The Portrayal of Gender in the Feature-Length Films of Pixar Animation Studios:  
A Content Analysis 
 
by 
 
Jonathan Tye Decker 
 
 
 
 
A thesis submitted to the Graduate Faculty of 
Auburn University 
in partial fulfillment of the 
requirements for the Degree of 
Master of Science 
 
Auburn, Alabama 
May 14, 2010 
 
 
 
 
Keywords: gender, media, film, Pixar, Disney, children?s media 
 
 
Copyright 2010 by Jonathan Tye Decker 
 
 
Approved by 
 
Thomas A. Smith, Chair, Associate Professor of Human Development and  
Family Studies 
Susan L. Brinson, Professor of Communication and Journalism 
Scott A. Ketring, Associate Professor of Human Development and Family Studies 
ii 
 
 
 
 
 
 
 
Abstract 
 
 
 This study was a content analysis of the portrayal of gender in the feature-length 
films of Pixar Animation Studios. All ten films currently released from the studio were 
included in the study (Toy Story, A Bug?s Life, Toy Story 2, Monster?s Inc, Finding Nemo, 
The Incredibles, Cars, Ratatouille, Wall-E, and Up), with the ten most prominent 
characters from each film selected for coding and analysis on multiple physical, 
authoritative, labor, and personality variables. Wall-E only had nine characters, however, 
so a total of 99 characters were studied. Results displayed no significant differences 
between males and females for most items in the study. Implications for future research 
are examined.  
 
 
 
 
 
 
 
 
 
 
iii 
 
 
 
 
 
 
Acknowledgments 
 
 
 I would like to thank Dr. Thomas Smith for his support, flexibility, patience, and 
practical insight. Thanks are also extended to Dr. Susan Brinson for refusing to accept 
anything less than my best work; this study is all the better because of it. My gratitude to 
Dr. Scott Ketring for his invaluable knowledge of statistics and for helping me to stay 
focused. I?d like to express my appreciation to my colleagues Emily Fessler and Rachel 
Birmingham for their help with data analyses, often from across the country. Finally, I 
give thanks to my family for their support, to my loving and patient wife Alicia for her 
kind and motivating words, and to my Heavenly Father for His assistance in all things.   
 
 
 
 
 
 
 
 
 
 
 
iv 
 
 
 
 
 
 
Table of Contents 
 
 
Abstract????????????????????????????????ii 
Acknowledgments???????????????????????????..iii  
List of Tables?????????????????????????????..vi 
Chapter 1: Introduction  ?????????????????????????..1 
Chapter 2: Literature Review  ???????????????????????.5 
 Gender in Popular Media  ?????????????????????...5 
 Gender in Children?s Media  ????????????????????.17 
 Gender in Disney Animation  ???????????????????...24 
 Gender in Disney Animation: Two Studies That Inspired the Present Research..43 
 Gender in the Films of Pixar Animation Studios  ????????????.51 
 Research Hypotheses  ??????????????????????...56 
Chapter 3: Methods ??????????????????????????...59 
Chapter 4: Results  ???????????????????????????64 
Chapter 5: Discussion and Conclusion  ???????????????????85 
v 
 
References  ??????????????????????????????96 
Appendix A: Box Office/Budget Totals & Averages for Disney & Pixar Films???108 
Appendix B: Coding Sheet  ???????????????????????110 
Appendix C: Code Book ????????????????????????.111 
Appendix D: Individual Character?s Coding Sheets  ?????????????..112 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
vi 
 
 
 
 
 
 
 
List of Tables 
 
 
Table 1: Sex ?????????????????????????????..64 
Table 2: Presence of Lips By Sex ?????????????????????.65 
Table 3: Presence of Eyelashes By Sex ???????????????????66 
Table 4: Presence of Breasts By Sex ????????????????????67 
Table 5: Overweight Build By Sex?????????????????????68 
Table 6: Muscular Build By Sex ?????????????????????...69 
Table 7: Athletic/Slender Build By Sex ???????????????????70 
Table 8: Underweight Build By Sex ????????????????????.71 
Table 9: Average Build By Sex ??????????????????????72 
Table 10: In-Home Labor By Sex ?????????????????????.73 
Table 11: Out-of-Home Employment By Sex ????????????????..74 
Table 12: Societal Power By Sex ?????????????????????..75 
Table 13: Familial Power By Sex ?????????????????????.76 
vii 
 
Table 14: Compliant Behavior By Sex ???????????????????.77 
Table 15: Defiant Behavior By Sex ????????????????????..78 
Table 16: Bossy Behavior By Sex ?????????????????????79 
Table 17: Democratic Behavior By Sex???????????????????80 
Table 18: Dependent Behavior By Sex ???????????????????.81 
Table 19: Independent Behavior By Sex ??????????????????..82 
Table 20: Emotional Behavior By Sex ???????????????????.83 
Table 21: Romantic Behavior By Sex ???????????????????..84 
Table 22: Disney Feature Animation Box-Office Grosses and Budgets ??????108 
Table 23: Pixar Feature Animation Box-Office Grosses and Budgets ??????...109 
 
 
 
 
 
 
 
 
 
1 
 
 
 
 
 
 
 
INTRODUCTION 
 While sex and gender are often used interchangeably in casual conversation, in 
definition they are markedly different. Sex is determined by biology and anatomy. 
Gender, on the other hand, is the conceptualization of what it means to be male and 
female, and what are ?appropriate? attitudes and behaviors for each to have (Junn 1997). 
This conceptualization is formed through social interaction, external instruction, and the 
observation of male and female models (Lorber, 2007; Bandura and Walters, 1963). The 
development of gender schemata occurs largely in childhood, when norms and 
expectations for behavior and attitudes are less deeply entrenched and thus more 
susceptible to influence (Rushton, 1979). As media provide male and female character 
models for observation, some have speculated that gender conceptualizations and 
understanding of male-female relationships may be shaped, in part, by viewing films and 
television programs (McGhee and Freuh, 1980; Shrum, 2008). This possibility has led to 
extensive research about the gendered messages conveyed through the media.  
 Researchers incorporated gender themes into studies on television beginning in 
the 1950?s, finding that male characters outnumbered female characters by a ratio of 2:1 
(Smythe, 1953; Head, 1954). In-depth content analysis of gender-on-television began 
with Tedesco?s (1974) four-year sample of prime-time TV characters, which found trends 
of male and female characters portrayed largely with stereotyped, traditional 
2 
 
characterizations. Males displayed independence, intelligence, and courage while women 
were portrayed as passive and dependent. Mulvey (1975) pioneered gender studies in 
cinema, describing women?s role on film as serving to attract the ?male gaze? and serve 
as objects of visual pleasure for male characters and male audience members. 
Mainstream movies have generally assumed an androcentric position, telling stories 
through the lens of male experience, and teaching men to be aggressive and dominant 
while encouraging women to be submissive and passive (Hedley, 1994). While some 
gains were made in the 1990?s in portraying greater variety in female roles (Elasmar, 
1999) and male behaviors, the 2000?s have seen a return to celebrating ?hard 
masculinity? (Henry, 2004), sexual objectification of females (McRobbie, 2004), and the 
relegation of female narratives and interests to romantic ?chick flicks? (Thompson, 
2007). 
 Research on children?s media has revealed similar trends. In the 1970?s studies of 
children?s Saturday morning cartoons found that males appeared more frequently, took 
up more screen time, and were shown to be more active, rational, and constructive than 
females (Sternglanz and Serbin, 1976; McArthur and Eisen, 1976). In the following 
decades, though some change has occurred, adherence to sex-stereotypes has 
predominantly continued (Thompson and Zerbinos, 1995). In children?s films, male 
characters have outnumbered female characters by a ratio of 3:1 since the mid-1990?s 
(Anonymous, 2006). Traditional gender norms have been reinforced by the portrayal of 
heroes as fitting the masculine or feminine ?mold? of their respective sexes, while 
villains have acted contrary to gendered expectations (Li-Vollmer and LaPoint, 2003). 
3 
 
 Nowhere is the adherence to traditionalism more clearly displayed than in the 
animated features of Walt Disney Studios. Females in Disney films traditionally existed 
merely to exemplify beauty and virtue, to be rescued and romanced by males, and to 
serve as nurturing mothers (Stone, 1975; Tanner, 2003). More modern features have 
displayed intelligent, capable, and brave females, but their stories are ultimately driven 
by romantic interest (Gillam and Wooden, 2008). Disney males, on the other hand, have 
always been courageous, intelligent, and authoritative (Matti and Lisosky, 1999). Though 
in recent years Disney males have begun to eschew machismo, they continue to drive the 
narratives, with female characters serving primarily as catalysts for male growth and 
change (Jeffords, 1995). Junn (1997) found that mothers were under-represented and 
fathers were over-represented in Disney films, suggesting a promotion of patriarchy. This 
study also revealed trends of female characters appearing primarily in romantic stories 
and males appearing in a broad variety of roles; even in romance, however, males take an 
active lead. Wiersma (2000) found that males outnumber females in Disney animated 
films and held more societal power, while females were portrayed more often performing 
homemaking tasks and less often employed outside of the home. Sex-stereotypes 
prevailed, though some signs suggest slow trends toward more varied and equal 
portrayals.  
 In the past fifteen years, Pixar Animation Studios has emerged as the ?new face? 
of Disney. Earning critical acclaim, numerous awards, and more than double, on average, 
the box-office earnings of Disney Animation Studios, Pixar has a tremendous reach and 
potential influence. It also has retained complete creative control over its products 
4 
 
(Holson, 2006), placing it in a position to distance itself from the traditionalism inherent 
in other Disney animated films. Critical analyses have suggested that Pixar promotes an 
altruistic, caring, and communal masculinity (Gillam and Wooden, 2008) and provides 
strong, assertive, capable women in many roles and with a variety of character traits 
almost unseen in other children?s media (DeFife, 2009). However, these observations 
have not been based in quantitative, empirically-supported methods. The purpose of this 
study is to investigate the portrayal of gender in the films of Pixar Animation Studios 
through quantitative content analysis.  
 
 
 
 
 
 
 
 
 
 
 
5 
 
 
 
 
 
 
 
LITERATURE REVIEW 
 
 
 Depictions of masculinity and femininity in media have been the subject of fairly 
extensive research, ranging from qualitative observations to thorough quantitative content 
analysis. However, the number of studies narrows considerably when considering only 
children?s and family media, narrows even more when examining only Disney films, and 
in the case of Disney-Pixar collaborations, studies are virtually nonexistent. While some 
might attribute this dearth of research to Pixar?s being ?new on the scene,? with fifteen 
years, ten films, numerous Academy Awards, and total worldwide box-office earnings 
approaching five billion dollars (Appendix A), Pixar?s potential influence should no 
longer be ignored. This section will present a brief overview of the gender-related 
literature regarding popular media, children?s media in general, Disney films in 
particular, and Disney-Pixar collaborations. Gaps in the research will be revealed, 
displaying the importance of the current study and its contribution to the state of 
knowledge on the subject. 
 
Gender and Popular Media 
The Social Construction of Gender 
6 
 
Lorber (2007) argues that gender is not innate, but is socially constructed; in other  
words it is ?constantly created and recreated out of human interaction? (p. 276). Gender 
is learned and solidified by tradition, observation, and imitation. Boys and girls learn to 
act based on what their social group (including parents, teachers, religious leaders, and 
other children) teaches them about their gender (p. 278). Differentiating sex from gender 
has been a key principle in feminist and social equality theories. While sex is generally 
classified by what sexual organs a person is born with, gender is a culturally-prescribed 
manner of assigning expected roles and behaviors to men and women (Scott, 1986). 
While sex is innate and biological, gender is a ?societal construct? (Li-Vollmer and 
Lapointe, 2003, p. 90) that is learned and passed along.  
Assigning expectations of behavior to males and females is one of the primary 
ways people organize their lives. As Li Vollmer and Lapointe (2003) argue: ?It is through 
this constructed lens of gender that we view much of the world around us? (p. 90). 
Traditionally, males are expected and taught to be more active, aggressive, and dominant, 
while women are expected and taught to be more passive, caring, and nurturing (Junn, 
1997). Unfortunately, this function often limits perceived options of how men and women 
can feel, behave, and exist, setting arbitrary rules such as ?men aren?t allowed to cry? and 
?women have to be sexually attractive and/or invested in parenting to have worth? 
(Lorber, 2007). As argued by Wiersma (2000):  
?Constructions of reality take on subjective meaning for individuals. Socially-
constructed reality may become a self-fulfilling prophecy?once people have 
ideas or beliefs of what it means to be appropriately male or female, they will 
7 
 
behave or engage in activities in accordance with these beliefs. They have thus 
turned their subjective meanings into objective reality? (p. 15). 
Mass Media and Gender-Concept Formation 
A large part of creating one?s subjective perspective of gender is through the 
observation of male and female models (Bandura & Walters, 1963). Film, television, and 
other media provide such models through their characters and scripts, and there is 
evidence to suggest that worldviews, including gender expectations, can be shaped in part 
by media. Shrum (2008) describes ?cultivation effects,? or a positive correlation between 
the amount of media consumed and the tendency to activate mental constructs about the 
world based on the programs and films watched. In other words, viewers who heavily 
watch television and movies are more likely to perceive the world as being similar to the 
programs viewed than those who view TV and films sparingly. An example of cultivation 
effects are found in Shrum?s reports that persons more frequently exposed to crime films 
report a greater perceived likelihood of being victims of violence than those who rarely 
watch crime films. These cultivation effects combine with ?accessibility effects,? which 
are the recalling of moments, messages, dialogue, narrative, and other details in media. 
Thus frequent consumers more readily recall specific details from what they watch, 
which are then converted via cultivation effects into schemas for understanding the 
world.  
Gerbner and Gross (1976) also described a positive correlation between the 
amount of television watched and viewer perceptions of reality as being similar to the 
programs.  Argues Bain (2003): ?By identifying with the characters and actions occurring 
8 
 
onscreen, many viewers submerse themselves in the film; the boundaries between 
imagination and reality are blurred? (p. 199). While other factors, such as upbringing and 
experience, contribute to an individual?s worldview (Tonn, 2008), the possibility that 
popular media might influence expectations and understanding about gender should not 
be underestimated. 
Studies of Gender on Television 
 Media studies about gender came right on the heels of the advent of television. In 
a three-year longitudinal study of television programming in New York, Smythe (1953) 
found that females were underrepresented, making up only one-third of characters. Head 
(1954) found the same male-to-female ratio in prime-time programming. In a study on 
portrayals of violence in television dramas, Gerbner (1972) found that women made up 
only one-fourth of leading characters, and appeared most often in romantically-driven 
narratives. He also found that two-thirds of female characters were married (versus one-
third of male characters, and that females were both less likely to be aggressive (i.e. 
violent) than males and more likely to be on-screen victims of violence.  
 These studies laid the groundwork for Tedesco (1974) groundbreaking work in the 
use of content analysis in gender/media research. Reporting the results of a four-year 
study of 775 characters from prime-time dramatic network television programs, she noted 
several very distinct trends. Males outnumbered females by a ratio of 2.5 to 1. Males 
were also more likely to be villains, more likely to be unsuccessful, and more likely to be 
unhappy. Males were more likely to be cast in serious, action-oriented roles while 
females were more likely to be cast in light, comedic, and romantic parts. Less than one-
9 
 
third of the male characters were married, while more than half of females were. Nearly 
two-thirds of female characters were unemployed, compared to roughly one-third of 
males. Males had a greater variety of professions than females, and were also more likely 
to be violent. Male characters were described as ?powerful, smart, rational, tall, and 
stable? whereas female characters were found to be ?attractive, fair, sociable, warm, 
happy, peaceful, and youthful? (p. 122). Males were more active and independent, smart, 
and powerful. Women were portrayed as lacking these qualities. Tedesco argues that 
these trends made ?it difficult for men to view women as equals, for women to view 
themselves as equal to men, and for both sexes not to view the male role as necessarily 
the more active, powerful, and independent role? (p.123). 
 Signorielli (1989) found similar trends (of maintaining the status quo through the 
portrayal of traditional gender roles and behaviors) in her analysis of prime-time network 
television programming fifteen years later, as well as cultivation effects suggesting that 
television viewing may contribute to the perpetuation of sexist views about women?s 
place in society (p. 341). This study noted that traditionalism in portrayals of gender had 
been stable and unchanging for years, and little evidence to suggest potential for change 
on the horizon.  
Elasmar, et al. (1999) performed a content analysis of sixty different television 
shows, focusing on the portrayal of women during prime time. Two coders viewed a total 
of 42 hours (omitting commercials) of television, seven hours a week for six weeks. 
Adopting procedures from the Cultural Indicators Project (1981) designed by George 
Gerbner at the University of Pennsylvania, the coders independently viewed and coded 
10 
 
the same randomly selected programs from the prime time lineups of ABC, CBS, NBC, 
and FOX. They used the Holsti formula to compute inter-rater reliability, which ranged 
from .85 to .96 (with an average of .89). However, the coders conferred to discuss 
discrepancies, review their understanding of the coding scheme, and eliminate 
discrepancies. They found that only 38.8 percent of prime time characters were female 
(Elasmar, et al. 1999, p. 27), up only 3.8 percent from twelve years earlier. With women 
actually outnumbering men in the real-life U.S. population (U.S. Census Bureau, 2009), 
prime-time TV thus over-represents one sex and under-represents another.  
Atteberry (1995) explains this trend: ?The heroes are male because that has been 
the unconsidered choice, the norm, for American selfhood. Woman is the exception; man 
is the default setting? (p. 153). This underrepresentation is cause for concern, suggesting 
that television and film producers, consciously or not, value the stories and 
accomplishments of men and believe them to be more interesting than those of women. 
However, while these trends suggest a system of traditionalism and patriarchy, 
other trends in the same study (Elasmar, et al. 1999) suggest the opposite. For example, 
only 13.3 percent of women were shown to be responsible for children, with 29.7 percent 
shown without that responsibility (though 57 percent of the characters weren?t major 
enough for their parenting duties, or lack thereof to be clarified). Only 14.4 percent were 
stay-at-home mothers or housewives with no employment outside the home; 15.7 percent 
were unemployed, 30.4 percent had no clear occupation, and a full 44.4 percent had 
clearly-defined employment outside the home. They found that women were far more 
likely to be portrayed as under the age of fifty, supporting a popular observation that 
11 
 
younger women are seen as more appealing, both in society and in pop culture, and thus 
will appear more often on screen. Interestingly, there has been a trend towards more and 
more non-married women on televison, with previous studies finding some 50 percent of 
prime-time women married in 1974, 21 percent in 1989, and this study finding only 12.6 
percent married in 1992-1993. These trends away from ?stay-at-home? housewife 
portrayals towards greater variety (including more working, single women) suggest that 
the efforts of the feminist movement have been paying off, at least in the media. 
The ?Male Gaze? and Squelching the Female Voice 
While gender studies in television had been occurring for some time, 
examinations of gender in film didn?t truly begin until 1975 (Mendes and Carter, 2008) 
when Laura Mulvey?s article ?Visual Pleasure and Narrative Cinema? is widely held to 
have laid the groundwork for future research. In it, Mulvey (1975) describes the key to 
Hollywood screen magic as its manipulation of visual pleasure, primarily revolving 
around images of females. Male audience members are encouraged to gain erotic 
pleasure from looking at beautiful women on screen. This practice, labeled scopophilia, 
has encouraged the objectification of women and the development of narrow criteria for 
sexual desire. Mulvey criticized the film industry for decades of essentially assigning 
only two roles to women in movies: that of erotic object for the characters on screen and 
that of erotic object for the audience members. The ?male gaze,? as she termed it, assured 
that films would take the man?s perspective and cater to male patrons, effectively denying 
woman?s voice and the interests of female audience members. 
12 
 
