Passage 2019, 7(1), 1-24

Gender stereotypes in Moana (2016):

A film analysis of the main character

Yogi Zanualdy Ramadhan

English Language and Literature
Universitas Pendidikan Indonesia

ABSTRACT
Gender stereotyping is a common phenomenon shown in films.
Many films, such as those produced by Disney, often portray their
male and female characters stereotypically. One of Disney’s
recent children movies is Moana (2016). This research aims to
analyze how the main character in Moana (2016) is portrayed and
seeks to answer whether the portrayal conform to or goes against
gender stereotypes. To analyze the gender stereotypes embedded
in the film, the study draws on Evans and Davies’ (2009)
framework as well as those of Copenhaver’s (2002) and
Brannon’s (2016). Meanwhile, Boggs and Petrie’s (2008)
characterization in films has been adopted to unravel the character
of Moana. The analysis shows that Moana is portrayed as a
character who possesses both masculine and feminine traits; the
masculine traits, however, are more dominant that the feminine
ones. This indicates that the film tends to go against gender
stereotyping by portraying a complexity of traits within the main
character.

Keywords: Disney’s Movie, Gender Stereotypes.

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Gender stereotypes in Moana (2016): A film analysis of the main character

INTRODUCTION Beauty (1959), have weak,

Films play an important role in dependent, and passive female main
affecting people’s lives, especially characters, films after 2000, such as
children. Children films may have Frozen (2013), Brave (2012), and
characters that children viewers treat Moana (2016), tend to have a main
as their role models. For example, the female character that is strong,
cartoon series Crayon Shinchan has a independent and brave. These shifting
character named Shinchan who is traits of female characters in Disney
funny and entertaining to watch. films appear to reflect the shifting
However, Shinchan has also been perceptions of women in real life.
criticized as displaying bad manners This shows how gender stereotypes
toward parents, friends, and others can change over time.
around him. This example, therefore, Gender stereotyping is one of
shows that it can be problematic if the undeniable facts of life. Gender
children blindly imitate something in stereotyping in films is worth
the film. analyzing, since films can have a
One of the most popular significant impact towards the
children film’s production house is audiences. Gender stereotypes shown
Disney. One of the most famous in a film can influence and shape the
works by Disney is their princess attitudes of those who watch the film.
films. For quite a long time, Disney’s For example, some children who
princess films have told fairy-tale watch Cinderella (1950) or Sleeping
romance stories of weak princesses Beauty (1959) might be affected by
and strong princes. However, the appearance of the princesses they
presently, Disney’s stories as well as see in the films and start to imitate
its characters seem to have shifted and how they look, while some boys
reflected the present reality more. might want to be strong and heroic
While most of Disney’s princess like the prince. Even though gender
films before 2000, such as Snow stereotypes can change over time,
White and the Seven Dwarfs (1937), most films portray their male and
Cinderella (1950), and Sleeping female characters in line with the

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traditional gender stereotypes. Brannon (2016). The three

Traditionally, men are portrayed as frameworks have been drawn on
someone who is strong, brave, because they complement each other:
adventurous and independent, while Copenhaver’s (2002) framework
women are generally portrayed as provides feminine and masculine
powerless, dependent, and emotional. traits classification to analyze Moana,
These stereotypes, too, have often Evans and Davies’s (2009) provides a
been found in Disney’s princess clear explanation of those traits, and
films. Brannon’s (2016) framework provide
Moana (2016), however, is The Cult of True Womanhood as the
different because some of the traits traditional female gender stereotypes.
attached to the main character do not Meanwhile, Boggs and Petrie’s
seem conform to the traditional (2008) characterization in films serve
gender stereotypes. This makes the as a methodological tool to analyze
character, Moana, worth analyzing. the main character of Moana.
Since the film has only been released
in 2016, there are only, to the best of THEORETICAL FRAMEWORK
my knowledge, few studies on Moana This part consists of a discussion of
(Khairunnisa, 2017; Streiff and the theoretical framework related to
Dundes, 2017). However, these the research. Itis divided into three
research studies did not focus major parts: (1) film studies, (2)
specifically on examining gender gender stereotypes, and (3)
stereotypes in the film. Therefore, to characterization in Films.
contribute to research on Moana, this
study aims to analyze how the main Film Studies
character is portrayed in the film and Films have been part of many
explores the gender stereotypes people’s lives. However, there is no
attached to her. To analyze the gender clear definition of what a film is. Even
stereotypes, the study uses Evans and though Arnheim (1957) believes that
Davies’s (2009) framework as well as film is similar to literature, painting,
those of Copenhaver’s (2002) and music, in a way that it is used to

