Este estudio analiza la representación de la maternidad en los largometrajes animados de Disney. A partir de un enfoque mixto, que combina análisis cualitativo de contenido y un estudio cuantitativo, se examina un corpus de 50 películas producidas entre 1937 y 2023. El objetivo es investigar la evolución de los arquetipos maternos, su comparación con las figuras paternas y el impacto de estas narrativas en la construcción de roles de género y modelos familiares. Los resultados muestran un marcado sesgo patriarcal: predominan estereotipos tradicionales y la experiencia materna se reduce a la ausencia o la antagonización, en un contexto de desigualdad estructural donde, de todo el corpus analizado, solo una película (Frozen, 2013) fue dirigida o codirigida por una mujer. No obstante, en la última década se advierte un desplazamiento hacia representaciones más complejas de la maternidad y hacia estructuras familiares diversas, en sintonía con los debates sociales contemporáneos sobre igualdad de género y diversidad cultural, lo que evidencia la capacidad del cine animado de moldear imaginarios sociales.
A través de un análisis del reciente hallazgo del primer intento de patentar en España un procedimiento de filmación de películas a base de muñecos articulados, se procede a recabar toda la información disponible acerca de Elsy Gumier, pionera del cine de animación español que ha sido prácticamente olvidada por haber realizado todas sus actividades en este campo durante la II República
This study analyzes the representation motherhood in Disney animated feature films. Using a mixed-methods approach, combining qualitative content analysis with quantitative study, it examines a corpus of 50 films produced between 1937 and 2023. The aim is to investigate the evolution of maternal archetypes, their comparison with paternal figures, and the impact of these narratives on construction of gender roles and family models. The findings reveal a persistent patriarchal bias: traditional stereotypes dominate, and maternal experience is often reduced to absence or antagonism, within a context of structural inequality where, across the entire corpus, only one film-Frozen, 2013-was directed co-directed by a woman. However, over the last decade, there has been a gradual shift towards more complex portrayals of motherhood and more diverse family structures, in line with contemporary social debates on gender equality and cultural diversity. This evolution highlights the role of animated cinema in shaping social imaginaries.
Fatphobia is not innate but learned through social interactions and cultural contexts. This phenomenon takes root during childhood, influenced by media content that reinforces negative attitudes toward diverse bodies. Since films and series are key tools in learning and shaping values during childhood, analyzing the messages they convey is essential. This article examines episode 12 of The Garfield Show ("Weighty Problem," Netflix KiDs), where the main character is mocked and ridiculed for his body size, promoting fatphobic stereotypes. Through a film analysis, the representations of fatphobia are explored, along with their potential impact on young audiences. The article emphasizes the importance of critical adult guidance to counteract harmful messages and foster a positive perspective on body diversity.
Through an analysis of the recent discovery of the first patent attempt in Spain for a filmmaking process using articulated puppets, we will gather all available information about Elsy Gumier, a pioneer of Spanish animated cinema who has been practically forgotten because she carried out all her activities in this field during the Second Republic.