That this trend has continued until now, over three decades after Mulvey?s work, 
should come as no surprise. As stated by Bain (2003): ?The cinematic stories that a 
relatively small and powerful group of Hollywood creative workers compose provide 
viewers with a relatively easy and unconscious way of relating to the world? (p.199), and 
the majority of those creative workers are white heterosexual men (Zimmer, 2008). Only 
seven percent of the directors behind 2006?s 250 top-grossing U.S. films were women 
(Ford, 2007). Women collectively make up a mere twenty-five percent of producers, 
thirteen percent of directors, and only two percent of editors (Sweeney, 2005). With such 
a predominately male-dominated landscape, opportunities abound for sexism both 
deliberate and unintentional.  
Those subscribing to Peggy McIntosh?s (1988) views on male privilege may be 
willing to give mainstream media-makers the benefit of the doubt, contending that male 
privilege (the advantages men gain from women?s disadvantages) is often embedded, 
institutionalized, unacknowledged, and accepted (and thus unconscious). Filmmakers and 
television producers who might on principle eschew overt sexual discrimination may 
nevertheless contribute to an invisible system which gives men a greater voice, greater 
prominence, and greater prestige.  
Postfeminism and the ?Chick Flick? 
Some critics contend, however, that androcentrism in Hollywood is hardly 
accidental. McRobbie (2004) describes an active effort in popular media, entitled post-
feminism, to undermine the feminist gains of the 70?s and 80?s. After a brief golden era in 
the 90?s of smart, capable women succeeding on their own merits on television programs 
13 
 
such as L.A. Law and films such as Thelma and Louise, the new century has seen a 
movement back towards the portrayal of woman as erotic object of the male gaze, as 
described by Mulvey (1975). The primary difference in the post-feminist era is that the 
objectification is labeled as empowerment. The ?new woman? in media is not naively 
exploited, but rather purposefully chooses to act out of self-fulfillment, embracing her 
sexuality and selecting to be a sex object, whereas before female attractiveness was 
coupled with the characters? naivety because a woman?s sexuality was seen as a threat to 
society (Rodowick, 1991).  
 This attempt to tip the hat to feminism still adheres to traditional norms of female 
value being equated with beauty, and sexuality being equated with power. Post-feminism 
seeks to acknowledge the gains made by feminism and appease activists, all while 
sneakily nudging the world back towards tradition by acting as if equality has been 
achieved and the work of feminism accomplished. Lamm (2009) explains that ?as the 
public ceases to see the need for feminism, the representation of women necessarily 
slides back towards less progressive models? (p. 28), including that of the woman with 
only reproduction and romance on her mind.  
Nowhere is the narrow definition of female goals and interests more blatantly 
visible than in the genre of the ?chick flick.? While ?women?s movies? revolving around 
romance date back to the early days of cinema, a lull in the 70?s was followed by 
resurgence in the past few decades, something Thompson (2007) postulates was male 
Hollywood?s backlash against feminism. Rather than addressing the broad spectrum of 
women?s issues (including professional discrimination, childcare, domestic violence, 
14 
 
aging, sexual assault, being LGBT, etc.), the pursuit of box-office dollars (and perhaps 
the need to maintain the status quo) has led to a series of grown-up fairy tales whose 
heterosexual romance-driven narratives, while starring women and targeting female 
audiences, do little to empower women (p.45) and attempt to lump the interests of an 
entire sex to a single genre. 
Males On-Screen 
This simplistic universal assignment of female audiences to ?chick flicks? may 
also contribute to the perception and expectation that men shouldn?t enjoy romance, as 
exemplified in the 1993 film Sleepless in Seattle, in which Tom Hanks responds to a 
woman?s tearful description of An Affair to Remember by stating with disinterest: ?That?s 
a chick?s movie!? Hanks proceeds to enthusiastically recall a classic war film, The Dirty 
Dozen, as one that moved him, with another male chiming in his agreement.  
 Research on male media interests and the portrayals of men in film and television 
is relatively new, beginning in the 1990?s; the first two decades of gender studies in 
media focused almost exclusively on the representation of women (Neale, 1993). 
Retrospective studies of movies and TV shows of the 1950?s show an emphasis on the 
home as the setting of narratives, the traditional family as the key players, and traditional 
gender roles (including dominant husbands/fathers and submissive, care-giving 
mothers/wives) as the fabric of society (Rodowick, 1991). Cohan and Clark (1993) 
examined the portrayal of men in popular Hollywood cinema from the 1960?s until the 
early 1990?s. Movies of the 1960?s told stories from the male perspective, assigning 
action of narrative importance to men and pleasing, passive spectacle to women (one 
15 
 
need look no further than the early adventures of Sean Connery?s James Bond for an 
example). Men on-screen grew even more aggressive, dominant, and violent in the 
1970?s, peaking in the 1980?s with the action era of Sylvester Stallone and Arnold 
Schwarzenegger. Though trends in the early 1990?s suggested a swing towards a more 
tender, caring, and paternal male, the stories were still told from the man?s perspective. 
 In the late 1990?s and into the 2000?s post-feminism seems to have contributed to 
the return of the aggressive, dominant male on the screen. Henry (2004) argues that, 
perhaps in response to challenges to male power by the feminist movement, the mask of 
?hard masculinity,? (or the equation of physical strength with manliness), is arising in 
popular media as a defense mechanism and as a backlash against women for a perceived 
loss of power. Toughness, unsentimental character, and aggression are continually fed to 
young men?s minds via Hollywood films, reifying traditional ideas about what it takes to 
?be a man,? and equally important, that tenderness and nonviolence are unacceptable. 
Men are taught, via what Thompson (2007) jokingly refers to as ?dick flicks,? a narrow, 
aggressive view of masculinity, just as women are presented with narrow criteria for 
femininity through ?chick flicks.? 
Possible Effects of Gender-Specific Programming 
The mere existence of television stations such as Lifetime and Spike TV further 
illustrates this notion, with the stations? websites describing their network as offering 
?entertainment for women,? and being the ?premier?destination for men,? respectively.  
A perusal of programming schedules for Lifetime displays an emphasis on relationship-
based programming, with shows such as Army Wives, Get Married, and reruns of How I 
16 
 
Met Your Mother and Desperate Housewives in the lineup. Other shows, such as 
DietTribe and Cook Yourself Thin, emphasize meeting a physical aesthetic. Spike TV, on 
the other hand, has combat and sports themed programs such as Ultimate Fighting 
tournaments, rugby games, and wrestling, as well as programs about cars (Fast 
Machines), video games (GameTrailersTV), and action-based reality programming 
(World?s Most Amazing Videos). The only notably male-female relationship-based 
program on Spike TV at the time of this writing is the decidedly unsentimental 
Married?With Children. 
While some may argue that these networks merely appeal to the preexisting tastes 
of men and women, evidence suggests that the genre of media can influence expectations 
about gender and male-female relationships. In other words, gender-specific 
programming isn?t merely a reflection of cultural and individual values, but rather, it may 
help shape those values.  Segrin and Nabi (2002) found a relationship between the genre 
of television watched and expectations for male-female relationships. In a study of 285 
undergraduate students, those who watched primarily romance-based programs expressed 
higher expectations for erotic love and emotional intimacy in their real-life relationships 
than those who did not. They also rated higher on a marital intentions scale, indicating 
that they had plans to marry during their lifetimes, and also reported more frequent 
fantasizing about marriage. 
With exposure to media providing models of gender that help shape the values of 
consumers, findings such as those by Hedley (1994) are particularly troubling. This study 
found a pattern of male-dominant/female-submissive interactions in a sample of 50 
17 
 
popular films, placing women at an ?affective disadvantage? in negotiating with men on 
screen; Hedley proposed that a steady exposure to popular movies could ?generate 
parallel affective expectations in men and emotional motivation for patriarchal imposition 
when expectations are challenged by non-consenting women? (p.721). Implicit 
encouragement in mainstream cinema for men to ?take charge? while women ?back 
down? may potentially fan the flames of gender-based discrimination towards proactive 
women, or worse, foster beliefs basing self-worth on gender.  
 
Gender in Children?s Media 
Children?s Malleable Gender Schemata 
 Rushton (1979) proposes that media can alter and help form a person?s 
internalized norms of appropriate behavior, as well as a person?s direct emotional 
response to various stimuli. The more deeply entrenched the norms and patterns of 
responses, the less susceptible they are to change. The opposite, he argues, is also true: 
the less entrenched norms and response patterns are, the more easily altered they are. This 
makes children particularly malleable to media influence in shaping their worldviews, 
including understanding of and expectations for sex roles. Explain Li-Vollmer and 
LaPointe (2003): ?Children?s gender schemata, like all schemata, are less developed than 
those of adults, and are, therefore, more susceptible to influence from new sources and 
experiences, including media? (p. 93).   
 
18 
 
Gender in Children?s Televison 
 Because of its obvious importance, research on gender in children?s media came 
right on the heels of the first gender-in-media studies in the mid-70?s. In 1976 Sternglanz 
and Serbin analyzed the characterizations of males and females in 10 popular 
commercially-produced children?s television programs. They discovered that there were 
more than twice as many male characters than females, and that males more often than 
females displayed aggressive, constructive, problem-solving behaviors and were 
rewarded for them. Females, on the other hand, were punished for active behavior, with 
deferent attitudes portrayed as the acceptable norm.  
 Similar results were found in McArthur and Eisen?s (1976) three-part study, 
investigating sex-role portrayals in children?s TV programming and commercials, as well 
as behavioral responses of nursery-school children to televised models. In Study 1 they 
found, similar to Sternglanz and Serbin, that the central characters in Saturday morning 
TV shows aimed at kids conformed to gender stereotypes. Males and females performed 
separate roles, exhibited different behaviors (male-active, female-passive), and received 
different consequences for similar behavior. Males also took up more screen time, had 
higher rates of active behavior, and appeared more frequently. In Study 2, similar 
findings occurred when examining commercials that aired during Saturday morning 
children?s programs. In Study 3, 20 male and 20 female nursery school children were 
exposed to sex-stereotyped and non-sex-stereotyped behavior via televised models. The 
children displayed greater recall and imitation for the sex-stereotyped behaviors, which 
19 
 
may be due in part to pre-existing cognitive schemas from life experience and exposure 
to various models. 
 That children might internalize gender stereotypes from the media is further 
illustrated by the work of McGhee and Frueh (1980). In this study the effects of viewing 
television on learning sex roles was examined in first, third, fifth, and seventh-grade 
males and females. The students were separated into two groups, based on their TV-
watching habits at the time of the study and fifteen months previously. Heavy viewers 
watched twenty-five or more hours of television a week, while light viewers watched ten 
or less. Heavy viewers had more stereotyped gender perceptions than light viewers, with 
some stereotyped perceptions decreasing with age in light viewers and being maintained 
with heavy viewers. 
 Traditional sex-role portrayals continued in children?s programming from the 
1970?s and 1980?s into the 1990?s, though some changes towards egalitarianism occurred 
during this period. Thompson and Zerbinos (1995) compared gender representations 
between children?s animated cartoons produced before 1980 and those produced after. 
Taking a sample of 175 episodes of 41 different programs, they found that males were 
overrepresented across time, with the presence of more male characters than females, and 
with males speaking, actively problem-solving, engaging in constructive behaviors, and 
inhabiting more screen time. While males and females were displayed stereotypically in 
their roles, attitudes, and behaviors across the decades, some variety in the portrayal male 
and female characters did increase across time. Female stereotypes in particular, while 
20 
 
still prevalent, have decreased in children?s programming since 1980, according to this 
study. 
 Thompson and Zerbinos (1997) examined whether children themselves perceive 
differences in gender roles and behavior in the programs they watch, as well as the 
relationship between noticing gender-stereotyped behavior and assigning traditional 
future career roles for themselves and others. Interviewing 89 male and female children 
ranging from 4 to 9 years old (85 percent white, 15 percent black), they found that 
children of both genders largely perceived male characters as active and violent, while 
female characters were romantic, domestic, and focused on beauty. Significant 
relationships were found between discerning stereotyped sex roles and the expectation 
that one, and others, would pursue occupations traditionally proscribed to their respective 
genders.  
Gender in Children?s Films 
 Unequal and imbalanced gender portrayals have continued to plague children?s 
media from the 1990?s into the 2000?s. Working with the national nonprofit organization 
Dads and Daughters, actress Geena Davis established the ?See Jane? program, which 
advocates equal gender representation and addressing sex-role stereotypes in children?s 
media (Anonymous, 2006). With the assistance of associate professor/principal 
investigator Stacy L. Smith and the Annenberg School for Communication at the 
University of Southern California, See Jane conducted a study of the top 101-grossing G-
rated films released between 1990 and 2005, analyzing a total of 4,249 characters. The 
study found that there are three male characters for every female character, with fewer 
21 
 
than one in three speaking characters being women or girls. Women were also far less 
likely to be the central characters driving the storyline. To Smith, these issues are causes 
for real concern. She explains that, as young children?s ?concepts of self are still 
developing, and because young children are likely to own and view movies again and 
again? this pattern may be teaching girls and boys that the lives of males and their 
stories are more important and valuable than those of females? (p.1).  
Gender Transgression 
 Even as children?s media reinforces traditional sex norms, it also largely 
demonstrates negative attitudes towards alternative gender behavior. Li-Vollmer and 
LaPointe (2003) describe the tendency in animated films to portray ?masculine? women 
or ?feminine? men as unnatural at best and villainous at worst. ?Gender transgression? is 
the term used to describe the behavior of proactive, ambitious females or sensitive, 
nurturant males, as well as other behaviors that might imply a deviation from established 
norms, including homosexuality. They decided to focus on male villains, as aside from 
Ursula, the deep-voiced, stocky villainess from The Little Mermaid (who, incidentally, 
fits the mold of gender transgression), the villains of recent animated films were all male. 
Looking at eleven G and PG-rated animated films from various studios (including 
Disney, Fox, and Dreamworks), they found a number of common trends throughout the 
films, all indicating that gender transgressions are associated with villainy and evil while 
the more accepted, traditional behaviors of the male and female leads are associated with 
heroism and good.  
22 
 
Two raters analyzed gender performance based on physical characteristics, 
costumes assigned to the characters, nonverbal gestures and body position, activities, 
dialogue, and queering behaviors (which are gender transgressions normally associated 
with homosexuality). They found that gender transgressions were highly salient in the 
villains. Some physical characteristics were common, such as feminine facial features 
(high cheek bones and a thin jaw-line which contrasts with ?macho? square jaw-line of 
heroes), color and shading suggesting the wearing of makeup, and slender, feminine 
bodies. Villians also dress finer (i.e. as ?dandies?) or in long flowing gowns (like Jafar in 
Aladdin or Rasputin in Fox?s Anastasia), contrasting the heroes? clearly masculine 
clothing. The villain in Pokemon 2000 has a feminine hairstyle. Body positioning and 
movement often suggests a well-bred lady, with minimal movement below the waist, 
taking mincing steps or strutting on the balls of their feet, like Governor Radcliffe in 
Pocahontas. Only the hands are expressive. Contrary to the macho bravery of the heroes, 
these villains avoid physical confrontation, preferring instead to send henchmen and 
lackeys. With the vanity usually reserved for women in film, villains in these animated 
movies were often obsessed with their appearance. Their dialogue often signals ?gender 
deviance,? as when Scar in The Lion King assures King Mufasa that ?I shall practice my 
curtsey.?  
Queering behaviors subtly imply that villains are homosexual. Caterwaul, the 
villain in An American Tail: Fivel Goes West, is shown as being repulsed by women. 
James, the villain in Pokemon 2000, states that he stays away from the ?trouble? 
interaction with the opposite sex causes. The implication of homosexuality in these 
23 
 
villains, and the lack of any heroic gay figures, may contribute to the development of 
homophobia in young viewers. Li-Vollmer and LaPointe (2003) explain: 
?Their schemata of what it is to be male may include the sissified villain as a 
potent example of male deviance.  Although sexual orientation may not yet be 
pertinent to children?s social schemata, they may develop early negative 
associations with ?sissy traits? that could feed into stereotypes of gays later in 
life?Because existing schemata are more resilient to change over time, children?s 
early and repetitive exposure to such stereotyping has the potential to resist 
countering information if such countering information does not reach the child in 
a similarly early and repetitive fashion? (p.105). 
The resistance of existing schema to new information is of concern not only in the case of 
?gender transgressions,? but in the ?status quo? of gender roles conveyed to children. 
 Not all children?s media adheres so strictly to traditional sex-role stereotypes. 
Abel (2004) contends that the classic Looney Tunes shorts by Warner Brothers, though 
populated largely by male characters, turn widely-held notions about gender and romance 
on their head. In the character of Pepe Le Pew, the amorous French skunk who repeatedly 
falls in love with cats whose run-ins with paint give them the appearance of female 
skunks, Warner lampoons the ?love at first sight? norm of many other animated 
children?s media. To the audience, Le Pew is obviously mismatched with his quarry, with 
no hope of a happily ever after. The objects of his affection continually flee him, he 
knows nothing about them (not even their true species), and has no relationship or rapport 
to build on. Yet he blindly believes his infatuation to be the basis of long-lasting 
24 
 
romance, and through him Warner Brothers provides a social commentary on traditional 
notions of love.  
The character of Bugs Bunny shakes things up even further, often dressing in drag 
to outwit macho pursuers, such as Yosemite Sam and Elmer Fudd, who are out to kill 
him. Far from the association between gender transgression and villainy found in other 
children?s cartoons, Bugs offers ?a positive role model who is not tied to traditional 
patterns of gendered behavior, who not only gets away with gender transgression, but 
who triumphs through it? (p. 191). In Bugs Bunny, Warner Brothers effectively gave 
children a male hero who wasn?t tied down to standards of machismo, bravery, and 
masculinity. His greatest assets were quick-thinking and the ability to fill out a dress. 
Other animation studios, including Fleischer and MGM, have criticized gender norms via 
parody and the exaggeration of male and female roles. However, the cartoons of the most 
prosperous animation house, Walt Disney Studios, ?cannot critique gender roles because 
they buy into them? (p. 188). 
 