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produce artistic results, Kolker (2000) making, but also how itaffects the
emphasizes that is hard to define film audience as well
since films seem to have become a
taken-for-granted part of most Gender Stereotypes in Film
people’s lives. He points out that that Gender stereotypes can be
film is just film; film is just there to defined as beliefs about
be enjoyed. characteristics associated with, and
Even though Kolker (2000) the activities appropriate to, men or
believes that film can be considered women (Brannon, 2016). In the
as an art, since it is actually a text just literature, this term has often been
like other art forms, he argues that contrasted with the term sex.
film is different in some ways. A text, However according to Stoller (1990)
according to Kolker (2002), is an sex refers to the physical differences
understandable structure of meanings between men and women, while
which consist of complex related gender refers to the behavior and
events in a context. Moreover, Kolker cultural practices of men and women.
(2002) added the differences between Gender stereotypes can also be
text in films and in any other arts lie defined as the characteristics of
on their physical (photographic genders which draw differences
images), narrative (experience by between typical “masculine” and
watching the film), economic and “feminine” in society (Krahn, 2015).
cultural (the production, distribution, According to Brannon (2016),
and consumption) features. gender stereotypes have four different
Furthermore, Wardaningsih aspects: physical characteristics,
(2017) states that the purposes of film occupations, traits and behavior.
studies are to disclose and also First, physical characteristics refer to
explain the techniques which one’s appearance physically. Second,
distinguish film and any other literary occupation is associated with one’s
works. In addition to this, Nelmes job. Third, traits is someone’s
(2012) argues that film studies is not distinguishable features personality-
only about the mechanics of film

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wise, and last, behavior is one’s

action toward something.

Table 1. Brannon’s (2016) elements of stereotyping of women and men

“The Cult of True Womanhood” “Male Sex Role Identity”
Piety No Sissy Stuff
Purity The Big Wheel
Submissiveness The Sturdy Oak
Domesticity Give ‘Em Hell

The elements of stereotyping a real man is. This concept consists of

women and men above have been four major elements that contain the
synthesized by Brannon (2016) from following ideas: No Sissy Stuff (no
many sources. Traditionally, feminine characteristics such as
stereotypes attached to women have nurturing, submissiveness, and
been conceptualized as “Cult of True patience), The Big Wheel (being
Womanhood” (p. 161), which successful), The Sturdy Oak
consists of four aspects: piety (toughness, confidence, and self-
(naturally religious), purity (sexually reliance), and Give ‘Em Hell (aura of
uninterested), submissiveness (weak, aggression, daring, and violence).
dependent, and timid), domesticity Brannon (2016) also emphasizes the
(their domain was in the home). binary opposition within the gender
According to Brannon (2016) women stereotypes by providing the
who have these characteristics will opposites of the stereotypes attached;
gain happiness and power since for example, women were expected to
without these characteristics be weak, while men were expected to
women’s lives have no real meaning. be strong.
Stereotypes attached to men, on the In addition to Brannon’s
other hand, have been conceptualized framework, Copenhaver (2002) has
as “Male Sex Role Identity” (p. 162). conceptualized feminine and
In Brannon’s view, this defines what masculine traits as follows:

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Table 2. Gender Traits by Copenhaver (2002, p. 83-84)

Masculine Feminine
Non-emotional / Non-excitable Emotional / Excitable
Objective Subjective
Competitive Non-competitive
Logical / Rational Illogical / Irrational
Direct Sneaky
Self-confident Not self-confident
Sloppy Neat
Ambitious Non-ambitious
Provide security / stability Need security / stability
Self-esteem from work Self-esteem from relationship
Act alone People oriented
Fearless Fearful
Rough Gentle
Less intuitive about others’ feelings Intuitive about others’ feelings

Other than the above traits definitions of gender stereotypical

provided by Copenhaver (2002), traits, as shown below:
Evans and Davies (2009) also list

Table 3. Gender Personality Traits with Definitions by Evans and Davies (2009)
taken from Kimsey (2011, p.17)
Personality Traits Definition
Masculine traits
Actions and motives with intent to hurt or frighten; imparts
Aggressive
hostile feelings
Adventurous Actively exploring the environment, be it real or imaginary
Argumentative Belligerent; verbally disagreeable with another
Taking charge of a situation, making plans and issuing
Assertive
instructions
Competitive Challenging to win over another physically or intellectually

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Decisive Quick to consider options/situation and make up mind

Willing to take a chance on personal safety or reputation to
Risk-taker
achieve a goal
Can accomplish tasks or handle situations alone with
Self-reliant
confidence
Feminine Traits
Affectionate Openly expressing warm feelings; hugging, touching, holding
Allowing feelings to show, including temper tantrums,
Emotionally expressive
crying, or laughing
Impetuous Quick to act without thinking of the consequences; impulsive
Actively caring and aiding another’s development, be it
Nurturing
physically or emotionally
Panicky Reacting to situation with hysteria; crying, shouting, running
Passive Following another’s lead and not being active in a situation
Tender Handling someone with gentle sensitivity and consideration
Being able to see and comprehend a situation from another
Understanding
person’s perspective; showing empathy

Copenhaver’s (2002) and Evans and (2016), state that there are
Davies’s (2009) frameworks above prescriptive and proscriptive (what
provide a concrete classification of people should do and not do)
feminine and masculine traits; stereotype for each gender. For
Copenhaver (2002) provides more example, prescription for men
traits to classify and identify with, includes being the breadwinner, while
while Evans and Davies (2009) the prescription for women is that
provide a concrete explanation of they should stay at home. Krahn
those traits. These lists by (2015) supports the idea of
Copenhaver (2002) and Evans and prescriptive and proscriptive by
Davies (2009) are only used as saying that “The everyday activities
guidance as they believe that gender of men and women in their social
stereotypes traits are different for one roles, lead to their individual social
person and the others. role categorizations of gender
In addition, Murnen, stereotypes” (p. 6).
Greenfield, Younger and Boyd

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Gender stereotypes have been Characterization in Films

portrayed in many ways in the media, Characterization simply can
and these stereotypes can affect the be defined as the process on how the
way people see their roles in the writer reveals character’s personality.
society. As stated by Krahn (2016), Character is undeniably one of the
one influencing factor in defining most important aspects of literary
gender stereotypes among individuals works. To make a character more
is the influence from the media Films, alive, relatable, and believable,
as one of the most important forms of characterization is one way to do it.
the media, can be very influential in According to Rimmon-Kenan (2002)
shaping people’s mindset and for novel and short stories, there are
attitudes. Unfortunately, many films two categories of characterization:
tend to portray and perpetuate the direct and indirect categorization.
aforementioned gender stereotypes Rimmon-Kenan (2002) states
for men and women. For example, that direct characterization is when
men tend to be portrayed as strong, the characterization is directly stated
brave, and independent, while women on the text. The writer directly
as weak and dependent. People might mention the traits of the character by:
use the stereotypes shown in films as using adjective (she is nice), an
a role model for themselves. abstract noun (his kindness knows no
Moreover, some people might think limit), some other kind of noun (Steve
that the stereotypes in the films are is a king of dancing), and as a part of
true, especially when the stereotypes speech (she doesn’t like herself).
are continually being shown that way. Indirect characterization, on the
Therefore, gender stereotyping is contrary, means the characterization
dangerous as it can have negative is not directly stated on the text.
influences on how people see Rimmon-Kenan (2002) believes that
themselves and others. most of the characterization adopts
indirect characterization, since it will
put more active roles on the readers to
depict the characters by themselves.

