoon characters.

2. Identify changes in the images of female heroines through analysis of cartoon series released in 2000-2020.

3. Assess how the stereotypical images of women have changed.

4. Formulate the main trends in which the dynamics of gender characters occur

The study's suggestions:

1. Changes in female images between 2000 and 2020 may not be as significant and obvious, but they may concern deeper internal aspects of heroine characters.

2. The appearance of female heroines, however, will change significantly towards images of the female body most closely to really female body images

3. Aims and perspectives of female characters can change from finding a romantic partner to finding harmony with herself or finding a dream job.

Data and methods

Justification of time specificity of the sample

Since the purpose of my work is to study the dynamics of gender characters in cartoons produced from 2000 to 2020, I need to analyze the cartoons produced in different years of this period and see if there are similarities and differences in how they are positioned female heroines, what character traits they have, how the horizon of their values is depicted, and so on.

Although the time period of twenty years is not very long, if we look at it from a historical perspective, I will still break it down into three parts. This division is primarily due to the audience, which watched the cartoons in this period. Any cartoon is focused on a certain age audience and a certain gender of potential viewer. But since my work is already devoted to the study of women's characters, I immediately select cartoons that focus on the female half of the audience, and in the future I will not need to divide the cartoons into those that are designed for boys or girls.

However, if we go back to the age of potential viewers, it is important to note one thing. Certain narratives and types of characters are interesting to viewers only at a certain age (of course, there are exceptions, but in general it is). Therefore, if we take the relative boundary that the cartoons are interesting to girls aged seven to fourteen years, it becomes clear that the cartoons released between 2000 and 2006 may be interesting to children born in 1986-1992, while the cartoons released in 2009-2012 will no longer be interesting to that audience, as children at that time will be too adult, with new interests and needs.

It should also be noted that the socialization process is also completed by the age of twelve or fourteen. Because if children later than this age watching cartoons, they can already assess them critically, considering the formed views and preferences.

Another important fact is that within this small period of twenty years we have among viewers three generations of children who have fundamentally different cultural and historical background due to the time and circumstances in which they were born, brought up and grew up. This can also affect what kind of cartoons children could give preference and what heroes to choose as an example to follow.

That is why all the cartoons I have chosen for my analysis will be considered within these three time periods: the cartoons produced between 2000 and 2008; between 2009 and 2014; between 2015 and 2020. I am going to analyse each cartoon separately, highlighting its features, comparing cartoons within the same time group and noting similarities and differences, and finally comparing cartoons between time groups to assess the dynamics of gender characters, which is my main objective.

Justification of specificity of selection of empirical material

It is important to clarify that in my sample I wanted to focus not on full-length cartoons, but on cartoon series. There are several reasons for that.

The main reason is that the cartoons were shown in cinemas, entrance to which was not free, sold on disks (but not all had a disc player) or broadcast on television, but only on a certain day at a particular time, so that only a certain part of the audience could watch them. The cartoon series were broadcast free of charge on central television every weekday at a time convenient for children (usually early in the morning, before school starts and, in the afternoon, when students returned from class).

Another reason is that since cartoon series have a longer time span than full-length cartoons, they are more often concentrated around more everyday storylines. For example, such as communication with friends, communication with people of the opposite sex, interaction with older and younger relatives within the family, interaction with peers and teachers in school. This makes it possible to conduct almost anthropological research and observe the characters in their natural environment. Full-length cartoons most often do not provide such an opportunity, as the time of action in them is limited, because events are developing rapidly and most often drive the hero of the story out of his familiar realities.

Also, in the cartoon series we often have characters that are closest to reality, they are not classic princesses in dresses and castles. Most often they are ordinary girls teenage, manner of dressing and behavioral habits that coincide with the behavior of real girls.

Sample type

The sample type in my case can be called theoretical. Since I select, analyze and draw conclusions on the data, based on the results already obtained and not having a clear idea of the number of necessary data. New data will be additionally collected together with the need to answer the questions raised when analyzing the primary data collected.

The initial sample is based on several key criteria, which I believe will help collect the information needed to answer my research question.

Also, due to the specifics of my sample, I need to be particularly careful and sensitive to base my theory on the data I received during the study, rather than pre-select cartoon series, which will confirm the already existing stereotypes about female heroines in cartoons and their dynamics.

Since I consider my main task as a full and versatile response to the research question, I need to carefully consider the formation of the primary sample, as well as the analysis of data, which may raise questions that require additional data collection.

Criterion for selecting empirical material

In view of the aforementioned, I have formulated several criteria for the selection of cartoon series: the first of them is the date of release. This criterion is obvious, because in my work I want to focus on a certain time period. This is due to the fact that I want to get actual results, and not to repeat the work of past researchers, and make a new contribution to the study of gender sociology on the example of cartoons.