Gender in Disney Animation 
Walt?s Empire and the Disney Doctrine 
Walt Disney once said: ?I think of a child?s mind as a blank book. During the first 
years of his life, much will be written on the pages. The quality of that writing will affect 
his life profoundly? (Giroux, 1999, p. 17). On that principle of moral instruction, Disney 
built an almost unparalleled media empire, known around the world for producing 
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?family-friendly? entertainment. Long past his death, and over seventy years since his 
first animations, the Disney name is equated with media having ?good? values and 
messages. Disney DVD?s and television programs act as digital babysitters for millions 
of children whose parents trust the brand implicitly to ?stimulate imagination and fantasy 
[and] reproduce an aura of innocence and wholesome adventure? (Giroux, 1994, p.25). 
Over 200 million people a year watch a Disney movie, and 395 million watch a Disney 
TV show any given week (p. 4).  Explains Robinson et al. (2006): ?Favorite Disney films 
are passed along from parent to child, introducing each new generation to a set of values, 
beliefs, and attitudes explicitly and implicitly communicated in these films? (p. 204).  
Giroux (1999) argues that while Disney is not necessarily be seen as an evil 
empire, providing as it does entertainment and pleasure to millions, there is cause for 
concern because of its growing control over public space. He even goes so far as to call 
Disney a ?threat to democracy? for that very reason. Others, like Ross (2004) feel that 
constant replay of Disney DVD?s and videos will make the corporation?s conquest and 
control of children?s media more complete, with less and less room for different artistic 
voices to find an audience. While other animation companies have staked their claim on 
family entertainment in the past decade (e.g. Dreamworks? with its Shrek franchise, Sony 
Animation with Ice Age, and the Cartoon Network with its various programming), the 
Disney Corporation?s place in history, and the current world market, seems assured. 
One of the earliest lessons children learn about the world is its gendered nature 
(Hewitt, 1994). As animated films appear ?to inspire at least as much cultural 
authority?for teaching specific roles, values, and ideals as do more traditional sites of 
26 
 
learning? (Giroux, 1999, p. 53), the question of the Disney depiction of gender takes on 
great importance. The views of Walt Disney himself on the subject seem a good place to 
start, as they arguably formed the foundation for the empire that continues today. Watts 
(1997) explains that Disney held very traditional views of women?s place in society, 
holding that their place was in the home as a wife and mother, with ideal women as ?self-
sacrificing moral instructors, skilled domestic managers, and compassionate caregivers? 
(p. 329). The ?Disney Doctrine,? which promoted heterosexual marriage, parenting, and 
the nuclear family also assigned the role of provider and protector to fathers, and 
continued long after Disney?s death in the films overseen by later company presidents 
(Murphy, 1995).  
Some researchers and observers have noted a trend toward change, with greater 
variety in male and female roles and behavior in recent years (Bell, 1995), though others 
argue that such signs of change are rare (Towbin, 2004) and are undermined by a 
continued dedication to conservatism (Ross, 2004), including almost exclusively 
traditional gender roles (Junn, n.d). Because audiences see Disney films as message 
movies and morality tales and as children appear to have their gender conceptions at least 
partially influenced by media (McGhee and Frueh, 1980) these claims about Disney 
animated films deserve a closer look. 
Fairy Tales and Disney Females 
Academic research on gender in Disney films began in the 1970?s (though it 
didn?t pick up steam until the 1990?s), and like gender-in-media research in general, 
focused primarily on the portrayal of women until recent years. In her article ?Things 
27 
 
Walt Disney Never Told Us,? Stone (1975) examines the Disney Corporation?s mining of 
only those fairy tales which adhere to traditional gender roles. She argues that strong, 
task-oriented male heroes and beautiful, passive damsels in distress are the norm. Male 
characters drive the narratives, because they are the only ones who experience growth, 
while female characters remain constant, pretty and virtuous. As Stone explains: 
?Heroes succeed because they act, not because they are. They are judged not by 
their appearances or inherent sweet nature, but by their ability to overcome 
obstacles, even if these obstacles are defects in their own characters. Heroines are 
not allowed any defects, nor are they required to develop, since they are already 
perfect. The tests of most heroines require nothing beyond what they are born 
with: a beautiful face, tiny feet, or a pleasing temperament? (p. 45). 
Without experiencing growth or change, female characters in Disney animated fairy tales 
essentially become objects for the heroes to acquire. Their role in the narrative is to be 
rescued, loved, fought for, and to otherwise motivate the actions of male characters, as 
has historically been the case for Hollywood films in general (Mulvey, 1975). Through 
these animated fairy tales young girls observe beautiful, passive, obedient, and silent 
heroines and may associate that behavior with romantic fulfillment. 
Stone (1975) further points out that many alternative fairy tales from around the 
world could have been used for Disney?s animated features. In these tales women defeat 
villains and giants, rescue princes and family members, and win the hearts of their 
husbands instead of the other way around. In many of these fairy tales (coming from 
Denmark, England, and even America) the heroines are not described as especially 
28 
 
pretty. In fact, they are at times quite homely and in some cases their looks aren?t even 
mentioned. Their intelligence, actions, bravery, and other virtues are the merits by which 
they are judged. Stone interviewed forty women from a broad spectrum of backgrounds 
and ages to gleam their responses to the passive heroines of the Disney and Grimm fairy 
tales. While some reveled in the romantic fantasy, others expressed dismay and 
frustration at the inertia and helplessness of the female characters. Still others admitted 
enjoyment of the fairy tales with some reservations, bemoaning the lack of alternative 
portrayals of women and the unrealistic emphasis on physical beauty.  
It seems unlikely that such emphasis will change anytime soon; in a study of the 
Brothers Grimm?s fairy tales, Baker-Sperry (2003) found that those tales that have 
endured over the past 150 years are generally those that emphasize feminine beauty as a 
dominant theme, such as Cinderella, Sleeping Beauty, and Snow White. The proactive 
and unglamorous female characters from the world?s other fairy tales, it seems, slipped 
long ago from the public consciousness. 
The importance given to feminine beauty continues in Disney?s animated film 
canon. Lacroix (2004) argues that Disney?s construction of female heroines involves a 
heavy focus on sexuality. Disney princesses deserve critical evaluation because they 
represent cultural values, or the embodiment of the ideal, to their audience. Earlier 
Disney females had ?tiny waists, small breasts, slender wrists, legs, and arms? (p.220) 
and moved with the grace and fluidity of a classically-trained dancer, while more recent 
characters (such as Jasmine, Pocahontas, and Esmeralda) are more athletic, have strong 
29 
 
legs and voluptuous bosoms, and seem to reflect an increasing emphasis on physical 
maturity, sexuality, and unrealistic body images. 
Disney Females: A Product of Their Times? 
Do Rozario (2004) reported similar findings in her critique of Disney?s female 
characters, contending that they are all products of their times, both in terms of beauty 
and in terms of personality. Early Disney princesses were drawn after ballet dancer 
models, complete with petite, girlish frames and graceful movements. Later characters 
have transitioned from the ?princesses of ballet to the heroes of sport? with Jasmine pole-
vaulting, Ariel acting as a lifeguard, and Pocahontas rowing, diving, and cross-country 
running. Unlike Lacroix, Do Rozario doesn?t see this shift as an emphasis on physical 
maturity and sexuality, but rather as Disney adapting its formula for the era of more 
active females.  
While many have criticized Disney films for submissive female characters, this 
critique argues that there has been a progressive trend over time, mirroring changes in 
social reality. Snow White, though fairly one-dimensional and unfailingly virtuous and 
cheerful, is nonetheless content to work alongside the dwarves to sustain herself 
(paralleling real-life trends during the Great Depression, when the film was made). The 
three good fairies of Sleeping Beauty give up their powers to stay at home and raise the 
title character, in keeping expectations for females in the decade (1950?s) in which the 
movie was made. However, Aurora herself foreshadows the more liberal and rapidly 
approaching 1960?s (the film was released in 1959). Wandering barefoot in the forest, she 
often does not do as she?s told and would rather go on a date with the man of her choice 
30 
 
than embrace the role of passive princess. In keeping with the 1990?s in which it was 
released, the title character of Pocahontas chooses social responsibility over a clich? 
happily-ever-after with John Smith, opting to stay with her people instead of returning 
with him to England. The fact that she rejects his invitation suggests egalitarianism in 
their relationship, rather than the submissiveness required by the traditional patriarchal 
order. From this perspective, Disney has allowed the emergence of progressive themes in 
its films over time. 
Gender and Decision-Making Power 
Others would debate that point, however. Matti and Lisosky (1999), for example, 
contend that in spite of Disney Animation?s concentrated effort to update gender role 
behaviors in their films, it continually slides back into demeaning stereotypes. Analyzing 
the behavior of the primary male and female leads from three hugely popular Disney 
films (Pocahontas, Aladdin, and Beauty and the Beast), this study found that male 
characters, far more often than female characters, make ?command decisions,? i.e. a 
decision instructing others what to do. This finding suggests that males are put in a 
leadership role more often than females in these films. ?Personal decisions,? with a 
character making a choice for themselves and their own lives but not requiring others to 
follow suit, were made almost equally between males and females, with female personal 
choice occurring slightly more often than male. Thus, the decisions of female characters 
tended to affect only themselves (and possibly one other character), while those of males 
affected a larger group, suggesting greater influence and prestige given to males. Male 
and female characters were roughly balanced in making ?influenced decisions,? or 
31 
 
choices made following persuasion from another character. However, in all three 
categories, female decisions were met with failure far more often than male decisions. 
Only once was fault laid at a man?s feet, while this occurred frequently with women. 
Thus, while effort has been made to portray women as active decision-makers, they are 
depicted as incompetent in doing so, a dichotomy which might be confusing to young 
viewers. 
Markers of ?Good? and ?Bad? Women 
Indeed, the portrayal of gender in Disney animation sends messages to boys and 
girls about what it means to be male and female (as well as what is expected and 
appropriate for each) by implicitly and explicitly endorsing certain roles and behaviors 
while displaying others as negative. In the case of women, several recurring themes are 
found. First and foremost is an implication that ?good? women ought to be either virginal 
epitomes of youthful innocence, grace, and beauty or non-sexualized maternal figures. 
Bell (1995) points out that the female villains (like The Little Mermaid?s Ursula, 101 
Dalmatians? Cruella De Ville, and Cinderella?s evil stepmother) are all at their ?middle-
aged peak of sexuality and authority? marking that era of life as ?a dangerous, 
consumptive, and transgressive realm? (p. 109). Meanwhile, care-giving grandmother 
types (Cinderella?s fairy godmother, Sleeping Beauty?s three fairy caretakers, 
Pocahontas? Grandmother Willow) who are in the ?postmenopausal script of asexuality,? 
and the teenage/young adult heroines, who are ?in their prime of vulnerability and 
physical beauty,? (p. 109) are portrayed in a positive light. 
32 
 
Traditionally, Disney animation has shown women to be subservient to men, with 
the domination of the latter over the former often romanticized (Beres, 1999). Women 
have rarely been displayed in any type of initiative-taking, problem solving heroics. As 
explained by Murphy (1995), with Disney heroines often placed in circumstances in 
which they are rescued, they finish the stories with only their circumstances changed, 
having experienced no growth nor change. Murphy then makes two profound points: 
?since the films do not empower their characters, they cannot hope to empower their 
audiences? (p. 134) and ?as a father, I began to experience a heightened concern for the 
truth of feminist claims about the exclusion of female heroism and agency in the 
literature [and media] young women experience? (p. 147). Bell (1995) observed that, in 
Disney animation, the ?power of feminine goodness [is] rooted in matriarchal healing, 
comfort, and sacrifice? (p. 120). Indeed, it seems that Disney females are allowed to 
display intelligence and active problem-solving only with regards to the traditionally 
female assignment of protection and care of their young. Murphy (1995) uses 101 
Dalmatians as a prime example: 
?As good females, Perdita and the housekeeper are permitted only to take initiative 
when doing so in defense of the pups. The other prominent females are the dairy 
cows who provide milk to the hungry pups. Only as mothers, real or surrogate, are 
females depicted as doing anything positive in this film, and of course, they do it 
instinctively; the canine males, however, analyze and calculate? (p. 129). 
If, as Ross (2004) contends, imagination on-screen can ?burst the bonds of 
traditional femininity,? Disney?s consistent placement of limitations on what is 
33 
 
appropriately feminine represents squandered potential to provide a variety of models and 
options for children to aspire to. Instead, female models seem to fit only into categories 
of princess, witch, damsel-in-distress, maternal figure, and evil stepmother (DeFife, 2009, 
para. 4). Biological mothers themselves are strangely absent from the vast majority of 
Disney animated films, with single fathers often left in their stead, further cementing the 
patriarchal nature of the movies (Giroux, 1994).  
Disney?s Tug-of-War With Change 
 To the studio?s credit, not all Disney heroines completely fit these molds. 
Characters such as Belle in Beauty and the Beast and Ariel in The Little Mermaid eschew 
gender stereotypes to display an active intelligence and a pursuit of individual dreams 
(Bell, 1995). Mulan becomes the savior of her nation and a better warrior than the men. 
Nala proves to be as noble, skilled, and brave as Simba (if not more so) in The Lion King. 
Disney Studios has displayed a fairly progressive attitude as of late, producing the liberal 
Will and Grace for ABC television, hosting a Gay Day Festival at Disney World, and 
putting on an avant-garde Broadway production of The Lion King as a stage musical 
(Giroux, 1999). However, Ross (2004) suggests that any signs of liberal thought at 
Disney are more the result of focus groups than any fundamental change in the Disney 
Doctrine, and are always undercut by conservatism.  
For example, Mary Poppins, though independent and without need for romance to 
find personal fulfillment, still serves the purpose of reestablishing a father as the head of 
his household and helping a feminist mother learn her place in the home. The spinster 
witch in Bedknobs and Broomsticks loses her power when she stops insisting that she 
34 
 
doesn?t need a man and falls in love, ultimately respecting his authority (Cuomo, 1995). 
The strong lionesses of the pride in The Lion King bow to patriarchal authority as well, 
submitting Scar when he has assumed control even though he is incompetent and they 
vastly outnumber him (Giroux, 1994). 
This pattern is also true of newer Disney films; Gillam and Wooden (2008) point 
out that the feminist rhetoric that has contributed so much to societal change has yet to 
impact Disney films as much as some would think, noting that even the most strong and 
intelligent Disney princesses, such as Ariel, Jasmine, and Belle ?remain thin, beautiful, 
kind, obedient or punished for disobedience, and headed for the alter? (p. 3).  As Ross 
(2004) points out, the fact that many animated films end with a wedding elicits censure 
from critical voices ?who would like to see our daughters presented with other options,? 
though the complaints are less when the ?marriage seems to grant the heroine true 
personal fulfillment and possibilities for further growth? and ?the beginning of a new 
life? (p. 60). Unfortunately, most of the weddings are the narrative climax, with a ?and 
they lived happily ever after? post-script (either explicit or implied) strongly suggesting 
that finding a man and getting married is the end-all-be-all of female experience.  
In her review of Mulan for The New York Times, Maslin (1998) points out that 
even when ?Disney takes a sledgehammer to the subject of gender stereotyping? with the 
courageous and independent title character, ?this is still enough of a fairy tale to need Mr. 
Right? (p. 13). This tale of gender-role reversal via a female warrior ends, traditionally 
and predictably, with the capable heroine falling for a square-jawed hero who is invited 
to stay forever. Giroux (1994) made a similar argument about Ariel, the protagonist of 
35 
 