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Rimmon-Kenan (2002) divides Characterization through choice of

indirect characterization into four name. Their framework of
elements: action (kindness act shown characterization is elaborated below.
by someone who helps the others), A. Characterization Through
speech (rude traits shown by someone Appearance
who talks impolitely towards elders),
As appearance is the main
external appearance (dirty traits
focus of film, appearance holds
shown by someone who rarely change
an important roles in film to
their outfit), and environment
deliver a character’s
(characters economic situation shown
characterization. When a
by their living cost)
character appears in the film, it
However, direct and indirect
will draw several assumptions
characterization are only for written
about the character regarding
literature. Analyzing films is different
their physical appearance,
from analyzing novel or short stories
clothing, and facial features.
since, according to Boggs and Petrie
Boggs and Petrie (2008)
(2008), “film depends greatly on
exemplify through Erin
visual and other nonverbal elements
Brokovich, who wears tight, sexy
that are not easily expressed in
clothes which initially mislead
writing” (p. 41). Therefore, they
film watchers about her
provide other methods to analyze
personality.
characterization in films: 1)
B. Characterization Through
Characterization through appearance,
Dialogue
2) Characterization through dialogue,
3) Characterization through external Characterization can also be

action, 4) Characterization through drawn from the dialogue. Things

internal action, 5) Characterization the characters say and their ways

through reactions of other characters, of saying things might reveal

6) Characterization through contrast: their true thoughts. According to

Dramatic foils, 7) Characterization Boggs and Petrie (2008), word

through caricature and leitmotif, 8) choices, stress, pitch, and pause

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patterns may reveal a character’s However, Boggs and Petrie

true thoughts, attitudes, and (2008) argue that not all action
emotion. Boggs and Petrie will represent their
exemplify characterization characterization. Sometimes the
through dialogue by showing most effective way to reveal a
Possession, a film which tells a character’s characterization is by
story about two couples who live small insignificant action, not the
in different centuries. The formal large one. Boggs and Petrie
diction of one couple clashes (2008) exemplify this with a
with the casual vernacular firefighter. A firefighter shows
spoken by the other couple to his bravery by saving a child
show the distinction between from a burning building. While
them. this act can be seen as
C. Characterization Through representing his duty, the act of
External Action saving the little girl’s doll shows
that he is a big hearted man who
Boggs and Petrie (2008)
understands the doll’s value for
argue that even though
the little girl.
appearance is important to know
character’s characterization,
D. Characterization Through
sometimes appearances can be
Internal Action
misleading. Moreover, they
Boggs and Petrie (2008) state
believe that the best reflection of
that even the most careful listener
the character is their actions.
might not be able to see or hear
Boggs and Petrie (2008) state
others’ inner world. Yet, they
that “there should be a clear
claim that most of the time this
relationship between a character
inner world is an important
and his or her actions; the actions
aspect to understand a character.
should grow naturally out of the
According to Boggs and Petrie
character’s personality” (p.62). It
(2008) this occurs in character’s
means that the character’s action
minds and emotions, which
will represent who they are.

