Generations of Disney

[Nathan G]

As the Disney Company has been making animated movies for almost 80 years now, it's fascinating to see how evolved over time to appeal to different audiences.
Walt Disney himself (1901-1966) was of the (Civic) Greatest Generation, and thus all movies until The Aristocats (1970) has some sort of civic touch to them.

When Disney's audience was the (Adaptive) Silent Generation, (1937-1949) he created an atmosphere that was totally original and unprecedented. From dramatizing old myths (Snow White) to exploring exotic regions (The Three Caballeros), and even putting masterpieces of music to technicolor (Fantasia), Disney was feeling out and testing new arenas that took his audience completely by surprise. The Artist type is aptly fulfilled by Disney's constant experiments, such as the various collections of music (Fantasia, Make Mine Music, Melody Time). At the same time, however, certain precedents were being established that reinforced the homely values of the American High period. Great emphasis was put on the strength of the family, particularly between mother and child (Dumbo, Bambi). Children were seen as chaotic and unruly unless carefully monitored (such as Pleasure Island in Pinocchio). Heroes always saved the day through purely their own wits (Pinocchio, Fun and Fancy Free), and if magic is ever involved, it's always seen as villainous (Snow White), dangerous (Ichabod and Mr Toad), or even demonic (Fantasia). In general, protagonists fall into danger whenever they stray too far from home.

When Disney's audience was the (Idealist) Baby Boomer Generation, (1950-1973) there was a dramatic turn to upset these previous traditions. Parents and guardians are seen as oblivious (Peter Pan, Sword in the Stone, Lady and the Tramp), or even evil (Cinderella). As such, children are constantly encouraged to seek fantastic places far away from normality (Alice in Wonderland, Peter Pan, Winnie the Pooh), while magic is seen as a friendly force that ultimately saves the day (Cinderella, Sleeping Beauty, Sword in the Stone). Wise old councilers to help the heroes fulfill the Prophet type, such as Merlin, Baloo, Flora, and Winnie-the-Pooh. Heroes still use their own efforts to defeat the villains, but using more virtue than intellect to overcome evil with good (Sleeping Beauty, Sword in the Stone, Peter Pan). Happy endings always come with shaking up the status quo instead of returning to it (The Aristocats, 101 Dalmatians, Lady and the Tramp), even if that means overthrowing a corrupt regime (The Jungle Book, Robin Hood).

When Disney's audience was the (Reactive) Generation X, (1974-1988) the animation department went into great decline and almost closed down. All the movies that were made had down-to-Earth, real-life problems with realistic solutions, (The Rescuers, The Fox and the Hound, Oliver and Company) thus fulfilling the Nomad type. No princesses were added at this time, as all the movies would end with a very dramatic, if not graphic climax (The Fox and the Hound, The Great Mouse Detective, The Black Cauldron). Heroes are usually forced to discover that their wits and virtue are not enough to save the day, and are usually helped by some outside aid (The Rescuers, The Great Mouse Detective), but not always (The Fox and the Hound).

When Disney's audience was the (Civic) Millennial Generation, (1989-2009) the company entered into a renaissance that returned back to its awakening roots (starting with the Little Mermaid), albeit with a pragmatic touch. Here we have exploratory adventures setting the scene in places distant from home (Rescuers Down Under, Pocahontas, Atlantis), or starting in a distant place and returning home (The Lion King, Hercules, Bolt). The plot focuses on the protagonist looking for a heroic roll so he can fit into society, (Aladdin, The Hunchback of Notre Dame, Tarzan) and thus fulfills the Hero type. These heroes, starting in a very down-to-earth background, find their way to greatness in a variety of ways, including strength (Mulan), intelligence (Meet the Robinson's), and skill (Ratatouille). At the same time, they also learn that greatness is achieved by acquiring certain virtues, such as generosity (A Christmas Carol), respect (Beauty and the Beast), humility (Cars), and familial love (Brother Bear, Lilo and Stitch). Sometimes, focus is made entirely on the act of heroism itself (The Incredible's, Valiant).

Disney's current audience is the (Adaptive) Homeland Generation, (2010-Present) and already we see things come full circle. Frozen (2013) was the highest-grossing animated movie in history... since Snow White (1937). That's no coincidence. Just like what Disney did in its infancy, the old order of filmography is being overhauled in favor of a new generation of Artists. If you want to peer into the future, don't think of movies like Tangled (2010), Brave (2012), and Frozen as revolutionary (and they are) as much as they set the standard for the new canon of films. The relationships between men and women, for instance, will be continued and emphasized from their current status until movies in the 2030's start to question that. The same goes with relationships within the family, both between siblings and between husband and wife.

Comments? Confusion? Outrage?

Sincerely,
Nathan G