The Little Mermaid, stating that the young viewers are poised to accept, by the film?s 
finale, that empowerment and agency are closely linked to winning the heart of a good-
looking man. Wohlwend (2009) also points out that Ariel must keep her mouth shut to 
win the prince, and that Belle in Beauty and the Beast gives up her independence when 
she falls for the Beast, becoming ?mistress of the castle and its singing housewife? (p. 
65). 
Factors Which Mitigate Disney?s Gender Messages 
Several studies have investigated the effects of repeat viewings of ?Disney 
Princess? movies on girls and women. Wohlwend (2009) performed a case study of three 
girls, ages five through six, who reported lifetime exposure to the films Snow White, 
Aladdin, Beauty and the Beast, Pocahontas, Mulan, Cinderella, The Little Mermaid, and 
Sleeping Beauty. The girls were part of a twenty-one student classroom, comprised of 
males and females of the same age, who together participated in writing, drawing, and 
play-production projects. Over time, the children grouped together based on mutual 
interests. The three girls, labeled The Disney Princess Players by Wohlwend, consistently 
animated Disney Princess dolls in their play and interactions, using them to act out 
scenarios and stories.  
All of the groups were assigned the task to write a simple stage play and act it out. 
Wohlwend coded the girls? behaviors during playtime as well as writing and preparing 
for the play. She found that the girls spent 48% of their time animating Disney princess 
dolls. The narratives the girls created integrated both the storylines of the films 
themselves as well as some new details. Often their enacted stories involved finding or 
36 
 
creating a good family, a value they may or may not have acquired from the films. As the 
children scripted and acted out their simplified stage version of Sleeping Beauty, they 
added a wedding scene at the end. However, they also rewrote the title character?s story 
to include more proactive, assertive behaviors. For example, in the version they 
performed for the class, Princess Aurora slew the dragon and rescued the prince, not the 
other way around. Thus while some gender expectations (marriage, family) appear to 
have been influenced by the film, others (proactive rescuing of the male by the female) 
appear to come from other sources. 
The finding that media influences are mitigated by other factors is supported by 
Bandura?s (2008) social cognitive theory of mass communication, which proposes that 
personal, environmental, and behavioral factors interact with and influence one another. 
Thus, people (including children) are not merely passive observers whose worldviews 
and behaviors are influenced by media, but rather actively select and analyze it. 
 The work of Aidman (1999) further supports this notion. Aidman interviewed 
three focus groups, with three to five participants in each, about their responses to the 
Disney version of Pocahontas. All three groups were made up of girls ages nine to 
thirteen. Group 1 was made up of Euro-American girls, Group 2 of Native American girls 
who lived in a large Midwestern city, and Group 3 was of Native American girls who 
lived on a reservation. The urban Native Americans had seen the film an average of eight 
times, while the Native American girls from the reservation had seen it an average of 2.3 
times and the Euro-American girls an average of 1.4.  
37 
 
The Euro-American girls generally viewed the film with a cynical tone and found 
little value in the film or in its portrayal of Pocahontas, though they did comment on the 
reversing of stereotypes by making the whites the ?savages.? The urban Native American 
girls responded most positively to the film, expressing excitement at a positive portrayal 
of an American Indian woman as a heroine. They also applauded the character?s 
intelligence, bravery, altruism, strength, and wisdom. The girls from the Native American 
reservation didn?t identify as strongly with the character as the urban American Indian 
girls did, perhaps because living in a homogenous culture gave them a strong sense of 
identity and community, while the urban girls longed, as minorities in the city, for a 
Native American heroine to represent them. While all three groups acknowledged the 
character?s physical beauty, the Euro-American girls found Pocahontas to be less pretty 
than other princesses while the urban Native American girls expressed a desire to be 
?pretty like her? (p. 15). The girls from the reservation, however, expressed no 
dissatisfaction with their looks in relation to the title characters. Aidman argues that the 
girls? responses to the film are as much influenced by their personal and community 
backgrounds as by the film itself. 
Tonn (2008) interviewed thirteen female undergraduates from a Midwestern 
university to gauge how the viewing of Disney films throughout their life has affected 
their perceptions of love. All of the participants were screened via a trivia questionnaire 
to test their knowledge of the Disney animated films Snow White, Cinderella, Sleeping 
Beauty, The Little Mermaid, Beauty and the Beast, and Pocahontas. Those scoring 
seventy-five percent or lower were dropped from the study. Based on these criteria, three 
38 
 
young women were ineligible, bringing the sample to ten female undergraduates. The 
interview consisted of fourteen open-ended questions, dealing with gender, love, where 
individual perceptions of gender came from, if and why those perceptions changed over 
time, and thoughts on the behavior of Disney female characters (including judgments of 
positive/negative). Respondents had an hour and a half to complete the written interview. 
Eighty percent of the respondents reported continuing to watch older Disney films while 
one-hundred percent reported watching newer ones.  
When asked where their concepts of romance came from, fifty percent responded 
?both parents and TV/movies? while thirty percent responded ?just movies/TV? and 
twenty percent ?just parents.? When asked how participants feel about the romance 
displayed in Disney films, ninety percent reported that Disney movies are unrealistic, 
with quick courtships and happily ever after endings. It should be noted that all 
respondents conceded that they still believed in ?happily ever after,? but that there would 
be obstacles and challenges throughout life. Seventy percent of the respondents reported 
that their expectations about love were altered by their own dating/relationship 
experiences. The notion of the ?happily ever after? ending being replaced with a more 
realistic view due to life experiences suggests that Disney films do little to prepare young 
children for the realities of dating. The results of this study, along with the previous two, 
strongly imply that while other factors contribute to viewer ideas about gender and love, 
those who consistently watch Disney films often do not remain unaffected. 
The Disney Male 
 The potential effects of a ?steady Disney diet? should not be ignored, as both men  
39 
 
and women appear to be bound to traditional gender roles in the Disney canon. In a study 
of 26 full-length Disney animated movies, Towbin (2004) found that gender stereotypes 
have persisted over time, with few exceptions, and that there were no depictions of 
homosexual couplings in any of the 26 movies. Beres (1995) found that Disney men were 
almost always shown to be in a position of authority over Disney women. Bell (1995) 
described early Disney males as silent, dramatic, and cardboard, but this appears to have 
only been the case with romantic leads (such as those in Cinderella and Sleeping Beauty) 
and is no longer applicable (as evidenced by the personable Aladdin and the complex 
Tarzan). This change was noted by Gillam and Wooden (2008), who described a 
postmodern Disney male as promoting a new masculinity, rooted in emotional 
availability and acceptance of his more ?feminine aspects? (p. 2). The new male in 
Disney animation learns to connect with others and to eschew the traditional dominant 
masculine model, finding it a recipe for loneliness. Jeffords (1995), using Beauty and the 
Beast as an example, clarifies: ?It is as if, the Beast?s story might suggest, masculinity 
has been betrayed by its own cultural imagery: what men thought they were supposed to 
be- strong, protective, powerful commanding- has somehow backfired and become their 
own evil curse? (p. 171). The new male possesses both ?masculine? qualities of courage, 
assertiveness, and intelligence and ?feminine? traits of emotional availability and 
relational bonding. 
 The primary manner in which the ?new male? is forged from the old is through 
the influence of care-giving women, whose love and affection is the strongest mechanism 
for change (Jeffords, 1995). In fact, while early Disney films tended to have female leads 
40 
 
and male love interests, later animated films, such as Aladdin, The Lion King, and Tarzan 
reverse the trend, casting women as ?helpers, love interests, and moral compasses to the 
male characters whose problems, feelings, and desires drive the narratives? (Hopkins, 
2008). However, unlike the earlier movies where the female is an object to be acquired 
(e.g. the prince slays a dragon to win Sleeping Beauty), these later films at least pay 
respect to female agency and choice, with Aladdin acknowledging Jasmine?s right to 
choose her destiny and that she?s not a ?prize to be won,? and the Beast fighting for 
Belle?s ?freedom, not her hand, which he will accept only as her gift? (Ross, 2004, p. 62). 
Ironically it is the uber-masculine Gaston, believing that he can win Belle through sheer 
force of will, who is portrayed as the villain. Still, even with the new emphasis on 
females as free agents, the ultimate outcome of conflict and narrative is often determined 
by men (Jeffords, 1995, p. 172).  
Heterosexual Dynamics 
 Faherty (2001) performed a quantitative content analysis of the nineteen most 
successful (in terms of box-office) Disney animated films, coding for diversity variables 
such as age, race/ethnicity, and gender. He found that while sixty-three percent of the 
characters were male and twenty-eight percent were female (with nine percent 
indiscernible visually), females were significantly less likely to be placed in the role of a 
villain (with statistical significance determined by chi-square comparisons between males 
and females). Females were not significantly more likely than men to experience a social 
vulnerability (defined as a life situation or condition that places one at a physical, 
economic, or social disadvantage), running contrary to popular theory that women are 
41 
 
portrayed in Disney films as dependent and in need of rescue. However, paralleling 
Bell?s (1995) observation, women characters are portrayed as young adults and 
adolescents significantly more than would be statistically expected. Also consistent with 
other research (Junn, n.d, Giroux 1994), mothers and two-parent families occur 
significantly less than would be statistically expected.  
 In a study for The American Journal of Family Therapy, Tanner et al. (2003) 
performed a qualitative thematic analysis of 26 Disney animated films, from 1937?s Snow 
White to 2000?s The Emperor?s New Groove (no Pixar films were included). Though the 
study wasn?t specifically about gender, it dealt with a related topic: the portrayal of 
couples and families in Disney feature-length animated films. Purposive sampling was 
used to pick the most popular Disney films, based on Disney?s own ?100 Years of 
Magic? survey. Two raters independently coded two entire films, and then compared 
results, revealing very few discrepancies, which were discussed to ensure agreement in 
the indexing of later films. The raters then coded the remaining 24 films by assigning 
each rater 12 films. They found that 82.3 percent of the films show marriage and children 
as the expected course for couples (in keeping with the ?Disney Doctrine? mentioned 
earlier). 42 percent show both parents present, and in cases of single-parents, the majority 
(60 percent) are fathers.  
That study does integrate gender themes, finding mothers displayed primarily as 
submissive caregivers, taking initiative and being bold only when protecting their young, 
a finding emphasized by others as well (Murphy, 1995; Bell, 1995). Fathers, on the other 
hand, were shown as controlling, aggressive, and protective disciplinarians in over half 
42 
 
(53 percent) of the father roles. These fathers expected love and respect to be given to 
them unconditionally. The other 47 percent of fathers were portrayed as nurturing and 
affectionate parents who listened to their children (p. 363).  
All of the couples were heterosexual, with some 78 percent displayed as falling 
?in love at first sight? (as measured by one or both partners expressing romantic interest 
after a single meeting). The other 12 percent of films, such as Tarzan and Mulan, 
displayed the process of ?falling in love? as taking more time for both male and female 
partners. Sadly, no distinction was made between male and female tendency to fall in 
love at first sight, thus it is impossible from this study to determine whether males or 
females are displayed as quicker to be romantically inclined.  
Egalitarian sharing of power in heterosexual Disney animated couples was not 
unheard of in this study, but it was rare. Tarzan?s Jane was noted as being equally adept 
at navigating the trees, and The Rescuers Down Under?s Bernard and Bianca made 
decisions together. Sadly, of eight markedly uneven power distributions between men 
and women, only one (Alice in Wonderland) was in favor of the woman. This study 
found that fathers are elevated, while mothers are marginalized, with couples following 
traditional gender roles of patriarchy. These findings are summarized succinctly by the 
authors:  
?Girls appear to receive conflicted messages. On one hand, marriage and children 
are presented as the ultimate goal in life. On the other hand, women are often 
depicted in marginalized and powerless roles once married with children. Although 
these messages are beginning to change in some newer films, there are also current 
43 
 
films that continue to perpetuate this unrealistic expectation for relationships? (p. 
369).  
These findings suggest that Disney?s dedication to conservative, traditional gender roles 
appears strong and resistant to change. 
 
Gender in Disney Animation: Two Studies That Inspired the Present Research 
Junn?s Content Analysis of Marriage, Love, and Sexuality 
 Two studies, more than any others, inspired the present study, its themes, and its 
construction, and as such merit a more thorough investigation. Junn (1997) and Wiersma 
(2000) both examined gender portrayals in Disney animated films. Dr. Ellen Junn (1997), 
then of California State University, performed a content analysis of love, marriage, and 
sexuality in Disney animated films. Junn and two undergraduates coded a total of 377 
variables in eleven films from Disney animation?s canon. The eleven films were broken 
up into four genres, with the raters using the video?s dust jacket as a thematic guide: 
Older Romantic (Cinderella, Lady and the Tramp, Sleeping Beauty), Newer Romantic 
(Beauty and the Beast, Aladdin, The Little Mermaid), Nonromantic (The Jungle Book, 
The Rescuers Down Under, and Pinocchio), and Lesser-Known (Three Caballeros, 
Bongo).  
The variables were broken up into the following categories: love-romance 
(romantic behaviors such as initiating kissing or hand-holding, bringing gifts to a 
romantic interest, verbal references to love or infatuation, etc.), marriage-wedding 
44 
 
(depictions of wedding-scene events; verbal references to marriage, weddings, or 
childbearing, etc.), sexually-related (use of innuendo, provocative clothing such as 
underwear, low necklines, exposed legs, or an open shirt, and intentional sexually-related 
behaviors such as a female tracing a male?s chest with her fingertip, etc.), film 
demographics (sex, ethnicity, and social class of lead characters; total onscreen time of 
male and female characters, etc.) and miscellaneous variables such as the absence of 
mothers and fathers and the use of derogatory gender terms (n.d. pp. 7-8). Of interest to 
the current study is that all variables were ranked specifically and separately for males 
and females, allowing for a portrait of differences and similarities in their depictions, and 
thus for a snapshot of how gender is portrayed in Disney animated films. 
Each film was viewed independently by at least two raters, with the first coding 
the film and writing a very detailed running transcript of all depictions related to the 377 
coding variables; the second rater also coded the film and checked the first rater?s 
transcript for discrepancies. Said discrepancies were resolved by the segment in question 
being viewed by all three raters, discussing the coding until they reached an agreement. 
Among the more cogent findings (in relation to gender portrayals) of Junn?s 
(1997) study is the depiction of men engaging in a variety of behaviors and interests, 
while the focus of women is primarily romance. Of the six romantic films (three from the 
50?s, three from the 90?s) three had female leads (Cinderella, Sleeping Beauty, and The 
Little Mermaid), two had males and females sharing the lead position (Lady and the 
Tramp and Beauty and the Beast), while one had a male lead (Aladdin). However, of the 
five non-romantic films, all five featured male leads and only one (The Rescuers Down 
45 
 
Under) had a female character sharing the lead (Junn, n.d.). Thus, all but one of the 
romantic films featured a female lead character, and all but one of the nonromantic films 
did not.  
The argument that Disney contributes to a gender-socialized focus on romance for 
women, while encouraging men to explore many options, is further driven home by the 
finding that every lead female character started the films single and ended them attached 
to a male, while this was not true of male leads (n.d, p. 10). Thus, while male characters 
do find love, they are often shown as independent and able to live without women, while 
women ultimately end up with a man.  
What?s more, even in the area of romance females are generally displayed as 
more passive, striking sensual or coy poses, giggling, and primping their hair, while men 
were seen as the active pursuers. (Junn, 1997). Male characters engaged in 1.5 times 
more love-related behaviors (romantic behaviors such as initiating kissing or hand-
holding, bringing gifts to a romantic interest, verbal references to love or infatuation, etc.) 
than females in older romantic films, though in newer romantic films the sexes are about 
equal. Male characters also scored higher than female characters on the marriage-
wedding variable, making anywhere between 2.5 to 6 times more references to marriage 
or weddings than females (depending on the genre of film).  
The only variable set in which women scored higher were sexually-related (use of 
innuendo, wearing of provocative clothing, and intentional sexually-related behaviors 
such as flirtatious touching), in which they scored 2 to 4.5 times higher than males, 
depending on the genre of film (Junn, n.d.). These depictions of men and women may 
46 
 
contribute to gender socialization in which female children are taught to not be assertive 
in using intelligence, emotional availability, or relational skills in pursuit of males; rather, 
Junn and her colleagues found the continuing message that females are to use their 
physical attractiveness as the primary means of attracting  males. 
Another gender-related finding of interest in Junn?s study is the presence or 
absence of mothers and fathers. Of the six female leads, four did not have a present 
biological mother, while all six had a relationship with their father. Of the seven male 
leads, three referenced or were shown interacting with their father, while none had a 
present mother. This is consistent with the findings by other researchers (e.g. Giroux, 
1994). The under-representation of mothers is cause for discussion, as is the finding that 
not a single film in the sample portrayed divorce; these findings support the popular 
notion that the worldview presented by Disney animation is unquestionably biased.  
Wiersma?s Analysis of Gender in Disney Animation 
This bias is further revealed in the research of Wiersma (2000), who performed a 
qualitative analysis of 16 feature-length animated Disney movies (only one, Toy Story, 
was a collaboration with Pixar). The study had five hypotheses: 1) Male characters will 
outnumber female characters. 2) The female characters will participate in more 
stereotypical home-based activities than males. 3) The female characters will not be 
portrayed in outside-the-home employment. 4) The male characters in Disney films will 
be portrayed as holding societal power and female characters will not. 5) Male characters 
will display more traditional masculine traits while females will display traditional 
feminine ones. (pp. 38-39). 
47 
 