The second criterion - is the orientation of the cartoon series for a female audience, in other words, cartoon series, the main protagonists are female characters. It is related to the special characteristics of the cartoon series, directed at different audiences. The formation of female characters and their dynamics in the animated series, directed at female and male audiences - are two fundamentally different things. And if I had not identified this criterion, my analysis could have been shifted and not meeting the objectives of the study.

Another criterion, which may also seem quite obvious, is the popularity of cartoon series. Of course, every year the animation studios produce a lot of cartoons and cartoon series of different genres and directions, and even if we limit the sample to a time frame, it still remains very large. However, not every cartoon has gained popularity and recognition of the audience, some were not broadcast on television and in cinemas, not translated into other languages, as they were not popular with most viewers. Study and analyze such cartoons would be a big mistake, as they would only show a narrow part of the overall picture and could not reflect the trends popular in society at that time. Therefore, it is better to focus on a smaller number of cartoons, which, however, would be a bright and relevant reflection of popular trends at that time, a kind of mainstream.

Popularity can be estimated through the rating IMDb, as well as the fact that the cartoon was translated into different languages and broadcast in many countries around the world.

From 50 cartoon series produced by different studios between 2000 and 2020, I selected 7 of those that met all my criteria described above. If necessary, this sample will be supplemented and adjusted during the data analysis.

Table 1

Title of the cartoon series	Years of broadcasting	IMDb	Number of main female protagonists
W.I.T.C.H.	2004-2006	7,1	5
Winx Club	2004-2019	5,9	5
Totally Spies	2001-2014	7,0	3
My Little Pony: Friendship Is Magic	2010-2019	7,6	6
Monster High	2010-2017	6,8	5
Miraculous: Tales of Ladybug & Cat Noir	2015-2020	7,8	1
Star vs. the Forces of Evil	2015-2019	8,0	1

Data analysis

The analysis of the collected material consisted of several stages:

First of all, it is a narrative analysis, which allows to assess the story component of the cartoon. In particular, plot trajectories of characters, classical and archetypical plot elements. This part of analysis will be done with the help of list of Propp's classical function of fairy tales' characters.

For the first stage, each cartoon series was viewed. However, if cartoon series included several seasons, only those that were part of the selected time periods were watched. This measure was taken due to the fact that many cartoon series, in particular Winx club, having a long broadcast time, more than a decade, managed to undergo huge changes within this period. This was due to public criticism, as well as to the new demands and needs of a new generation of children. Creators of cartoon series, wishing not to lose popularity, were forced to respond to changes in society by changing the appearance of characters, as well as changing horizons of their interests and goals.

This stage also includes an assessment of female characters' life trajectories and choices within given situations. A term such as agency in this stage of analysis may become the most important aspect. Since through broadening the horizons of potential choices for gender characters can be observed some dynamics. For example, the classic Grimm brothers' tale of Rapunzel implies a very limited set of choices for her as a character (sit in a tower, wait for rescue, marry a prince). While the new version of the Rapunzel tale, produced by the Disney studio, includes a much larger set of elections. There, the heroine can decide for herself with whom to build or not to build a relationship, what life trajectory to choose, where and in what to realize her talents. I want to explore this kind of dynamics as part of my project.

The second stage is the work with the visual component of the cartoon with the help of content-analysis. In this part I want to assess the external presentation of the characters and assess how the visual part corresponds to the ideological content.

It is important to note that the sample included cartoons in which the characters are dehumanized and presented in the form of animals (My Little Pony: Friendship Is Magic) or monsters (Monster High). It was possible not to include them, as it is impossible to analyze such characters by human standards. However, I believe that excluding such cartoons from the sample may be a serious mistake and lead to a shift in the results. The image of non-humanoid creatures as female cartoon characters may reflect a certain social need or be a certain trend. So, refusal to study such cartoons can adversely affect the quality of all work done.

The third stage is an assessment of the characters' personalities. I will carry out this evaluation through the classical female archetypes identified by Carl Jung and Jin Bolen, who continued and expanded his work.

The fourth stage is comparing the information obtained within the subsamples of particular time periods and identifying general trends. This step is necessary to check if the time periods I have chosen are really relevant for my research and include certain regularities.

The fifth step is to evaluate the dynamics by comparing trends for different time periods. At this stage I will be able to answer my research question and draw conclusions about the dynamics of female characters in cartoons.

cartoon female character gender

Gender dynamics analysis

Before proceeding to the analysis of the empirical part, a number of other aspects need to be clarified. First of all, how the functions of fairytale characters according to the classification of Propp can help to assess the dynamics of gender characters.