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consist of secrets, unspoken may appear even before the

thoughts, daydreams, aspirations, character’s first appearance on
memories, fears, and fantasies. the screen through other
The most obvious way to reveal a characters. This is the case in
character’s internal action is by Harry Potter and the Sorcerer’s
taking viewers into the Stone. The audience can imply
character’s mind so viewers can that Lord Voldemort is scary and
see or hear the character’s strong according to what other
imagination. characters say about him.
Wardaningsih (2017)
exemplifies this by using Willy F. Characterization Through
Wonka in Charlie and the Contrast: Dramatic Foils
Chocolate Factory (Burton, Boggs and Petrie (2008)
2005). She states that Willy define foils as contrasting
Wonkais portrayed in that film as characters whose behaviors,
someone who is eccentric and as attitude, opinions, lifestyle, and
someone who hates the existence physical appearance are the
of parents. Burton (2005) shows opposite of those of the main
Willy Wonka’s past so the character. They state that by
viewers are able to feel what foiling characters, it gives similar
Willy Wonka felt at that time. effect of putting black and white
together. By contrasting
E. Characterization Through characters, it may give a clearer
Reactions of Other Characters information of one’s
There will be more than one characterization.
character in a story. The way they Wardaningsih (2017)
see each other can also contribute exemplifies this by using two
towards characterization (Boggs characters from Men in Black
& Petrie, 2008). Furthermore, (Sonnenfeld, 1997). Two agents,
they elaborate that sometimes the who are Agent J and Agent K,
information about one character have very different

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characteristics, thus showing Guardians of the Galaxy (Gunn,

Agent J and Agent K’s 2014) repeatedly says “I am
characteristics clearer since there Groot!” which shows how he
is someone to contrast their wants to be known as Groot.
characteristics with.
H. Characterization Through
G. Characterization Through Choice of Name
Caricature and Leitmotif According to Boggs and
According to Boggs and Petrie (2008), one of the most
Petrie (2008), caricature is a important methods in
technique that is usually used to characterization is name-typing.
exaggerate or distort one or more Name-typing is the use of names
dominant features of one which fits into qualities of sound,
character. One example of this is meaning, and connotation.
Mr. Bean’s stupidity and his Moreover, they added that in any
innocence in the series Mr. Bean literary works. Wardaningsih
(Atkinson, 1990). These traits of (2017) exemplifies this through
Mr. Bean construct a caricature the name Jack Dawson in Titanic
in his characterization. (1997). She stated that Jack is
Leitmotif, according to one of the most common names
Boggs and Petrie (2008) is “the in 1920s, the time when the
repetition of a single action, catastrophe happened.
phrase, or idea by a character
until it becomes almost a To meet the purpose of this
trademark of theme song for that study, this research draws on three
character” (p. 66). They believe methods to analyze the
that it is similar with caricature characterization of Moana: 1)
since it deals with exaggeration, characterization through dialogue, 2)
however in this case it is characterization through external
exaggerated through repetition. action, 3) characterization through
For example, Groot from internal action. These three have been

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chosen because they are the most successful scientists. Further example
relevant analytical tools for analyzing is from Boldry, Wood, and Kashy
Moana’s character. (2002), who analyze gender
stereotypes in the context of military.
Previous Studies Their aim is to examine the extent to
A number of studies have been which stereotypes of men and women
conducted to analyze gender in the military affect students. The
stereotypes in various contexts. For result is male cadets were judged to
example Mou and Peng (2008) possess bigger motivation than
analyzed gender stereotypes in female cadets. The other example,
popular video games. They analyzed Streiff and Dundes (2017) analyzed
it using quantitative method, and gender stereotypes in movie using
found that there is no female or qualitative method. They analyzed
minority leading role in popular video gender stereotypes in Frozen (2013).
games. Mou and Peng (2008) argue Their main purpose is to analyze how
that the representation of female and Elsa was portrayed in the movie.
minority characters in a video games They found that Elsa is just a variation
might have significant impact on the on the archetypal power-hungry
players, especially adolescent who female villain whose lust for power
are still in the developing stage of life. replaces lust for a mate and who
Another example comes from threatens the patriarchal status quo.
Carli, Alawa, Lee, Zhao and Kim The studies above illustrate
(2016), who conducted a research that gender stereotypes are all
study on gender stereotypes in a pervasive, existing in various
professional context. She found that contexts, which proves that gender
women are perceived to lack the stereotypes is one of the undeniable
qualities needed to be successful facts of life.
scientists. The study also points that
women may be at disadvantage in RESEARCH METHOD
science because of the stereotypes This study is conducted using
that has been built about women and qualitative method because it aims to