These five hypotheses were tested using five areas of coding developed by Busby 
(1974): 1) Physical appearance: male or female, body size, shape, build or figure, 
clothing, hair, and apparent age. 2) In-home labor: activities related to the up-keep of the 
home and/or yard. 3) Out-of-home employment: occupation or job title. 4) Societal or 
familial power: authority, status, and holding an important position. 5) Character traits: 
traditional stereotyped feminine and masculine traits including: passive (compliant, 
accepting without objection) or aggressive (bossy, controlling, acting in a hostile manner 
or physically fighting), dependent (needs to be rescued or taken care of) or independent 
(doesn?t need these things), emotional (cries) or unemotional (doesn?t cry), and romantic 
(expresses interest in the opposite sex, or in kissing, getting married, or having offspring, 
or does any of those things) or unromantic (does not express interest in or do any of those 
things).  
Some of these coding areas lent themselves to simple, yes-or-no quantitative and 
objective coding (such as in-home labor, societal power, and occupation), while others 
didn?t. Some areas were mutually exclusive, while others were not; for example as counts 
were not made of how many times a character possessed or displayed a specific trait, a 
single character could be described as passive and aggressive, or dependent and 
independent, depending on whether they displayed behavior matching the description at 
least once. However, other areas (such as emotional or romantic) were ?either/or? 
categories; a character either cried, or they did not; likewise they both displayed romantic 
behaviors and expressed romantic interest, or they did not. The ratio of male-to-female 
characters was determined by tallying the speaking characters and the major ones who 
48 
 
didn?t speak (?major? characters were either included in the film?s title or on the box 
cover). Anthropomorphized animals were coded as male and female ?based on their 
name, physical appearance, clothing, heterosexual couplings, and pronouns in the verbal 
text? (p. 42). 
The first hypothesis, that male characters would outnumber females in Disney 
films, was supported. In all but one of the films males outnumber females when 
considering all characters. Aladdin had the highest male-to-female ratio (12:1), with an 
average across films of 2.4 males for every one female. Only Bambi had more females 
than males, a 4:3 ratio (eight females and six males). The overrepresentation of males and 
underrepresentation of females in Disney films echoes that found in other forms of media 
(Elasmar, 1999). 
The second hypothesis, that female characters in Disney films would be portrayed 
in stereotyped, home-based tasks and behaviors (such as cooking, cleaning, comforting or 
bedding children, etc.) more than males, was also supported. Disney females were shown 
performing household chores six times as often as males; four times as many female 
characters did housework as males, and females performed a total of twenty-four 
different home-based tasks to males? six. One may argue that women in reality appear to 
perform more housework than males, even when both are employed outside the home, 
and that Disney animated films merely reflect that reality; however, such portrayals could 
also been seen as gender stereotypes, and the research reviewed here suggests that 
examples where those stereotypes are defied seem to be the exception, not the rule 
49 
 
In the case of the third hypothesis, females were actually shown in out-of-home 
employment, but this portrayal was rare and very narrow. Wiersma voiced concern about 
the messages being conveyed to small children by limiting the occupational choices of 
female Disney characters, pointing out that ?the roles of queen and fairy are not 
occupations to which girls can actually aspire? (p.113). Male characters were displayed 
with a much wider range of vocations than women, spread across twenty-six employed 
male characters vs. four females. Wiersma argues that the lack of different occupations 
for females is related to the smaller number of female characters overall; indeed ?as long 
as the number of male characters continues to outnumber female characters there will 
remain fewer options in the presentation of female characters? (p. 133).  
The fourth hypothesis was supported, in that men are portrayed as holding more 
societal power than women, by a ratio of 5 to 1. While most men and women in power in 
Disney animated films earned that status through titles of royalty, even when royal titles 
were omitted men with positions of civic or economic clout outnumbered women by a 
ratio of 3 to 1. Most women are shown as having no family, economic, or social power. 
This is a trend for which Wiersma (2000) found almost no change from the 1930?s to the 
1990?s. With regards to the family, a patriarchal system, rather than egalitarian, has been 
the norm throughout Disney?s history, up through more recent films (p. 116). 
As for to the final hypothesis, that males would be portrayed with traditional 
masculine traits while women displayed feminine traits, the results only partially 
supported that hypothesis. The general trend still finds males being independent, 
assertive, exercising physical force, and having power and prestige, while women are 
50 
 
portrayed as emotional, passive, subordinate, nurturing, and romantic. That being said, in 
recent films there have been trends to display emotional variety across the sexes. Men are 
often displayed as more dependent than before, and women more independent, than in 
earlier films. There is also a tendency for men to be romantically-oriented. Still, change is 
occurring slowly, and old stereotypes remain pervasive.  
With regards to physical appearance, the male characters are consistently 
portrayed as falling in love with thin, beautiful, and young females. Getting to know each 
other before marriage appears to be less important than attraction and falling in love. 
Heroes and heroines were almost always represented with ?attractive features? (e.g. 
muscular and/or lean build for men, full lips, large eyes/eyelashes, and slender waist for 
women) while villains and sidekicks possessed unattractive features (obesity, 
underweight, overlarge nose, etc.). This finding led Wiersma (2000) to identify a message 
that physical attractiveness is an outward marker for positive traits, while physical 
unattractiveness is a cue for villainy or weakness; attractive people are happy and good, 
unattractive people are not (p. 132).  
This study had several noteworthy limitations. First and foremost, the study is 
self-described as a qualitative study, with coding frames completed via use of descriptive 
terms as opposed to counting as is done in a quantitative content analysis. According to 
Neuendorf (2002) a numerically-based data summary is far more empirically sound, 
making the qualitative descriptions used by Wiersma too broad and subjective. 
Furthermore, the methodology was revised as the study went along, using a ?spiraling 
process? which had the author going ?backward and forward making decisions based on 
51 
 
what emerged from the data? (Wiersma, 2000, p. 35). This technique is not as sound as 
an a priori design (Neuendorf, 2002) in which the methodology is ?locked in? before the 
study begins, or in other words, unchanged during the conducting of the study.  
 
Gender in the Films of Pixar Animation Studios 
Pixar: The New Face of Disney 
However, in the portrayal of gender onscreen, a bold new element has 
been introduced into the makeup of Disney?s empire, with the capacity for creative 
independence and enormous influence. In 1995, Disney collaborated with a fledgling 
computer-animation company named Pixar to release Toy Story, a film that garnered 
several Academy Award nominations, including one for Best Original Screenplay, a first 
for animated films (New York Times, 2009) and totally revolutionized family media. In 
the fourteen years since Toy Story has been released, Pixar-Disney?s computer-generated 
collaborations have grossed more than double, on average, than the traditional films of 
Walt Disney Animation Studios in both the domestic and foreign box office while costing 
only slightly more, on average, to produce, market, and distribute (Appendix A).  
Pixar?s success has spawned many imitators, some more successful than others, 
but none have had the unparalleled commercial and critical success of Pixar. Since the 
Best Animated Feature category was created at the Academy Awards in 2001, Pixar has 
won four times, making it indisputably the most successful studio in this field, over 
sibling company Disney Animation and rival studios such as Dreamworks and Fox 
52 
 
Animation (New York Times, 2009). Variety critic Todd McCarthy (2009) lauds Pixar?s 
track record, saying that they are batting ?ten for ten? in making excellent films, with 
some of them masterpieces, praising the writing, the vocal work, the animation, music, 
and technical precision of Pixar films universally. Another Variety reporter simply states: 
?Everyone at Pixar seems so darn smart? (Speir, 2004). 
 With Pixar outshining Disney Animation Studios at the box-office and with the 
critcs, Walt?s empire formally acquired Pixar in a $7.4 billion deal in 2006, after 
collaborating as its distributor for eleven years. In a fascinating (and uncharacteristic) 
twist, the Disney Corporation agreed to allow Pixar to continue to be managed 
independently, relinquishing creative control. Robert A. Iger, then head of Disney, 
explained that ?While Disney can make them, Pixar making them is totally different? and 
that the acquisition ?stirs hopes for rekindling the animated storytelling tradition at 
Disney? (Holson, 2006). Iger?s statements effectively, and formally, confirm Pixar 
Studios as the chief guardian of Disney?s future. With the studio granting Pixar creative 
freedom over its own projects, the latter is poised to go in a new direction, to drop the 
shackles of the ?Disney Doctrine? and establish a new status quo for its media.  
Existing Research: The ?New Man? and Heterosexism 
With such potential for influence, it is surprising that so little research has been 
conducted on gender portrayals in Pixar films. An in-depth search for scholarly articles 
on the subject (including the databases Academic Search Premier, Coommunication and 
Mass Media Complete, PsychINFO, and Google Scholar) turned up only two studies, 
neither of them a quantitative analysis. In the first, Gillam and Wooden (2008) set out to 
53 
 
examine the portrayal of masculinity and male characters in Pixar films, contending that 
the majority of gender studies in Disney films have focused on women. They found that 
Pixar is advocating a ?rather progressive?model of gender? (p. 2) and argue that, even 
while traditional Disney animation has largely failed to incorporate feminist thought 
towards empowering of its female characters, the feminist movement ?has been 
surprisingly effective in rewriting the type of masculine power promoted by Disney?s 
products? (p. 3), especially in Pixar films.   
Tracking the development of male protagonists in three Pixar films (Toy Story, 
Cars, and The Incredibles), they noted a trend of characters overcoming the flaws of the 
toughness associated with the traditional alpha male, including isolation, denial of 
vulnerability, and the fear of figurative emasculation from any disempowerment. Each 
character grows to embrace and promote his more ?feminine aspects? including kindness 
and gentleness, ?caring, sharing, nurturing, and community? (p. 7). 
In the cases of Buzz Lightyear and Woody from Toy Story, Lightning McQueen 
in Cars, and Mr. Incredible from The Incredibles, Gillam and Wooden (2008) found that 
all strive initially for a strong, independent, assertive alpha-male identity. They all later 
face emasculating failures and ultimately all find redemption through the learning of 
altruism, the display of emotional vulnerability, and the establishment of meaningful 
homosocial relationships. By these means they achieve (and teach) a ?kinder, gentler 
understanding of what it means to be a man? (p. 3).  
Buzz Lightyear realizes he is only a toy, not an intergalactic savior, and finds 
meaning through making a child happy. Woody falls from his place as leader, mentor and 
54 
 
preferred companion, and after overcoming his jealousy of Buzz, becomes a more 
effective leader by sharing his power and putting others before himself. Lightning 
McQueen overcomes an obsessive, alpha-male desire to ?be the best? when he suffers a 
humiliating defeat. He then gains a new self-worth by belonging to a community, helping 
his friends, and placing integrity over victory. Mr. Incredible, after insisting that he 
?work alone? is figuratively emasculated, his self-confidence rattled by capture and 
defeat. He then finds new strength by working together with his wife and children, as 
well as by prizing their strengths instead of his own. All of these men transition from the 
old ?alpha male? to the new ?beta male? of reformed masculinity. 
Lugo-Lugo and Bloodsworth-Lugo (2009) performed a critical analysis of 
depictions of race and sexuality in four animated films by Disney, Dreamworks, and 
Disney-Pixar. Only one of the four, Toy Story, was a Pixar movie, and the authors 
investigated heterosexual norms rather than gender per se. Dedicating a mere two 
paragraphs to the film, they nevertheless found that Toy Story continues the long-standing 
tradition of heterosexism in children?s films. They cite Mr. Potato Head?s obsession with 
sharing the room with a Ms. Potato Head as well as Bo Peep?s vacillation in her 
affections between Woody and Buzz. The cowboy and the space toy thus become sexual 
competitors (though it?s arguable that Buzz is oblivious Bo Peep?s interest), with Bo Peep 
serving as an object to be won. That Woody ultimately wins her heart also follows a 
common theme in family media, that of choosing the ?steady guy rather than the flashy 
one? (p.175), as is the case in The Beauty and the Beast, Enchanted, and others.  
 
55 
 
Critical Observations 
Outside of academic studies, several articles and popular blogs on the subject of 
gender in Pixar have been written for publications such as Psychology Today (DeFife, 
2009), websites such as National Public Radio (Holmes, 2009) and Film.com (Nolan, 
2009), as well as forums such as Vast Public Indifference (Hopkins, 2008). A recurring 
theme in these articles is that Pixar writes strong and varied female characters, breaking 
free of the ?princess? confines of traditional Disney by portraying women as cowgirls, 
chefs, superheroes, and professionals. However, none of them have assumed the lead role 
in the narrative, at least not without sharing it with a man (Holmes, 2009). Nolan (2009) 
boldly states that ?it?s hard to think of a single Pixar film that hasn?t earned the right to be 
called a modern classic? (para. 1) but laments that none of the stories examine universal 
problems from a female character?s perspective, one in which young girls could ?see a 
reflection? of themselves. Holmes (2009) echoes this statement, pointing out that the 
stories are never about ?a girl and the things that happen to her? the way they are about ?a 
boy and the way things happen to him? (para. 2). DeFife (2009) cites strong popular 
examples such as Dorothy in The Wizard of Oz, the female action heroes of Aliens, Alias, 
Kill Bill, and Buffy: The Vampire Slayer, and the protagonists of Alice in Wonderland and 
Coraline to argue that there is a market for female-driven stories. He then challenges 
Pixar to use their creativity to add to the pile of strong, smart, capable women leads.   
Deficiencies in the Research and The Purpose of This Study                                                                         
While all of the articles above make interesting claims about the portrayal of 
gender roles in Pixar films they are based on critical observations and qualitative 
56 
 
measures. What is completely lacking in the research is a quantitative, empirical study of 
the subject. Claims about the marginalization of women via ?stacking the deck? with 
male characters have had no basis in quantifiable research, nor have observations about 
the ?new masculinity? or more independent, proactive female characters. The purpose of 
this study is to answer the question: ?How are gender roles portrayed in Pixar films?? 
using quantitative, empirically-supported content analysis measures.  
 
Research Hypotheses 
 Upon completion of the literature review, the following hypotheses were 
developed: 
Hypothesis 1. Male characters will appear more frequently than female characters 
(Wiersma 2000; Thompson and Zerbinos, 1995). 
 Hypothesis 2. Female characters will have lips at a higher rate than male 
characters (Wiersma, 2000). 
 Hypothesis 3. Female characters will have eyelashes at a higher rate than male 
characters (Wiersma 2000). 
 Hypothesis 4. Female characters will have breasts at a higher rate than male 
characters (Wiersma, 2000). 
 Hypothesis 5. Male characters will be portrayed as overweight more often than 
female characters, in part because males are villains more often (Li-Vollmer& LaPointe, 
57 
 
2003) and ?non-attractive? physical characteristics are associated more often with villains 
(Wiersma, 2000). 
 Hypothesis 6. Male characters will be portrayed as having muscular builds at a 
higher rate than females (Wiersma, 2000).  
 Hypothesis 7. Female characters will be portrayed as having athletic/slender 
builds at a higher rate than males (Wiersma, 2000). 
 Hypothesis 8. Females will be portrayed as underweight at higher rates than males 
(Wiersma, 2000).  
 Hypothesis 9. Male characters will be portrayed with average builds at a higher 
rate than female characters. 
 Hypothesis 10. Female characters will be portrayed performing in-home labor 
tasks at higher rates than male characters (Wiersma 2000).  
 Hypothesis 11. Male characters will be portrayed in out-of-home employment at 
higher rates than female characters (Wiersma, 2000). 
 Hypothesis 12. Males will be portrayed with societal power at higher rates than 
female characters (Wiersma, 2000; Matti and Lisosky, 1999). 
 Hypothesis 13. Male characters will be portrayed as possessing familial power at 
a higher rate than female characters (Junn 1997; Tanner, 2003). 
58 
 
 Hypothesis 14. Female characters will be portrayed as displaying compliant 
behaviors at higher rates than male characters (Wiersma, 2000; Tanner, 2003; Hedley, 
1994). 
 Hypothesis 15. Male characters will be portrayed as displaying defiant behavior at 
higher rates than female characters (Wiersma, 2000). 
 Hypothesis 16. Male characters will be portrayed as displaying bossy behaviors at 
higher rates than female characters (Wiersma, 2000; Tanner, 2003; Hedley, 1994; Matti 
and Lisosky, 1999). 
 Hypothesis 17. Female characters will be portrayed as displaying democratic 
behaviors at higher rates than male characters (Wiersma, 2000). 
 Hypothesis 18. Female characters will be portrayed as displaying dependent 
behaviors at higher rates than male characters (Wiersma, 2000). 
 Hypothesis 19. Male characters will be portrayed as displaying independent 
behavior at a higher rate than female characters (Wiersma, 2000). 
 Hypothesis 20. Female characters will be portrayed as emotional at a higher rate 
than male characters (Wiersma, 2000). 
 Hypothesis 21. Female characters will be portrayed as displaying romantic 
behaviors at a higher rate than males (Wiersma, 2000). 
 
