Disney Animation and Expressive Individualism

It is often said that Disney films, at least in the past few decades, espouse expressive individualism. I have thought the same thing, and still think it is largely the case. However, over time I have realized that three among my favorite Disney animated films, all three of them from what to me is the most eclectic and daring period in Disney Animation’s recent history—The Emperor’s New Groove (2000), Treasure Planet (2002), and Brother Bear (2003)—each show the dangers of expressive individualism and suggest that maturity involves submitting to community standards and accountability. So, in fairness to the creators of these films, while the generalization is mostly true, we shouldn’t paint all of Disney’s productions with such a broad brush.

First, in my debut article for FilmFisher in 2018, I had this to say about Brother Bear:  

Charles Taylor has described secular individualism this way: “People are called upon to be true of themselves and to seek their own self-fulfillment. What this consists of, each must, in the last instance, determine for him- or herself. No one else can or should try to dictate its content.” [The quotation is from Charles Taylor, The Ethics of Authenticity, Harvard UP, 1992, p. 14.]

This statement could describe the hero’s journey of several Disney protagonists. But Brother Bear subverts Disney’s individualistic mythos. To adapt Taylor’s words: Kenai is never told to be true to himself. That would actually be disastrous, because what Kenai learns about himself is ugly and shameful. In biblical terms, he is a sinner at heart, not a saint. Instead, he is told by Tanana to pattern his life after love, something outside himself. In the end, he does not seek his own fulfillment, but another’s good. If Kenai had had his way, he never would have determined that path for himself. At first, he outright rejected it as folly. Others dictated the content of his attainment of mature manhood. The spirits chose his totem, Tanana and his brothers told him to follow his totem, and the spirits set him on a path to reconciliation when he abandoned his totem. If Taylor is right, and my analysis of Brother Bear is on to something, this truly is a counter-cultural message.

Second, when I wrote an article on Treasure Planet and Atlantis: The Lost Empire in 2020, I argued the former may not be as individualistic as it certainly seems to be:

The trouble with making the moral of the film “chart your own course,” in the individualistic sense, is that the film, intentionally or not, presents strong reasons against that kind of philosophy. Captain Flint charted his own course, and died alone. Silver charts his own course, but realizes “you give up a few things, chasing a dream” — in his case, parts of his own body. Worst of all, Jim’s father, for all we can tell, charted his own course, and he abandoned his wife and son. But the moral exemplars of the film — Sarah, Dr. Doppler, and Captain Amelia — are marked by their principles, discipline, and service. They take initiative and responsibility for themselves, but never without regard for others. Jim matures when he honors his mother, submits to Captain Amelia’s leadership, and follows Silver’s instructions. When Jim does start charting his own course, he fights to protect his friends, not to pursue his own interests. When Silver invites Jim to join him for a life of open, endless possibilities, the course he charts instead is toward a life constrained by limitations. He enrolls in the Naval Academy — and militaries, schools, and military schools especially, are not places for expansive, self-determining individualism.

In the next paragraph, I quoted the same Charles Taylor passage I had used in the Brother Bear article, and then continued: 

Up until I was working on this article, I always thought Silver’s speech exemplified this kind of thinking. That may still be the case. After all, Taylor’s description encapsulates the Disney ethos. But as I now consider the speech within the context of the film, it seems to take on a newer and truer meaning. Perhaps, even as Jim is called to be true to himself, he is also called to be true to others. Perhaps those others still need to tell him who he should be, and even better, help him become who he should be. Otherwise, if Jim pushes everyone away, who will be there to catch the light coming off him?

Third, I haven’t written an article on The Emperor’s New Groove—not yet—but here is the short version of my argument it is not in favor of expressive individualism: Is there any character in all of Disney who is more expressively individualistic than Emperor Kuzco, and isn’t he clearly portrayed as a terribly selfish and destructive person who needs to change and start showing concern for others?

All this leads me to two takeaways: 

One, as seen with Treasure Planet, the characters in these films can say one thing (“chart your own course”) while the story can silently undercut those words (the character saying those words is not a moral exemplar). This is why we have to consider every scene in the context of the whole. We have to consider subtext. 

But, two, this presents a difficulty: the target audience for these films is not very good at detecting subtext. When I grew up watching Silver say “Chart your own course,” I took it as the unchallenged viewpoint of the whole film. Similarly, most of the kids who grow up with Frozen likely do not pick up the irony that “Let It Go” is being sung by someone who, swinging the pendulum too far the other way in a response to a restrictive upbringing, is in danger of hurting herself and others. So, those who are reluctant to show these films to children, lest they encourage them to have a me-first mentality, have a point. However, what if these films could be used to help young viewers, when they are ready for it, learn how to recognize subtext? In the context of a discussion with a parent or teacher, these films that seem to espouse expressive individualism could be used to help inoculate against it.