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investigate the portrayal of the could save this island by returning the
character Moana in Moana (2016). heart of Te Fiti, but Moana needs to
This study is descriptive in nature, ask for Maui’s help. On the first
which means it contains open-ended meeting between Maui and Moana,
research questions and data source. Maui didn’t want to help Moana.
Qualitative method is chosen because However, Moana got Maui’s help
this research aims to explore a after some persuasion. In the end,
particular phenomenon (that is, Moana successfully returned the heart
gender stereotyping in a children of Te Fiti and saved her island.
movie) and create meanings rather The data for this study are taken from
than confirm hypotheses (Mack, Moana (2016) in the forms of scenes
Woodsong, MacQueen, Guest & and scripts. The procedure in
Namey, 2005). gathering data is as follows:
The data source of this study is 1. Watch the film and read the
Moana (2016), one of Disney script several times.
Princess Film. The film was released 2. Analyze Moana’s
in November 2016 and is directed and characterization based on
written by Ron Clements and John Boggs and Petrie’s (2008)
Musker. The film tells about a framework of characterization
daughter of a chief of Polynesian by using three methods which
area. When she was young, the sea are drawn from internal
chooses her to return the heart of Te conflicts, external conflicts,
Fiti, she is a goddess which possesses and dialogue to obtain
the power to create life. Heart of Te Moana’s traits.
Fiti was stolen by Maui long time 3. Classify these traits into
before Moana was born. Moana is masculine and feminine traits
really fond of the sea; she always tried by using Evans and Davies’s
to sail but her father never let her. (2009) and Copenhaver's
When there was a crisis about (2002) gender stereotypes
resources on her island, Moana’s theory.
grandmother told Moana that she

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4. Analyze whether Moana FINDINGS AND DISCUSSION

subvert or confirm the gender Portrayal of Moana
stereotypes by using Evans The analysis of the
and Davies’s (2009) and characterization of Moana reveals
Copenhaver's (2002) gender that she possesses the following traits:
stereotypes framework and brave, adventurous, ambitious, smart,
Brannon’s (2016) The Cult of independent, rebellious, loving,
True Womanhood. assertive, affectionate, nurturing, and
5. Investigate the signification of decisive.
the portrayal of Moana and Moana shows her bravery
gender stereotypes in Moana. throughout her journey. This is
reflected in her song when she sets on
her journey and left her village.
♫ There's a line where the sky meets the sea and it calls me / But no one
knows how far it goes / All the time wondering where I need to be is behind
me / I'm on my own, to worlds unknown / Every turn I take, every trail I
track / Is a choice I make, now I can't turn back / From the great unknown,
where I go alone, where I long to be / See her light up the night in the sea,
she calls me / And yes, I know, that I can go / There's a moon in the sky
and the wind is behind me / Soon I'll know, how far I'll go ♫ (30:48-32:00)

The above excerpt, which can be decisive person: “Every turn I take,
considered as characterization every trail I track / Is a choice I make,
through internal action, shows how now I can't turn back”. Evans and
brave Moana is and that she is also a Davies (2009) define decisiveness as
risk-taker. As Evans and Davies “quick to consider options/situation
(2009) define, a risk taker is “willing and make up mind” (p.17).
to take a chance on personal safety or Additionally, this song highlights
reputation to achieve a goal” (p.17). Moana’s determination to start her
This is particularly reflected from the journey even though she is all by
line “From the great unknown, where herself.
I go alone, where I long to be”. This As the story progresses, Moana’s
song also indicates that Moana is a assertiveness is shown. This is

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particularly reflected from her action making plans and issuing

towards Maui. Being assertive, instructions” (p.17) which in this case
according to Evans and Davies (2009) shows that Moana is the one who is in
is “taking charge of a situation, charge and instructs Maui.