59 
 
 
    
METHODS 
 The purpose of this study is to evaluate the portrayal of gender in feature-length 
Pixar animated films. 
 Sampling. Since 1995 when Pixar released its very first feature-length animated 
film, the studio has released a total of ten films (Toy Story, A Bug?s Life, Toy Story 2, 
Monster?s Inc., Finding Nemo, The Incredibles, Cars, Ratatouille, Wall-E, and Up). At 
the time of this study all were available on DVD for the repeat viewings necessary to 
code them for a content analysis. In an effort to track gender portrayal in Pixar films 
across the fourteen years between 1995?s Toy Story and 2009?s Up, all ten films were 
coded and analyzed, providing a complete sample.  
 Measures. The major inspiration for this study was Wiersma?s (2000) dissertation 
on the portrayal of gender in Disney animated films. While Wiersma?s coding scheme 
yielded high reliability scores and utilized several objective coding items, it was 
determined that an adaptation was needed for the present study. Namely, Wiersma?s 
study, though described as a content analysis, was qualitative in parts, possessed coding 
items for which reliability measures were not performed, and had a design that was 
revised during the study itself. According to Neuendorf (2002), a content analysis should 
be quantitative, easily replicable, and possess an a priori design. To better meet the 
60 
 
criteria for a content analysis, Wiersma?s coding system was adapted, slightly altered, 
and stripped of its qualitative items for this study.  
The five areas of coding used by Wiersma and created by Busby (1974) were 
again used, namely: physical appearance, in-home labor, out-of-home employment, 
societal or familial power, and character traits. The primary difference was the use of 
only simple, objective, ?yes or no? coding items, such as employed vs. unemployed, 
married vs. unmarried, and eyelashes or no eyelashes, and so forth. The coding items of 
each of the five areas are as follows. For physical appearance: Lips, Eyelashes, Breasts, 
Overweight, Muscular, Athletic/Slender, Underweight, and Average Build. For in-home 
labor: In-Home Labor. For out-of-home employment: Out-of-Home Employment. For 
societal or familial power: Societal Power and Familial Power. For character traits: 
Compliant, Defiant, Bossy, Democratic, Dependent, Independent, Emotional, and 
Romantic.   (See Appendix B for the coding instrument and Appendix C for the codebook 
containing operational definitions of the items used in this study). The characters were 
also coded as male or female, based on character name, references to the character as 
?he? or ?she,? ?Mister? or ?Missus,? or other gender clarifiers. In cases where gender 
could not be readily established by the film itself, the gender of the vocal actor was to be 
taken as the gender of the character, though this was never necessary.  
 Wiersma found it nearly impossible to code for every character that appears 
onscreen, as each film may have dozens or even hundreds of them, and the time and 
effort required to attempt such an endeavor exceeded the bounds of her resources. In this 
study, the researcher also made no effort to code every character, for similar practical 
61 
 
reasons. Instead, the focus was on the more prominent, ?main? characters, as determined 
by reviewing the films? closing credits and making note of the first ten character names. 
Those ten characters were rated using the coding scheme; the rest of the characters were 
not. Two films necessitated an alteration of this strategy. The closing credits of The 
Incredibles list characters in order of appearance instead of importance to the narrative, 
listing peripheral characters such as ?Newsreel Narrator? before prominent characters 
such as Violet and Mirage. For this reason the ten characters used from this film were 
found on the character page of the film?s official site, 
http://www.pixar.com/featurefilms/incredibles/characters.html (it is worth noting that the 
strategy of taking the first ten characters from the closing credits was used in the rest of 
this study, instead of using character listings from the films? official sites, because those 
sites often listed significantly less than ten characters; the ?closing credits strategy? 
allows for greater representation). Eight of the nine characters from the Incredibles? web 
page were used: the baby, Jack-Jack, was omitted because his behaviors and personality 
were limited: he couldn?t speak or even walk. Added to the eight characters taken from 
the film?s web site were the next two characters with the most screen time, making a total 
of ten. These characters were government agent Rick Dicker and insurance manager Mr. 
Huff. The film Wall-E had only nine characters listed in its closing credits: all nine were 
used in this study. Thus, nine films provided ten characters each, and one film (Wall-E) 
provided nine characters, for a total of ninety-nine characters coded. Each film was 
viewed ten times, once for each character to ensure total focus on that character and 
effective coding for each one. Wall-E, with only nine characters, was viewed nine times. 
62 
 
 Reliability. Inter-rater reliability was be established by training an undergraduate 
rater in the coding scheme, using the codebook (Appendix C) and scoring a ten-minute 
sample from The Incredibles with her for all of the main characters appearing in that 
segment; thus the ten-minute sample was viewed ten times. Scores were compared 
between the researcher and the other undergraduate rater, using Pearson?s R to calculate 
reliability scores. Where reliability scores were low, the coding scheme was to be 
reviewed with the other rater, clarifications made, and another segment coded for the trait 
where the deficiency occurred until an acceptable score was found. However, this never 
occurred, as inter-rater reliability scores were high for all measures: for physical traits r = 
0.87, in-home labor r = 1.00, out-of-home employment r = 0.86, societal or familial 
power r = 1.00, and for character traits r = 0.96.   
 Analysis. The films were viewed a total of ten times each (except for Wall-E?s 
nine times, for the aforementioned reasons) and each individual character?s coding sheet 
was filled out during the viewing process. The data were entered into SPSS data analysis 
software, with males entered as ?0? and females as ?1.? ?Yes? and ?No? for each item 
were likewise entered as ?1? and ?0,? respectively. The data were analyzed using Pearson 
chi-squares to determine the strength of the relationship between the sex of the characters 
and individual coding items (Faherty, 2001), except in the case of the first hypothesis, 
where a one-sample t-test was used to determine whether actual number of male and 
female characters differed significantly from the expected value. The statistical 
significance was set at 0.05 for all analyses. A one-tailed p-value test was used to 
determine significance levels for individual items, as each item was predicted by a 
63 
 
directional hypothesis (StatPac, 2009). Adjusted residuals were used to determine the 
difference between observed and expected values; values of +2 or -2 for the residuals 
indicate that the observed values are very different from the values expected.  
 
64 
 
  
 
 
 
 
RESULTS 
 
 
 In this section the results of analyzing the hypotheses will be shared. Unless 
otherwise specified, the significance level for this study will be p<.05. Since all the 
hypothesis are directional, the one-tailed significance levels were utilized. 
Hypothesis 1. Male characters will appear more frequently than female characters. 
Seventy-one of the 99 characters were male, and 28 were female. Since one variable was 
measured (sex), an unpaired t-test was performed to determine statistical significance. A 
significant difference between the number of males and the number of females was 
found, with males outnumbering females by a ratio of 3 to 1. See Table 1.  
Table 1 
Sex             
Observed N- Males    Observed N- Females 
75      24   
             
t 11.129. 
df    18. 
p .000. 
65 
 
Hypothesis 2. Female characters will have lips at a higher rate than male characters. To 
test for the association between the presence of lips and the sex of characters, chi-squares 
were conducted. No significant differences between males and females were found. See 
Table 2.  
 
Table 2 
Presence of Lips by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Lips ? Y 35  37.9   15  12.1 
Lips ? N 40  37.1   9  11.9 
             
?2 1.823. 
df 1. 
p .089. 
 
 
66 
 
Hypothesis 3. Female characters will have eyelashes at a higher rate than male characters 
(Wiersma 2000). To test for the association between the presence of eyelashes and the 
sex of characters, chi-squares were conducted. A significant association between the two 
variables was found, yielding adjusted residuals of 6.2 and -6.2. Male characters had 
eyelashes less than expected, while females had them more than expected. See Table 3. 
 
Table 3 
Presence of Eyelashes by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Eyelashes- Y  4  14.4   15  4.6a 
Eyelashes- N  71  60.6   9  19.4 
             
a One cell (25%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2 38.313. 
df 1. 
p .000. 
67 
 
Hypothesis 4. Female characters will have breasts at a higher rate than men (Wiersma, 
2000). To test for the association between the presence of breasts and the sex of 
characters, chi-squares were conducted. A significant association between the variables 
was found, yielding adjusted residuals of 5.1 and -5.1. Male characters had breasts at a 
lower than expected rate, while females had breasts at a higher than expected rate. See 
Table 4. 
Table 4 
Presence of Breasts by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Breasts- Y  2  9.1   10  2.9 a 
Breasts- N  73  65.9   14  21.1 
             
a One cell (25%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2 25.962. 
df 1.   
p .000. 
68 
 
Hypothesis 5. Male characters will be portrayed as overweight more often than female 
characters. To test for the association between overweight build and the sex of characters, 
chi-squares were conducted. No significant differences between males and females were 
found. See Table 5. 
 
Table 5 
Overweight Build by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Overweight- Y 17  14.4   2  4.6 a 
Overweight- N 58  60.6   22  19.4 
             
a One cell (25%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2 2.409. 
df 1. 
p .061. 
69 
 
Hypothesis 6. Male characters will be portrayed as having muscular builds at a higher 
rate than females. To test for the association between muscular build and the sex of 
characters, chi-squares were conducted. No significant differences between males and 
females were found. See Table 6. 
 
Table 6 
Muscular Build by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Muscular- Y  3  2.3 a   0  0.7 a 
Muscular- N  72  72.7   24  23.3 
             
a Two cells (50%) have an expected count of less than 5, thus the validity of the results 
are questionable. 
?2 .990. 
df 1. 
p .160. 
70 
 
Hypothesis 7. Female characters will be portrayed as having athletic/slender builds at a 
higher rate than males. To test for the association between overweight build and the sex 
of characters, chi-squares were conducted. A significant association between the 
variables was found, with adjusted residuals of 2.9 and -2.9. Male characters had an 
athletic/slender build less often than expected and females had an athletic/slender build 
more often than expected. See Table 7. 
Table 7 
Athletic/Slender Build by Sex          
                                                                 Males        Females 
Observed N Expected N Observed N Expected N 
Athletic/Slender ? Y  5  9.1   7  2.9 a 
Athletic/Slender ? N  70  65.9   17  24.1 
             
a One cell (25%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2 8.641. 
df 1. 
p .002. 
71 
 
Hypothesis 8. Females will be portrayed as underweight at higher rates than males 
(Wiersma, 2000). To test for the association between overweight build and the sex of 
characters, chi-squares were conducted. No significant association was found between the 
variables. See Table 8. 
 
Table 8 
Underweight Build by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Underweight- Y 3  3.8 a   2  1.2 a  
Underweight- N 72  71.2   22  22.8  
             
a Two cells (50%) have an expected count of less than 5, thus the validity of the results 
are questionable. 
?2 .712. 
df 1. 
p .200. 
 
72 
 
Hypothesis 9. Male characters will be portrayed with average builds at a higher rate than 
female characters. To test for the association between overweight build and the sex of 
characters, chi-squares were conducted.  No significant association was found between 
the two variables. See Table 9. 
 
Table 9 
Average Build by Sex           
Males     Females 
Observed N Expected N  Observed N Expected N 
Average-Y  44  42.4   12  13.6 
Average- N  31  32.6   12  10.4 
             
?2 .556. 
df 1. 
p .228. 
 
 
 
73 
 
Hypothesis 10. Female characters will be portrayed performing in-home labor tasks at 
higher rates than male characters. To test for the association between depictions of in-
home labor and the sex of characters, chi-squares were conducted. No significant 
differences between males and females were found. See Table 10. 
 
Table 10 
In-Home Labor by Sex          
    Males       Females 
Observed N Expected N     Observed N      Expected N 
In-Home Labor ? Y  11  13.6   7  4.4 a  
In-Home Labor- N  64  61.4   17  19.6 
             
a One cell (50%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2 2.570. 
df 1. 
p .055. 
 
74 
 
Hypothesis 11. Male characters will be portrayed in out-of-home employment at higher 
rates than female characters. To test for the association between depictions of out-of-
home employment and the sex of characters, chi-squares were conducted. No significant 
differences between males and females were found. See Table 11. 
 
Table 11 
Out-of-Home Employment by Sex         
Males    Females 
Observed N Expected N Observed N Expected N 
Out-of-Home Employment- Y       39      37.9            11      12.1 
Out-of Home Employment- N        36     37.1          13      12.9 
             
?2 .277. 
df 1. 
p .300. 
 
 
 
75 
 
Hypothesis 12. Males will be portrayed with societal power at higher rates than female 
characters. To test for the association between depictions of societal power and the sex of 
characters, chi-squares were conducted. No significant differences between males and 
females were found. See Table 12. 
 
Table 12 
Societal Power by Sex           
Males    Females 
Observed N Expected N Observed N Expected N 
Societal Power- Y       22       20.5      5       6.5 
Societal Power- N       53       54.5      19       17.5 
             
?2 .662. 
df 1. 
p .208. 
 
 
 
76 
 
Hypothesis 13. Male characters will be portrayed as possessing familial power at a higher 
rate than female characters. To test for the association between depictions of familial 
power and the sex of characters, chi-squares were conducted. A significant association 
between the variables was found, with adjusted residuals of 1.7 and -1.7. Male characters 
possessed familial power at a rate lesser than expected, and females possessed familial 
power at a higher rate than expected. See Table 13. 
Table 13 
Familial Power by Sex          
Males    Females 
Observed N Expected N Observed N Expected N 
Familial Power- Y  6  8.3   5  3.7a  
Familial Power- N  69  66.7   19  20.3 
             
a One cell (25%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2 3.032. 
df 1. 
p .041. 
77 
 
Hypothesis 14. Female characters will be portrayed as displaying compliant behaviors at 
higher rates than male characters. To test for the association between compliant behavior 
and the sex of characters, chi-squares were conducted. No significant association between 
the variables was found. See Table 14. 
 
Table 14 
Compliant Behavior by Sex          
Males    Females 
Observed N Expected N  Observed N Expected N 
Complaint- Y  60  58.3   17  18.7 
Compliant- N  15  16.7   7  5.3 
             
?2 .884. 
df 1. 
p .174. 
 
 
78 
 
Hypothesis 15. Male characters will be portrayed as displaying defiant behavior at higher 
rates than female characters. To test for the association between defiant behavior and the 
sex of characters, chi-squares were conducted. A significant association between the 
variables was found, with adjusted residuals of 1.9 and -1.9. Male characters displayed 
defiant behavior at rates higher than expected, while female characters displayed defiant 
behavior at lower rates than expected. See Table 15. 
 
Table 15 
Defiant Behavior by Sex          
Males      Females 
Observed N Expected N   Observed N Expected N 
Defiant- Y  45  40.9    9  13.1 
Defiant- N  30  34.1    15  10.9 
             
?2 3.713. 
df 1. 
p .027. 
 
79 
 
Hypothesis 16. Male characters will be portrayed as displaying bossy behaviors at higher 
rates than female characters. To test for the association between bossy behaviors and the 
sex of characters, chi-squares were conducted. No significant association between the 
variables was found. See Table 16 
 
Table 16 
Bossy Behavior by Sex          
Males      Females 
Observed N Expected N   Observed N Expected N 
Bossy- Y 65  66.7    23  21.3 
Bossy- N 10  8.3    1  2.7a  
             
a One cell (25%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2 1.547. 
df 1. 
p .107. 
80 
 
Hypothesis 17. Female characters will be portrayed as displaying democratic behaviors at 
higher rates than male characters. To test for the association between democratic 
behavior and the sex of characters, chi-squares were conducted. No significant 
association between the variables was found. See Table 17. 
Table 17 
Democratic Behavior by Sex          
    Males     Females 
Observed N Expected N  Observed N Expected N 
Democratic- Y 43   43.2   14  13.8  
Democratic- N 32   31.8   10  10.2  
             
?2 .007. 
df 1. 
p .466. 
 
 
 
 
81 
 
Hypothesis 18. Female characters will be portrayed as displaying dependent behaviors at 
higher rates than male characters. To test for the association between dependent behavior 
and the sex of characters, chi-squares were conducted. No significant association between 
the variables was found. See Table 18. 
 
Table 18 
Dependent Behavior by Sex          
    Males     Females 
Observed N Expected N  Observed N Expected N 
Dependent- Y   33  32.6   10  10.4  
Dependent- N   42  42.4   14  13.5 
             
?2 .040. 
df 1. 
p .421. 
 
 
 
82 
 
Hypothesis 19. Male characters will be portrayed as displaying independent behavior at a 
higher rate than female characters. To test for the association between independent 
behavior and the sex of characters, chi-squares were conducted. No significant 
association between the variables was found. See Table 19. 
 
Table 19 
Independent Behavior by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Independent- Y  45  45.5   15  14.5  
Independent- N  30  29.5   9  9.5 
             
?2 .048. 
df 1. 
p .414. 
 
 
 
83 
 
Hypothesis 20. Female characters will be portrayed as emotional at a higher rate than 
male characters. To test for the association between emotional behavior (crying) and the 
sex of characters, chi-squares were conducted. No significant association between the 
variables was found. See Table 20. 
 
Table 20 
Emotional Behavior by Sex          
Males     Females 
Observed N Expected N  Observed N Expected N 
Emotional- Y   14  14.4   5  4.6a   
Emotional- N   61  60.6   19  19.4 
  
                                  
a One cell (25%) has an expected count of less than 5, thus the validity of the results are 
questionable. 
?2  .055. 
df  1. 
p  .408. 
84 
 
Hypothesis 21. Female characters will be portrayed as displaying romantic behaviors at a 
higher rate than males. To test for the association between romantic behavior and the sex 
of characters, chi-squares were conducted. A significant association between the 
variables was found, with adjusted residuals of 2.3 and -2.3. Males displayed romantic 
behaviors at lower rates than expected and females displayed romantic behavior at higher 
rates than expected. See Table 21. 
 
Table 21 
Romantic Behavior by Sex         
   Males     Females 
Observed N Expected N  Observed N Expected N 
Romantic- Y  24  28.8   14  9.2  
Romantic- N  51  46.2   10  14.8  
            
?2 5.331. 
df 1. 
p .011. 
 
85 
 
 
 
 
 
DISCUSSION AND CONCLUSION 
 
 
 This study reveals Pixar Animation Studios as boldly breaking from decades of 
traditional sex-stereotyped gender portrayals in media, children?s media, and Disney 
media.  A full two-thirds of the variables measured displayed no significant difference 
between males and females. If media helps shape understanding of gender by providing 
male and female models (Bandura and Walters, 1963; Shrum, 2008), and children?s 
gender schemata are more susceptible to influence than those of adults (Li-Vollmer and 
LaPointe, 2003 ), then the potential value of Pixar?s influence and deviations from 
established norms ought not to be underestimated. 
 