The functions of fairytale characters in the “Morphology of the folktale” by Propp (1958) include passive function, such as those that can be performed by a princess. Among these functions are getting married, getting bans or restrictions, waiting for rescue. There are also active functions that the hero performs, such as receiving magic artifacts, leaving the parental home, fighting and defeating evil.

Analyzing the actions of characters through these functions can help to assess whether the active or passive actor is the character.

Analyzing the actions of the heroines that are not include in narrative functions, such as their daily practices towards themselves and other characters can help to assess how cartoon series present gender norms and gender expectations of characters. Through an assessment of daily behavioral practices, distribution of power and responsibilities among characters, it is possible to assess how gender contracts between male and female cartoon characters are built and implemented. Gender norms can also be assessed through analyzing which practices are condemned for gender characters and which are encouraged.

Analysis of archetypical images of cartoon heroines is necessary in this work because archetypical images can affect children on a subconscious level. Mythological and archetypical images can influence on the level of mass consciousness. Through this the implementation and adoption of behavioral practices, gender norms and other values happens. Therefore, for a full and deeper analysis of gender cartoon characters it is necessary to take into account not only openly declared narrative functions, social actions and behavioral practices, but also a deeper impact through unconscious reading of archetypical images and their subsequent reproduction.

To analyze the archetypical images of heroines, I am going to use the classifications of Jung and his follower, Bolen. In Jung's classification we have four archetypical images - Princess, Huntress, Lover and Mother. For example, the Mother and the Lover are classic female archetype that include softness, tenderness, emotionality. However, the Mother is the type of wife and mother. The Lover type is more emancipated woman. She may have many romantic partners and have no family. However, she is still realized through relationships with men. The Huntress is a progressive type, which implies that a woman competes with a man. This type may include male character traits. Princess - the type that reflects a special origin, a certain elitism. However, at the same time, it implies an idealized view of the world and dependence on the opinion of others.

Each cartoon will be analyzed according to a scheme consisting of the following blocks:

• plot and narrative functions

• presentation of gender roles and gender relations

• stereotypes in the presentation of female characters

• archetypical images

Cartoons produced between 2000 and 2006

For this time period, I chose three cartoon series that matched all my sample requirements. This is a W.I.T.C.H. cartoon series. (2004-2006), rating IMDb - 7.1, cartoon series Winx Club (2004-2019), IMDb - 5.9, and also cartoon series Totally Spies (2001-2014), IMDb - 7.0. All of them have high ratings, were broadcast in many countries around the world, and their main audience are girls.

The rating of the cartoon series Winx Club is slightly different from the other two series, but there are several reasons for this. The first seasons of the series were successful with viewers, but after that the studio received a lot of criticism for the defiant appearance of the characters and the wrong values they promote. After that, the studio released new cartoon series seasons considering all comments from critics, but they became less successful with viewers, and the overall rating of the cartoon series fell.

W.I.T.C.H.

Plot and narrative functions

The animated series tells the story about girls aged 13-14 years. They live in a fictional American city, study at school, interact with parents, friends, classmates, experiencing various difficulties familiar to every teenager, and meet the first love. The fantastic component of the animated series is that the main characters have supernatural abilities, with which to protect the world from evil.

Let us look at the main functions of the characters. First of all, the heroines get special magical powers. After that they face evil, fight with evil and defeat evil and save the princess. The heroines of this animated series are active actors who perform the classic functions of the male characters. They do not behave passively, like the classic Disney princesses, but rather perform the role that previously belonged to the princes. This is an example of emancipated female behavior.

Presentation of gender roles and gender relations

However, it would be premature to mention changing roles or changing gender contracts. Since in the non-fantastic part of the cartoon series heroines perform a set of actions that are classic for the female gender display. Heroines choose fashionable clothes, often talk on the phone, the main topics of their discussion are romantic relationships. Since the heroines are too young to get married, they do not want to, but they want to find a romantic relationship, their experiences of romantic relationships are very vibrant and intense, they often discuss it, and the absence of a romantic relationship or a relationship with an inappropriate partner is a cause for disapproval by others.

In a romantic relationship, heroines play a passive role. They may have feelings, but hide them, waiting for the male characters to take the first step. Also, in a relationship, they are manifested as more vulnerable and emotional than their partners. They may be abandoned, but they do not break up first.

It is also important to note that for male characters, finding a romantic partner is not a desirable goal. They show initiative in the relationship, but do not seek them.

Female characters compared to male characters look like more spontaneous and emotional. Female characters can apologize and feel guilty, while with the male characters does not.

Also, female characters in the animated series have no ambitions or goals, except for those that include saving the world from evil. Heroines have no career ambitions and do not seek authority.

All characters endowed with power are men. For example, a teacher at school, a rebel leader, or a prince. Another example of inequality in the distribution of roles between male and female characters is an episode that shows how heroines come to the office. And the boss in the office is a man, while janitors and secretaries are women.