Figure 1. Moana holds up her paddle towards Maui

Figure 1 shows Moana forcing Maui independent and skillful in directing

to help her return the heart of Te Fiti. the boat. Moana’s independence can
Even though at first Moana seems be associated with Evans and Davies’
scared, she manages to overcome it term of being self-reliant, which they
and force Maui to help her. Apart define as “can accomplish tasks or
from being assertive, Moana is also handle situations alone with
portrayed as someone who is confidence” (p.17). It is shown when
independent, because she manages to Moana is able to handle the situation
survive on the sea. As the journey calmly when left alone on the sea.
progresses, Moana becomes more

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Figure 2. Moana is fixing her boat without anyone’s help

As her boat was broken because of Te seen through her act of opposing her
Ka, who is the main antagonist of the father’s will. Since Moana was a
story, she manages to repair it by child, Moana wanted to sail but her
herself since Maui left her alone on father prohibits her from sailing. At
the sea. This scene also shows that the beginning of the movie, Moana is
Moana is an ambitious character. shown to raise her voice towards her
Even though Maui left her, her father in disagreement. The excerpt
ambition to return the heart of Te Fiti below is taken when Moana is
and save her peopleremain. She will arguing with her father about fishing
do anything to fulfill her ambition. over the reef.
Other than that, Moana is
portrayed as rebellious; this can be
Moana: An older rule, when there were fish.
Chief Tui: A rule that keep us safe!
Moana: But Dad!
Chief Tui: Instead of endangering our people so you can run right back
to the water! Every time I think you're past this. No one goes beyond the
reef! (14:36 – 14:40)

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Gender stereotypes in Moana (2016): A film analysis of the main character

Figure 3. Moana is arguing with her father

Figure 3 shows Moana showing a rebellious side of her
arguing with her father about fishing character. Her action of sailing by her
beyond the reef. Moana raises her own is also one proof of her
voice to show her disagreement, rebelliousness.

Figure 4. Moana sailing by her own

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As her rebelliousness takes over,she be seen through her ideas to achieve

goes ahead with sailing on her own, her goals. Since Moana realizes that
to prove that the sea is safe to her she needs Maui’s help, she resolutely
father. Unfortunately, she then got hit persuade Maui by tempting him that
by a wave which breaks her boat. he will be a hero of all.
Additionally, Moana is also
portrayed as a smart character, as can
Maui : Little girl, I am a hero.
Moana : Maybe you were but now . Now you're just the guy who
stole the heart of Te Fiti. The guy who cursed the world. Don't
know one fellow. No one. But, put this back. Save the world. You'd
be everyone's hero.

In this conversation, Moana’s smart to persuade Maui to help her to restore

nature is shown. She finally manages the heart of Te Fiti.

Figure 5. Moana tries to find another way to go past through Te Ka

Figure 5 shows that Moana is not only find another way to reach her
smart, but she is also fearless. Moana ‘destination’, she manages to go past
knows that she does not stand a through Te Ka.
chance to go head to head against Te The above discussed
Ka, but because of her brilliance to characteristics tend to emphasize

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Gender stereotypes in Moana (2016): A film analysis of the main character

Moana’s “masculine” side. However, around her. Even though there is an

she has also been portrayed as aspect of rebelliousness inside her,
someone who is caring and loving she always loves her parents.
because she always love others

Figure 6. Moana and her parents hug each other

Figure 6 shows Moana is hugging her shows she really loves her parents.
parents after going into a very long Even though she started the journey
journey. She realizes her by rebelling against her father, deep
rebelliousness at the end of the story, inside she always loves him.
and said sorry to her parents. This
Villager: I'm curious about that chicken eating the rock. He seems
to lack the
basic intelligence required for pretty much everything.
Should we maybe
just cook him?
Moana: Sometimes our strength lies beneath the surface. Far
beneath in some
cases. But I'm sure there's more to Heihei than meets the
eye.