Departures From Established Norms 
 Concerns expressed in the past pointed to the potential for media to contribute, via 
cultivation effects (Shrum, 2008), to the shaping of individuals? expectations for 
gendered behavior and romantic relationships (Segrin and Nabi, 2002). The worry was 
that popular films and television displayed patriarchal systems of male domination and 
female submission (Hedley, 1994), with masculinity associated with violence and activity 
and femininity associated with deference, domesticity, and romance (Thompson and 
Zerbinos, 1997). These messages are mitigated by environmental, familial, and cultural 
factors (Aidman, 1999; Tonn, 2008). Additionally, viewers, including children, actively 
86 
 
select what they view and how they interpret it (Bandura, 2008). For decades progressive 
interpretations and mitigating factors have had to compete with traditional gender 
portrayals (Wohlwend, 2009). Sex-stereotypes were the norm, and other options were 
rarely presented (Stone, 1975). The results of the present study suggest that Pixar 
Animation Studios is offering a variety of roles and behaviors for males and females that 
children have scarcely observed in media before. Indeed, Pixar offers a worldview where 
neither sex is regularly subjugated to the other. Additionally, no character, regardless of 
sex, is limited in their potential because of anatomy. 
 With no significant differences between males and females in the categories of 
overweight build, underweight build, muscular build, and average build, children who 
view Pixar films released through 2009 will observe a variety of body types for both 
males and females. They will also see both genders equally participate in out-of-home 
employment, instead of getting the idea that only males should pursue careers and work 
(Wiersma, 2000). Males, predictably, are shown in a wide variety of roles: newsreel 
announcer, construction foreman, explorer, archeologist, inventor, balloon artist, janitor, 
CEO, ship?s captain, pollution cleaner, saucier, restaurant owner, head chef, food critic, 
sous chef, garbage boy, waiter, sheriff, military surplus store owner, tire store assistant, 
tire store owner, car painter, tower of cars, judge, doctor, race car, government agent, 
insurance company manager, weapons designer, insurance agent, floor worker, assistant, 
CEO, scarer, scarer?s assistant, toy store owner, and circus performer. However, females 
are also portrayed in an equally varied range of roles: zoologist, reconnaissance explorer, 
chef, gas station owner, hotel owner, attorney, fashion designer, assistant, clerk, 
receptionist, supervisor of colonial labor, overseer of harvesting, ambassador, and 
87 
 
harvester. The fact that the absolute number of male roles outnumbered the number of 
female roles is a reflection of the fact that there are three male characters for every one 
female character in Pixar films released through 2009. That said, Pixar films portray a 
world where out-of-home employment opportunities belong to both men and women. 
 Likewise, domestic labor, traditionally portrayed as ?women?s work? (Wiersma, 
2000), is the responsibility of males and females in Pixar films, between whom there was 
no significant difference in this area. A fine example of Pixar?s distribution of home labor 
occurs in the movie Up, where Carl Frederickson and his wife Ellie are shown cleaning 
the house together: He dusts while she sweeps and he cleans the inside windows while 
she cleans the outside ones. Both males and females were shown cleaning the house, 
comforting upset children, and cooking or otherwise providing food for the family. In 
addition to the above examples, a male is shown reading a story to a child, and a woman 
is portrayed bathing a child. Children exposed to a steady diet of Pixar films are being 
shown that parenting and in-home duties are the responsibility of men and women, not 
primarily one or the other.  
 Whereas mass media, in particular children?s and Disney media, have tended to 
portray males, much more than females, in positions of authority and command, making 
decisions for groups over whom they have responsibility (Matti and Lisosky, 1999; 
Wiersma, 2000), Pixar displayed no significant difference between males and females 
holding societal power. Males filled many leadership roles: Construction foreman, alpha 
dog, true captain, CEO, ship?s captain, clan leader, owner, manager, head chef, influential 
food critic, 2nd in command in the kitchen,  poison tester,  judge, insurance company 
88 
 
manager, supervillain/employer of evil henchmen, community leader (unspecified),  
supervisor, toy store owner/boss, toy leader, and gang leader. Females filled roles such as 
boss, head of secret government organization, queen, and princess. Characters such as 
Eve in Wall-E and Princess Atta in A Bug?s Life display impressive commanding and 
decision-making power. It should be noted that, with both males and females, some roles 
that are listed only once here actually occurred multiple times with multiple characters. 
Children watching Pixar films released through 2009 consistently observe both males and 
females in positions of power, though the continued disproportionate ratio of males to 
females in the total film sample (3 to 1) still means that viewers observe significantly 
fewer female characters in-authority.  
 Young viewers watching Pixar films also will observe a wide variety of behaviors 
and character traits, departing significantly from the stereotypical ?strong male? and 
?weak female? portrayals so often found in children?s media (Thompson and Zerbinos, 
1997; Sternglanz and Serbin, 1976). Children watching The Incredibles and Toy Story 
will observe that it?s ?okay? for males to cry (Mr. Incredible and Woody both shed tears). 
They will not see, as they view Pixar films, any trend of females being more emotional 
than males. They will be exposed to sensitive, altruistic male characters whose 
masculinity is defined as much by caring about others as by strength or courage (Gillam 
and Wooden, 2008). While viewing Pixar films they will, as in other media, continue to 
be exposed to females catalyzing male improvement and change (Jeffords, 1995). 
However,  they will see that these relationships aren?t exclusively romantic. For example, 
change occurs through child-caregiver dyads (Sully and Boo in Monster?s Inc) and 
89 
 
through platonic friendships (Woody and Jessie in Toy Story 2, Dory and Marlin in 
Finding Nemo). Also, in a change from the static females of the past (Stone, 1975) female 
characters are also softened and improved by the love of a male in Pixar films (as in the 
relationship between Colette and Linguini in Ratatouille).  
Children viewing Pixar films observe that there is nothing wrong with sensitive, 
romantic men or with strong, task-oriented females; the charming gender-reversal 
between Eve and Wall-E comes to mind. Likewise, criticisms and worries in general 
media (Tedesco, 1974; Thompson 2007) and in Disney media (Junn, 1997) that female 
characters are relegated to romantic roles and that their interests are limited to 
domesticity are countered by the efforts of Pixar to display a much broader definition of 
femininity. Pixar women deal with significant civic responsibilities (A Bug?s Life), have 
careers (Cars, Ratatouille), fight crime (The Incredibles), and have strictly platonic 
friendships with male characters (Finding Nemo, Toy Story 2, Cars). 
Those with conservative interests needn?t worry; Pixar presents no threat to 
traditional marriage and the nuclear family. They simply provide a more complete, 
realistic portrayal of the various types of family structures in the world today. Up and The 
Incredibles both offer fine examples of happy, loving, and balanced husband-wife 
relationships. The latter also gives an example of a functional, supportive, and close-knit 
nuclear family unit. Other films positively portray single fathers (Ratatouille, Finding 
Nemo), single mothers (Toy Story, A Bug?s Life), and the concept of friends-as-family 
(Cars, Up, Monster?s Inc). Divorce (Russell?s parents in Up) and out-of-wedlock 
pregnancy (Chef Gusteau in Ratatouille) are also approached on a level that can be 
successfully understood by children. 
90 
 
 Adherence to Traditionalism 
 This is not to say that Pixar is completely devoid of traditional, sex-stereotyped 
trends. In the present sample, there were more than three times as many male characters 
as female characters. This finding is consistent with those found in mainstream media 
(Elasmar, 1999) as well as children?s media (Sternglanz and Serbin, 1976), with male 
characters consistently taking up more screen time and inhabiting more roles than 
females. In this area, the films of Pixar have completely adhered to sex-stereotyped 
trends in popular media. While one might argue that there were characters unaccounted 
for because the sample used only ten characters per film (nine for Wall-E), the selection 
process ensured that the most prominent characters were included. The results thus 
indicate that male characters assume an over represented prominence in Pixar films, and 
criticisms of androcentrism in the studio?s works (DeFife, 2009) appear to be well-
founded. Criticisms that Pixar?s strong, independent, intelligent females are always 
secondary characters (Holmes, 2009; DeFife, 2009) also proved to be accurate. Of all of 
the Pixar characters examined in the present study, only Mrs. Incredible is arguably a 
central character, a position she shares with her husband.  
If there is an intentionality related to Pixar?s films and any effort to portray 
egalitarianism, the effort will be more fully realized by including more female characters 
who are clearly central or lead characters, significantly reducing the 3 to 1 ratio.    
 Breasts, eyelashes, and athletic/slender builds are used by Pixar as outward 
indicators of femininity, with females possessing these traits at significantly higher rates 
than males. Though breasts are an anatomically-correct feature, eyelashes and 
91 
 
athletic/slender builds should be more equally displayed by males and females if Pixar 
has the intention to portray egalitarianism of gender. 
 As is found in other research, Pixar?s females are portrayed as more likely to be 
romantic than males (Junn, 1997; Wiersma, 2000). They are also more likely to possess 
familial power (i.e. caretaking responsibility for children or other family members) than 
males. It should be noted, however, that while caretaking may be viewed as a 
stereotypically female responsibility, Pixar departs here from the norms of other Disney 
films, which over-represent male caretakers and parents while under-representing females 
(Giroux, 1994). In these areas Pixar has room for improvement with regards to 
male/female balance. 
 In the present study males were significantly more likely than females to display 
defiant behaviors. This may be due to the fact that all of Pixar?s villains are male, and 
defiance appears to be primarily a typical characteristic of a ?bad guy.? Syd in Toy Story, 
Hopper in A Bug?s Life, Al and The Prospector in Toy Story 2, Randall in Monster?s Inc, 
Syndrome in The Incredibles, Chick Hicks in Cars, Skinner in Ratatouille, The Ship?s 
Computer in Wall-E, and Charles Muntz in Up are all villainous, defiant characters. 
Interestingly then, the present study provides no insight into whether ?good? males are 
any more defiant than ?good? females. 
Limitations and Implications For Future Research 
 The present study was planned to be an exploratory study, a quantitative content 
92 
 
 analysis to begin research on gender in the feature films of Pixar Animation Studios. It is 
by no means the final word on the subject, and it is hoped that this work will be a 
foundational study for others who take interest in the topic. Many exciting studies have 
yet to be conducted. This study included all ten feature films produced by Pixar, but 
made no attempt to track potential change over time. For example, while this study 
reveals three films with single-mother characters, they were the first three released by 
Pixar (Toy Story, A Bug?s Life, Toy Story 2). There hasn?t been a single mother as a 
prominent character in the past eleven years. Also, for efficiency this film analyzed only 
ten characters per film (nine for Wall-E), but several of the films (Finding Nemo, A Bug?s 
Life, Toy Story 2) featured large ensembles of characters and several prominent 
characters did not make the cut (like Rosie from A Bug?s Life, Bruce from Finding Nemo, 
and Mrs. Potato Head from Toy Story 2). Future studies could include more, or all, of the 
characters (or at least all of the speaking roles). Doing so might allow for expected cell 
counts to be sufficiently high for all variables. Also, more coding items could be included 
and more observers used. In a similar study on Disney films, Junn (1997) had 377 
different variables and a larger coding team.  
Furthermore, future research could acquire a more complete snapshot of gender 
portrayals in Pixar films by coding the number of times a personality trait was manifested 
in a particular character, instead of absolute presence or absence of the trait as this study 
did. In this study, if a character manifested compliant behaviors multiple times and 
defiant behavior only once, they were marked as both compliant and defiant. A study that 
records the number of times a behavior occurs would reveal that the character was 
93 
 
predominantly compliant and rarely defiant. Future studies could also investigate the 
notion of gender transgression as an indicator of villainy, a concept studied before in 
animated films (Li-Vollmer and LaPointe, 2003), but never with Pixar. Also, with a bevy 
of films in development on the horizon, Pixar?s portrayal of gender can be reevaluated 
every few years to include their newest features. Finally, comparisons between Pixar and 
other companies or types of media cannot be legitimately completed by simply 
comparing these results with those in other studies, which had different measures and 
sampling strategies. Studies comparing the films of Pixar with those of Disney Animation 
Studios (Bolt, The Princess and the Frog, The Emperor?s New Groove) or Dreamworks 
Animation Studios (Shrek, How to Train Your Dragon, Kung-Fu Panda), for example, 
could be undertaken using one set of measures and methods. 
Conclusions  
 The present study was conducted to meet requirements for a master?s degree in 
human development and family studies, and its implications for this field are clear. As 
has been demonstrated in the preceding pages, children?s gender schemata have had less 
time to take root and are thus more susceptible to influence (Rushton, 1979). It has also 
been shown that expectations for romance and gendered behaviors, though certainly 
mitigated by other factors (Wohlwend, 2009; Aidman, 1999), are related to the type and 
amount of media consumed (Tonn, 2008; Li-Vollmer and LaPoint, 2003; Segrin and 
Nabi, 2002). If expectations and understanding establish norms for behavior (Junn, 
1997), then young viewers become adults whose exposure to media affects how they see 
themselves, how they relate to others, and whether they see themselves as equal to, 
94 
 
above, or below members of the opposite sex (Tedesco, 1974). Children and adults who 
view the films which Pixar has produced so far are given a much more egalitarian 
perspective on gender than has ever been found in Disney films and other children?s 
media. Families who view Pixar movies may have discussions about sensitive males and 
strong females, as well as characters of both genders working outside the home, having 
positions of authority, and assisting with homemaking tasks. The current generation, 
raised on repeated viewings of Pixar products, may internalize messages about males and 
females that are drastically different than those internalized by previous generations. 
These messages might influence expectations, understanding, and behavior (Tonn, 2008; 
Li-Vollmer and LaPoint, 2003; Segrin and Nabi, 2002). Worries about males and females 
learning patterns of dominance and subjugation from the media (Hedley, 1994) may be 
countered by Pixar?s pull in the opposite direction. 
 As the first study empirically examining gender and Pixar, the present work is a 
first, important step revealing that Pixar is offering a much more egalitarian portrayal of 
gender in children?s media than has historically been the case.  As observing male and 
female models in media may contribute to understanding of gender as well as 
expectations for romantic relationships (Segrin and Nabi, 2002; Tonn, 2008), it is 
refreshing that Pixar provides a wide variety of personality traits and roles in their male 
and females, refusing to narrowly classify characters by sex. Pixar appears to be more 
egalitarian than children?s media in general, including its partner company Disney, in 
providing balance in its portrayal of males and females with familial and societal power, 
as well as out-of-home employment and in-home labor. It also displays a wide variety of 
95 
 
successful family types. However, direct comparisons between studios have yet to be 
completed. Criticisms that Pixar under-represents female characters in general, failing to 
cast them in the role of central protagonist (Nolan, 2009; Holmes, 2009) have merit. 
Though Pixar is exemplarily blazing the trail of change in gender portrayals, there is 
certainly continued room for improvement. That said, with its status as the ?new face? of 
Disney and potential to influence millions of young viewers? conceptualizations of 
gender, Pixar represents a major step towards equality.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
96 
 
 
 
 
 
 
 
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108 
 
 
 
 
 
APPENDICES 
APPENDIX A: BOX OFFICE/ BUDGET TOTALS AND AVERAGES FOR DISNEY & PIXAR ANIMATED FILMS (1995-2009) 
Table 22 
Disney Feature Animation Box-Office Grosses and Budgets       
Release date  Title   U.S. gross                      Worldwide gross              Budget  
6/10/1995      Pocahontas                $141,579,773     $346,079,733      $55,000,000 
6/21/1996      The Hunchback of Notre Dame $100,138,851     $325,338,851               $100,000,000 
6/15/1997      Hercules   $99,112,101     $252,712,101      $85,000,000 
6/19/1998      Mulan    $120,620,254     $304,320,254  - 
6/16/1999      Tarzan    $171,091,819     $448,191,819     $130,000,000 
5/19/2000      Dinosaur   $137,748,063     $349,822,765     $127,500,000 
6/16/2000      Fantasia 2000   $60,655,420     $90,874,570     $80,000,000 
12/15/2000    The Emperor?s New Groove   $89,302,687      $169,327,687     $100,000,000 
6/8/2001        Atlantis: The Lost Empire  $84,056,472      $186,053,725     $120,000,000 
6/21/2002      Lilo & Stich   $145,794,338     $273,144,151     $80,000,000 
11/27/2002    Treasure Planet   $38,176,783      $109,578,115          $140,000,000 
10/24/2003    Brother Bear   $85,336,277     $250,397,798   - 
4/2/2004        Home on the Range  $50,030,461    $103,951,461          $110,000,000 
11/4/2005      Chicken Little   $135,386,665    $314,432,837     $150,000,000 
03/30/2007    Meet the Robinsons*  $97,822,171    $169,333,034  - 
11/21/2008    Bolt*    $114,053,579    $308,332,675     $150,000,000 
11/25/2009    The Princess and the Frog  $102,653,000    $187,375,858     $105.000,000 
TOTALS                $2,697,440,000     $4,189,270,000       $1,532,500,000* 
AVERAGES    $158,673,000    $246,427,000     $109,464,000* 
* Based on the fourteen out of seventeen films for which budgetary information was available. List of Disney animated films found at 
http://www.disneyanimation.com/aboutus/history.html, February 22, 2010. Box office and budgetary information from 
www.boxofficemojo, retrieved February 22, 2010. 
109 
 
Table 23 
Pixar Feature Animation Box-Office Grosses and Budget       
Release date  Title   U.S. gross     Worldwide gross      Budget   
11/22/1995    Toy Story   $191,796,233     $361,958,736    - 
11/20/1998    A Bug?s Life   $162,798,565     $363,398,565      $120,000,000 
11/19/1999    Toy Story 2   $245,852,179     $485,015,179      $90,000,000 
11/2/2001      Monsters Inc    $255,873,250     $525,366,597      $115,000,000 
5/30/2003      Finding Nemo   $339,714,978     $864,625,978      $94,000,000 
11/5/2004      The Incredibles   $261,441,092     $631,492,092      $92,000,000 
6/9/2006        Cars    $244,082,982     $461,983,149     $120,000,000 
6/29/2007      Ratatouille   $206,445,654     $623,707,397      $150,000,000 
6/27/2008      WALL-E   $223,808,164     $521,268,237      $180,000,000 
5/29/2009      Up     $293,004,164     $723,010,536      $175,000,000 
Totals                       $2,424,820,000              $5,561,830,000            $1,136,000,000^ 
Averages      $242,482,000   $556,183,000      $126,222,000^ 
^  Based on the nine out of ten films for which budgetary information was available. List of Pixar animated films found at 
http://www.pixar.com/featurefilms/index.html, retrieved February 22, 2010. Box office and budgetary information found at 
www.boxofficemojo, retrieved February 22, 2010. 
 
