Tobacco and Alcohol Use in Disney Films!

According to the Journal of American Medical Association, "More than two thirds of animated children's films feature tobacco or alcohol use in story plots without clear verbal messages of any negative long-term health effects associated with use of either substance." The impact of tobacco and alcohol in these G-rated films promotes the use of these substances to its underage viewers. Use of tobacco and alcohol lead to major health problems. In effort to prevent these future health problems, 50 films were reviewed to screen incidents of substance use. According to these screenings,

"34 (68%) displayed at least 1 episode of tobacco or alcohol use. Twenty-eight (56%) portrayed 1 or more incidences of tobacco use, including all 7 films released in 1996 and 1997. Twenty-five films (50%) included alcohol use. Smoking was portrayed on screen by 76 characters for more than 45 minutes in duration; alcohol use was portrayed by 63 characters for 27 minutes. Good characters use tobacco and alcohol as frequently as bad characters. Cigars and wine are shown in these films more often than other tobacco or alcohol substances."

For example, one film which reflects this use is Disney's Dumbo. In Disney's Dumbo, Dumbo is portrayed getting "drunk" off of the bubbles in his bath. His "drunk" hallucinations lead him into a trippy exciting daze, promoting the use of alcohol to an impressionable audience.

Ideology in Disney

According to journalist Jessica Tiffin of the Marvels & Tales journal, many Disney films represent larger issues, and often relate to topics of "Family, Women, Culture, Literature, [and] History." For example, Tiffin acknowledges Shakespearian references in films like The Lion King to Shakespeare's Hamlet, as well as incites "Richard Finkelstein's tracing of parallels between The Little Mermaid and The Tempest." Tiffin relates The Emperor's New Grove as another film of historic reflection, in which Disney neglects the scholarly approach by producing a film of "cultural imperialism or problematical ideology." Finally, she concludes by citing another example of Disney's relation to current events through "Diane Sachko Macleod's exploration of Aladdin," in which parallels of the Gulf War and this film have driven criticism.

Whether or not these connections are accurate, I believe Tiffin's PhD in modern fairy-tale provides the insight to lead readers to evidence of the similarity of current events and Disney films, rather than fairy-tale and Disney.