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The above excerpt shows that her love Even in the middle of the movie, she
is not only towards other people, but shows her nurturing nature by
also towards animals. She ‘defends’ rescuing Heihei from Kakamora, as
her chicken in front of other people. shown in Figure 7.

Figure 7. Moana saves Heihei from Kakamora

Moana: Subversion or portrayed as loving, nurturing and

Confirmation of Gender tender. Relating these traits to Evans
Stereotypes? and Davies’s and Copenhaver’s
As has been elaborated in the gender traits, Moana can be seen as
previous section, Moana has been having both masculine and feminine
portrayed as someone who possesses traits. Below is the identification and
the following traits: brave, classification of Moana’s
adventurous, ambitious, rebellious, characteristics according to the
smart, self-reliant, fearless, assertive, stereotypical gender traits:
and decisive. Additionally, she is also

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Gender stereotypes in Moana (2016): A film analysis of the main character

Table 4. Moana’s traits classification

Masculine Traits Feminine Traits

Brave Loving
Adventurous Tender
Independent Nurturing
Ambitious
Assertive
Decisive
Rebellious
Smart
Fearless

Table 4 shows that Moana possesses the film industry to take into account
nine masculine traits and three and avoid being ‘perpetuators’ of
feminine traits. This analysis shows gender stereotypes. Furthermore,
that she is different from most female Moana denies Brannon’s (2016)
main characters in children’s film statement that women who do not
because her masculine traits dominate have the traditional characteristics of
the feminine traits. As she is The Cult of True Womanhood will
portrayed differently from other main have no real meaning in life and will
characters of Disney’s films, such as not gain happiness and power. In the
Snow White from Snow White and the film, Moana proves that even though
Seven Dwarfs (1937), Cinderella she does not conform to the idea of
from Cinderella (1950) and Princess “the cult of true womanhood”, she
Aurora from Sleeping Beauty (1959), can still be powerful and happy.
this can be seen as a step forward in Moana shows that she has the power
children’s film. Such a portrayal to save her people and island.
seems to indicate a positive attempt to Two previous studies, which
fight against gender stereotyping in both analyzes Disney movies, are
children’s film. This is important for particularly relevant to the present

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study. The study that was conducted decisive. And she is also portrayed as
by Khairunnisa (2017) shows similar loving, nurturing, tender and
results, but the one conducted by affectionate. As Evans and Davies
Streiff and Dundes (2017) indicates (2009) and Copenhaver (2002)
different findings their research propose several traits attached to each
concludes that Moana (2016) does gender as a guidance, it can be seen
perpetuate gender stereotypes that that Moana subverts female gender
have been built by Disney. This stereotypes in Disney films. In
seems to have occurred because addition, the finding also proves that
Streiff and Dundes did not only focus Brannon’s (2016) statement is not
on Moana, as they also analyzed other true, women who do not have the
characters, such as Maui, Te Ka, and characteristics of The Cult of True
Tamatoa. Despite some shifts of how Womanhood can be happy and also
the main female character is powerful.
portrayed in Moana, the male gender This movie shows that Disney
stereotypes might still remain. try to avoid perpetuating gender
stereotype. However, it only applied
CONCLUSION to the main character. It might be
This study aims to analyze how the different if it is applied into the whole
main character is portrayed in the film character in the film such as Maui, Te
and analyze the gender stereotypes Ka, or even Moana’s mother.
attached to her. The study analyzes Furthermore, this study opens up a
the portrayal of Moana by using possibility in the further research to
characterization in films theory, and analyze not only the gender
analyzes the gender stereotypes stereotypes attached to the main
attached through gender stereotypes character, but also other characters.
theory. The finding shows that Moana
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