The only exception here is the headmaster, who is a woman. However, unlike the male characters with power, she is not portrayed as smart, strong, goal-oriented and talented. She is old, plump, funny and sometimes stupid woman, who is positioned more as a comic character.

Summarizing all of the above, we have a stereotypical view of women as weak, emotional, caring about their appearance and considering appearance the main value, wanting to get romantic relationships and taking a passive role in them, also holding lower positions than men.

That is, we can observe significant differences between the fantastic and not fantastic part of the animated series and in the representation of gender images in them.

Stereotypes in the presentation of female characters.

It is important to note that all the heroines are depicted without any obvious defects. They are all equally slender (characters with non-slender figures are not represented in this cartoon series at all, except for the elderly), have clean skin. As a defect, however, underlines the wearing of unfashionable clothes, glasses or braces.

The bodies of heroines are depicted proportionally, but not appropriate for adolescents of their age. As I wrote above, the main characters are positioned as secondary school students aged 13-14 years. Girls at this age usually still have non-perfect figures, very thin or fat. The series also emphasizes that the heroines have an adult type of figure. Moreover, the nude body is presented. During the magical transformation, which occurs in each series of the cartoon series, the heroines appear to the audience completely naked.

Archetypical images

Now we can turn to examining archetypal images by categories by Jung and Bolen.

· Will. The most suitable for this heroine is the archetype Huntress by Jung and the archetype Artemis by Bolen. Will is by nature a leader, she is impulsive and tends to show such masculine qualities as determination, courage and coolness. She tends to achieve her goals in different ways and win at any cost (for example, using magic in a swimming competition).

· Irma. This heroine can also be classified as a Huntress, as Jung has no closer archetype. She does not compete directly, but competes with men, for example in wit or sports. Among the classification Bolen most suitable archetype for her is Persephone, as in the cartoon she is often realized as a daughter through building a relationship with her father and brother.

· Taranee. This heroine can be classified as the archetype of the Princess by Jung. The opinion of others is very important for her. When she faces public disapproval of her appearance, she tries to change. Of the Bolen archetypes her type is Athena, as she realizes herself through her mind and likes to apply logic and knowledge to solve problems.

· Cornelia. This heroine is the closest to the original archetypes, as in it you can see the classic Jungian type of Lover. She is soft, gentle, feminine, prone to romantic relationships. Among the archetypes by Bolen the most appropriate type for her is Aphrodite.

· Hay Lin. This heroine is closest to the archetype of Princess by Jung and the archetype of Persephone by Bolen. As a creative character, she is highly dependent on the opinion of others, and her main opportunity for realization she sees in the family as a daughter and granddaughter. She works in a family restaurant and has very close relationships with her mother and grandmother.

The analysis of archetypical images, as I wrote above, is important for us as a reference to the female collective unconscious. Since the animated series presents a variety of characters, the analysis of their archetypes can serve as an opportunity to indicate the content of the intents that stand above the national and cultural features of female character. This allows us to make generalized sociological conclusions, despite the cultural and national differences between the characters and the audience.

Winx Club

Plot and narrative functions

In the cartoon series Winx Club there are five (in the next seasons 6 and 7) heroines. Their age at the beginning of the series - 16 years. Unlike the animated series W.I.T.C.H., the action here takes place in a completely fictional magical universe, where girls study at the school for fairies. Their goal is to fight witches and maintain a balance between good and evil.

Despite its fantastic component, the plot of the animated series includes the usual everyday problems close to any girl. These are difficulties at school, problems with friends and parents, the first romantic relationship.

Consider the basic functions of the characters. The heroine Bloom gets magic powers and leaves her parents' home to go to study at the magic school for fairies. After that, she meets other heroines. Together they fight evil witches and finally win them over.

Once again, we see that the female characters act as active actors in the plot. They do not wait for salvation; they save themselves and other characters from evil witches. This is also a significant example of emancipated female behavior.

Presentation of gender roles and gender relations

Once again, however, we are faced with significant differences in the behavior of the characters in their magical hypostasis of fairies and their normal lives as students, girlfriends, sisters and so on.

Despite the magical power and ability to realize their potential as heroes and gain reward, the heroines do not focus on it. They have no ambition and do not seek to win honor or respect through their achievements, as male characters usually do.

Much more they are concerned with the issue of external appeal. They often change clothes and discuss how fashionable and attractive they are for people of the opposite sex. Also, the choice and purchase of clothing is the most frequent choice to spend free time, while the male characters usually go in for sports. So, we can see a clear division of the manifestations of gender roles.

A romantic relationship plays a significant role in the life of the heroines. Almost every series of the animated series represents the romantic relationship. Most of the situations in which the heroines are involved, one way or another associated with romantic relationships. For example, scenes of dating or jealousy.

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