 
 
 
 
 
 
 
 
 
 
 
 
110 
 
APPENDIX B: CODING SHEET 
CHARACTER NAME  
SEX: Male or Female  
LIPS: Yes or No.   
EYELASHES: Yes or No.   
BREASTS: Yes or No.   
OVERWEIGHT: Yes or No  
MUSCULAR: Yes or No  
ATHLETIC/ SLENDER: Yes or No  
 
UNDERWEIGHT: Yes or No  
AVERAGE BUILD: Yes or No.  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
 
SOCIETAL POWER: Yes or No (make note of title)  
FAMILIAL POWER: Yes or No (make note of position)  
COMPLIANT: Yes or No  
DEFIANT: Yes or No  
 
BOSSY: Yes or No  
DEMOCRATIC: Yes or No  
DEPENDENT: Yes or No  
INDEPENDENT: Yes or No  
EMOTIONAL: Yes or No  
ROMANTIC: Yes or No  
 
 
111 
 
APPENDIX C: CODEBOOK 
 
- Character Name: Based on closing credits, IMDB character page, and references by 
other characters. 
- Sex: Male or female, determined by character name, sex-based titles (Mr., Ms., brother, 
sister, mother, father, sir, madam), pronouns such as ?him, her, he, she,? and/or the sex of 
the voice actor. 
- Lips: Yes or No. 
- Eyelashes: Yes or No. 
- Breasts: Yes or No.  
- Overweight (as marked by presence of an obtrusive ?beer belly,? double chin, fat rolls, 
pear-shaped figure, or being larger than members of the same species, but not 
muscular/athletic build). 
- Muscular (noticeable muscles, broad chest or shoulders with a slender waist).  
- Athletic/Slender (trim and thin proportions but not underweight).  
- Underweight (markedly thinner than other characters of the same species, to the point of 
appearing ?bony?, weak, or unhealthy).  
- Average Build (character?s physical build is roughly the same as most others of the same 
species). 
- In-home-labor: Character shown doing one or more of the following: cleaning any part 
of the home, cooking for other family members/spouse, washing clothes/dishes, taking 
out trash, dressing/changing a child, consoling an upset child, telling a child a 
story/singing a lullabye. 
- Out-of-home employment: Character portrayed as having a job outside of the home for 
which they receive goods, services, or money, or are engaged in work universally 
understood to qualify as ?employment,? even if actual payment goes unseen.  
- Societal power: Character holds civic, religious, academic, organization, or economic 
position of power; examples include king, queen, mayor, priest, professor, boss, manager, 
etc. Make note of position. 
- Familial power: Is a parent, grandparent, or caretaking relative (e.g. orphaned children, 
eldest sibling looks after the others, etc.) 
- Compliant: Complies with (or attempts to comply with) a request or command (note: 
character may also be defiant). 
- Defiant: Refuses to comply with a request or command, (note: character may also be 
compliant). 
- Bossy: Makes demands, gives commands or orders (note: may also be democratic). 
- Democratic: Makes requests, asks instead of orders (note: may also be bossy). 
- Dependent: Needs to be rescued/ protected (note: may also be independent). 
- Independent: Protects/rescues self or others (note: may also be dependent). 
- Emotional: Cries  
- Romantic: Expresses interest in dating, marriage, having offspring, kissing, holding 
hands or does any of these things.  
112 
 
APPENDIX D: INDIVIDUAL CHARACTERS? CODING SHEETS 
FILM: TOY STORY (1995) 
CHARACTER NAME Woody 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No Y 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y- toy leader 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No Y 
 
113 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Buzz 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y- toy leader 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No N 
 
114 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Mr. Potato Head 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
115 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Slinky Dog 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
116 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Rex 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
117 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Hamm 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
118 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Bo Peep 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
119 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Andy 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
120 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Sid 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No N 
 
121 
 
FILM: TOY STORY (1995) 
CHARACTER NAME Mrs. Davis 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- consoles an upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) Y- mother 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
122 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Flik 
SEX: Male or Female M  
LIPS: Yes or No.  N  
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y consoles a child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y - ambassador for royalty, harvester 
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y  
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y  
EMOTIONAL: Yes or No Y  
ROMANTIC: Yes or No Y  
 
123 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Hopper 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y- gang leader 
FAMILIAL POWER: Yes or No (make note of position) Y- guardian of brother  
COMPLIANT: Yes or No N  
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
124 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Atta 
SEX: Male or Female F 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? overseer of harvesting 
SOCIETAL POWER: Yes or No (make note of title) Y ? princess 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
125 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Molt 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
126 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Dot 
SEX: Male or Female F 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y- princess 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
127 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Slim 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- circus performer 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
128 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Francis 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- reads a story to children, comforts upset children 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y? circus performer 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No N 
 
129 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Heimlich 
SEX: Male or Female M  
LIPS: Yes or No.  Y  
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- circus performer 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
130 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Queen 
SEX: Male or Female F  
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- comforts an upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- supervisor of colonial labor 
SOCIETAL POWER: Yes or No (make note of title) Y- queen 
FAMILIAL POWER: Yes or No (make note of position) Y- mother 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
131 
 
FILM: A BUG?S LIFE (1998) 
CHARACTER NAME Manny 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- circus performer 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
132 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Woody 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y ? toy leader 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
 
133 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Buzz 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y ? toy leader 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
 
134 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Jessie 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- consoles an upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No Y 
 
 
135 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Prospector 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
136 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Mr. Potato Head 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No Y 
 
 
137 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Slinky Dog 
SEX: Male or Female M  
LIPS: Yes or No.  N  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No N  
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. Y  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N  
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N  
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No Y  
 
 
138 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Rexx 
SEX: Male or Female M  
LIPS: Yes or No.  N  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No N  
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. Y  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N  
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y  
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No N  
 
 
139 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Hamm 
SEX: Male or Female M 
LIPS: Yes or No.  N  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No N  
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. Y  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N  
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y  
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No Y  
 
 
140 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Bo Peep 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N  
DEFIANT: Yes or No N  
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC : Yes or No Y 
 
 
141 
 
FILM: TOY STORY 2 (1999) 
CHARACTER NAME Al 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? toy store owner 
SOCIETAL POWER: Yes or No (make note of title) Y- boss 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL : Yes or No Y 
ROMANTIC : Yes or No N 
 
 
142 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Sullivan 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- sings lullabye, consoles upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- scarer 
SOCIETAL POWER: Yes or No (make note of title) Y- supervisor 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No Y 
ROMANTIC : Yes or No N 
 
143 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Mike 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- consoles upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- scarer?s assistant 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No Y 
 
144 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Boo 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No Y 
ROMANTIC : Yes or No N 
 
145 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Randall 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- scarer 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
146 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Waternoose 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- CEO of Monsters Incorporated 
SOCIETAL POWER: Yes or No (make note of title) Y- CEO 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
147 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Celia 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- receptionist 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No Y 
 
148 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Roz 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- clerk 
SOCIETAL POWER: Yes or No (make note of title) Y- ?#1?: head of secret government organization 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
149 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Yeti 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No Y 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
150 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Fungus 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- assistant 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No N 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
151 
 
FILM: MONSTERS INC. (2001) 
CHARACTER NAME Needleman 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- floor worker 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
152 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Marlin 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- consoles child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) Y- father 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No Y 
ROMANTIC : Yes or No Y  
 
153 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Dory 
SEX: Male or Female F 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No Y 
ROMANTIC : Yes or No N 
 
154 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Nemo 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No Y 
ROMANTIC : Yes or No N 
 
155 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Bloat 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No Y 
IN-HOME LABOR: Yes or No 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- comforts upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
156 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Gil 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y- leader 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
157 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Peach 
SEX: Male or Female F 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- comforts upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
158 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Jaques 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- cleans the tank 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
159 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Bubbles 
SEX: Male or Female M  
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL : Yes or No N 
ROMANTIC : Yes or No N 
 
160 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Deb 
SEX: Male or Female F 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- comforts an upset child 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
161 
 
FILM: FINDING NEMO (2003) 
CHARACTER NAME Gurgle 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
162 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Mr. Incredible 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No Y 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
y- insurance agent 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) Y ? father 
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No Y 
 
 
163 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Elastigirl/ Helen 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y ? bathing child, feeding family, vacuuming 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) Y ? mother 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No Y 
 
 
164 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Dash 
SEX: Male or Female M 
LIPS: Yes or No.  N  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No N  
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. Y  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N  
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y  
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No N  
 
 
165 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Violet 
SEX: Male or Female F 
LIPS: Yes or No.  Y  
EYELASHES: Yes or No.  Y  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No N  
 
UNDERWEIGHT: Yes or No Y  
AVERAGE BUILD: Yes or No. N  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N  
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) Y ? put in charge of her brother 
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y  
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No Y  
 
 
166 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Frozone/Lucius 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. N  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N  
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y  
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y  
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No Y  
 
 
167 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Syndrome 
SEX: Male or Female M 
LIPS: Yes or No.  N  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y  
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? weapons designer 
SOCIETAL POWER: Yes or No (make note of title) Y ? super-villain, employer of henchmen 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N  
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
 
168 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Mirage 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No Y  
AVERAGE BUILD: Yes or No. N  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? assistant 
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No N  
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y  
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No N  
 
 
169 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Edna 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? fashion designer 
SOCIETAL POWER: Yes or No (make note of title) Y ? boss 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
170 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Mr Huff 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No N  
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. Y  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? insurance manager 
SOCIETAL POWER: Yes or No (make note of title) Y- manager 
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No N  
DEFIANT: Yes or No N  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No N  
DEPENDENT: Yes or No N  
INDEPENDENT: Yes or No N  
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No N  
 
 
171 
 
FILM: THE INCREDIBLES (2004) 
CHARACTER NAME Rick Dicker 
SEX: Male or Female M  
LIPS: Yes or No.  Y  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No Y  
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. N  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? government agent 
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
172 
 
FILM: CARS (2006) 
CHARACTER NAME Lightning McQueen 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- race car 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
173 
 
FILM: CARS (2006) 
CHARACTER NAME Doc Hudson 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- judge, doctor 
SOCIETAL POWER: Yes or No (make note of title) Y- judge 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
174 
 
FILM: CARS (2006) 
CHARACTER NAME Mater 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- tow truck 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
175 
 
FILM: CARS (2006) 
CHARACTER NAME Sally 
SEX: Male or Female F 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- motel owner, attorney 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
176 
 
FILM: CARS (2006) 
CHARACTER NAME Ramone 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- car painter 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
177 
 
FILM: CARS (2006) 
CHARACTER NAME Luigi 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- tire store owner 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No N 
 
178 
 
FILM: CARS (2006) 
CHARACTER NAME Guido 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- tire store assistant 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
179 
 
FILM: CARS (2006) 
CHARACTER NAME FLO 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- gas station owner 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
180 
 
FILM: CARS (2006) 
CHARACTER NAME SARGE 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- military surplus store owner 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
181 
 
FILM: CARS (2006) 
CHARACTER NAME SHERRIFF 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- sheriff 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
182 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Remy 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y ? cooking for family 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ?chef 
SOCIETAL POWER: Yes or No (make note of title) Y ? poison tester, head chef 
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
183 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Linguini 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No Y 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- garbage boy, chef, waiter 
SOCIETAL POWER: Yes or No (make note of title) Y ? head chef 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
184 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Skinner 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? manager 
SOCIETAL POWER: Yes or No (make note of title) Y ? manager, head chef 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
185 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Colette 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? chef 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No Y 
 
186 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Horst 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? sous chef 
SOCIETAL POWER: Yes or No (make note of title) Y ? second in command in kitchen 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
187 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Anton Ego 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No Y 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? food critic 
SOCIETAL POWER: Yes or No (make note of title) Y ? columns have economic influence on restaurants 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL or UNEMOTIONAL Y 
ROMANTIC or NONROMANTIC N 
 
188 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Gusteau 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a 
child, consoling an upset child, telling a child a 
story/singing a lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? head chef 
SOCIETAL POWER: Yes or No (make note of title) Y- owner/manager/head chef 
FAMILIAL POWER: Yes or No (make note of position) Y ? father 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y  
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
189 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Django 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y ? clan leader 
FAMILIAL POWER: Yes or No (make note of position) Y ? father 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
190 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Lalo 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? saucier 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
191 
 
FILM: RATATOUILLE (2007) 
CHARACTER NAME Emile 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
192 
 
FILM: WALL-E (2008) 
CHARACTER NAME Wall-E 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- waste disposal 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y  
INDEPENDENT: Yes or No Y  
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No Y 
 
 
193 
 
FILM: WALL-E (2008) 
CHARACTER NAME Eve 
SEX: Male or Female F 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a 
child, consoling an upset child, telling a child a 
story/singing a lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? reconnaissance 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
 
194 
 
FILM: WALL-E (2008) 
CHARACTER NAME Captain 
SEX: Male or Female M 
LIPS: Yes or No.  Y  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  Y  
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
n 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? captain 
SOCIETAL POWER: Yes or No (make note of title) Y- captain 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
195 
 
FILM: WALL-E (2008) 
CHARACTER NAME Shelby Forthright 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  Y 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- CEO 
SOCIETAL POWER: Yes or No (make note of title) Y ? CEO 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
196 
 
FILM: WALL-E (2008) 
CHARACTER NAME Auto 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y- true captain 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
197 
 
FILM: WALL-E (2008) 
CHARACTER NAME M-O 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- janitor 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N  
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No N 
 
 
198 
 
FILM: WALL-E (2008) 
CHARACTER NAME John 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
 
199 
 
FILM: WALL-E (2008) 
CHARACTER NAME Mary 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N  
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y 
 
 
200 
 
FILM: WALL-E (2008) 
CHARACTER NAME Ship?s Computer 
SEX: Male or Female F  
LIPS: Yes or No.  N  
EYELASHES: Yes or No.  N  
BREASTS: Yes or No.  N  
OVERWEIGHT: Yes or No N  
MUSCULAR: Yes or No N  
ATHLETIC/ SLENDER: Yes or No N  
 
UNDERWEIGHT: Yes or No N  
AVERAGE BUILD: Yes or No. N  
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N  
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N  
SOCIETAL POWER: Yes or No (make note of title) N  
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y  
DEFIANT: Yes or No N  
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No N  
DEPENDENT: Yes or No N  
INDEPENDENT: Yes or No N  
EMOTIONAL: Yes or No N  
ROMANTIC: Yes or No N  
 
 
201 
 
FILM: UP (2009) 
CHARACTER NAME Carl Frederickson 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y ? cleaning the house 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? balloon artist 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No Y 
ROMANTIC: Yes or No Y 
 
 
202 
 
FILM: UP (2009) 
CHARACTER NAME Charles Muntz 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? explorer, inventor, archeologist 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
203 
 
FILM: UP (2009) 
CHARACTER NAME Russel 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y  
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
204 
 
FILM: UP (2009) 
CHARACTER NAME Dug 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No Y 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
205 
 
FILM: UP (2009) 
CHARACTER NAME Beta 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
206 
 
FILM: UP (2009) 
CHARACTER NAME Gamma 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. Y 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y  
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No Y 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
207 
 
FILM: UP (2009) 
CHARACTER NAME Alpha 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  
 
N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
N 
SOCIETAL POWER: Yes or No (make note of title) Y ? alpha dog 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
208 
 
FILM: UP (2009) 
CHARACTER NAME Construction Foreman Tom 
SEX: Male or Female M 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  N 
OVERWEIGHT: Yes or No Y 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
n 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y ? construction foreman 
SOCIETAL POWER: Yes or No (make note of title) Y ? foreman 
FAMILIAL POWER: Yes or No (make note of position) N  
COMPLIANT: Yes or No Y 
DEFIANT: Yes or No Y 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No Y 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
 
209 
 
FILM: UP (2009) 
CHARACTER NAME Newsreel Announcer 
SEX: Male or Female M 
LIPS: Yes or No.  N 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  
 
N 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No N 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
N 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y - newsreel announcer 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No N 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No N 
 
210 
 
FILM: UP (2009) 
CHARACTER NAME Ellie 
SEX: Male or Female F 
LIPS: Yes or No.  Y 
EYELASHES: Yes or No.  N 
BREASTS: Yes or No.  Y 
OVERWEIGHT: Yes or No N 
MUSCULAR: Yes or No N 
ATHLETIC/ SLENDER: Yes or No Y 
 
UNDERWEIGHT: Yes or No N 
AVERAGE BUILD: Yes or No. N 
IN-HOME LABOR: Yes or No. 
(make note of tasks: cleaning any part of the home, 
cooking for other family members/spouse, washing 
clothes/dishes, taking out trash, dressing/changing a child, 
consoling an upset child, telling a child a story/singing a 
lullabye) 
Y- cleaning the house 
OUT-OF-HOME EMPLOYMENT: Yes or No 
(make note of type of employment) 
Y- zoologist 
SOCIETAL POWER: Yes or No (make note of title) N 
FAMILIAL POWER: Yes or No (make note of position) N 
COMPLIANT: Yes or No N 
DEFIANT: Yes or No N 
 
BOSSY: Yes or No Y 
DEMOCRATIC: Yes or No N 
DEPENDENT: Yes or No N 
INDEPENDENT: Yes or No N 
EMOTIONAL: Yes or No N 
ROMANTIC: Yes or No Y