Jade Stevens

‘The Goddess is alive and well and living in Disneyland’. Evaluate thealogical themes in the
films of Disney.

According to Harvey Cox, Hollis professor of Divinity, ‘God is not dead, and Mickey mouse is
very much alive’ (Pinsky, 2001). By looking at the Disney adaptions of these fairy stories it is
very clear to see than they do in fact contain many theological and Goddess themes. In this
essay it will briefly show the origins of these fairy tales which were myths that show evidence
of the Goddess theme and the common themes that can be found in many of these fairy tales
alone. In addition to this, it will explore the many theological and thealogical themes that can
be found in many Disney films such as ‘Snow White’, ‘Cinderella and a more modern and
current Disney film, ‘Frozen’.
Most of the fairy tales that we know and love to this day all originate from a diverse number
of myths, traditions and literature. These myths which do show the theme of the Goddess
feature in Greek, Sumerian, Egyptian and Celtic Goddess which will be discussed in later in
the essay. There are also many common themes found in these myths which later pass into
fairy tales which are quite theological themselves like transformation and salvation. There are
also common themes found in fairy tales such as royalty which can be linked to theology as
they have sometimes in history been seen as divine beings also linked back to mythology.

‘Snow White and the Seven Dwarves’ was the first feature film Disney had ever made. Even
though at times it frightens its audience, this film seems lighter hearted than the original story
by the Brothers Grimm ‘Little Snow-White’. This original tale has a more dark tone to it as the
Evil Queen’s death is more gruesome to that of the Disney Version as ‘she was forced to put
on the red-hot shoes, and dance until she dropped down dead’ (Grimm, 2013, p.194). In this
story there are many several themes that relate to both of theology and that of the theme of
the Goddess. There is also symbolism in there as well, with the image of blood and the apple
linked with theology
At the core of the story there is the theme of the mother and daughter and also that of the
rivalry and conflict that is experienced between these two characters. In the story of ‘Snow
White and the Sevens Dwarves’ one sees the various phases of womanhood evidently shown
throughout the animated film. There is the virginal Snow White, the witch Queen (who
possesses the full flower of womanly beauty) and the transformation into the crone. This can
be linked to the image of the triple Goddess which here is ‘used to address female experience
of life’ (Lehtonen, 2013, p.46). However, in this story the image of the triple Goddess is
referred to the self-maiden, mother and crone in which the character of Snow White
embodies fully in herself, ‘white as snow, as red as blood, and as black as the wood’ (Grimm,
2013, p.187). The image of the triple goddess does actually appear in Celtic mythology as the
three witches; Orwen, Orddu and Orgoch in which ‘occur both as crones and young maidens
Jade Stevens

in Lloyd Alexander’s The Chronicles of Prydain (1964-1973) are based on Welsh Goddess’
(Lehtonen, 2013, p.45). However, this myth rejects the triple Goddess in a way as there is no
mother feature, only maiden and crone. Therefore cannot be called triple Goddess even
though there are in fact three of them.
In keeping with the theme of the Goddess theme, Bowman recognises the embodiment of
the dark goddess in the tale of ‘Snow White’ found in the figure of the Evil Queen, as attributes
of the dark goddess is her ‘transformative nature as witch or enchantress’ (Heit, 2011, p.90).
Bowman also recognises the symbolic image of the apple, in which the Evil Queen uses to
bring Snow White to her death. Not only does he link it to the most common being the Genesis
story with the apple as the original sin, he also links it to the Goddess theme being the
‘Demeter and Persephone myth from ancient Greece’ (Heit, 2011, p.90). Furthermore, the
scene in the forest where Snow White is surrounded by all the woodland creatures and then
is tempted by the apple, this shows the forest as the Garden of Eden and the crone as the
serpent.
Moving onto the more theological themes of ‘Snow White and the Seven Dwarves’, there is a
moment in the film where the huntsman is ordered by the Queen to kill Snow White.
However, at the last minute he is unable to go through with the horrible act. Here, according
to Pinsky, Disney recreates the sacrifice of Isaac which can be found in the book of Genesis,
‘He bound his son Isaac and laid him down on the altar, on top of the wood. Then he reached
out his hand and took the knife to slay his son’ (Genesis 22:9-10, New International Version).
Then, of course, is the common theme found in many fairy tales is the character of the Prince
seen as a Saviour or as a Christ like figure saving the female protagonist with ‘true loves kiss’
or, theologically speaking ‘resurrection’. However, this Saviour figure could be linked to the
character of ‘Snow White’ as she is the one who is resurrected and like the figure of Christ
she ascends to heaven with her Prince. In Disney’s ‘Snow White and the Seven Dwarves’,
heaven is shown as a castle in the clouds. However, one wonders if this is clear evidence of
the Goddess in the story or instead the patriarchal God figure.
Another example of the patriarchal God is the slight mention of the King in the original Grimm
story of ‘Little Snow-White’, ‘After a year had passed the King took to himself another wife’
(Grimm, 2013, p.187). This shows evidence of the King being God because of God being seen
as also as a father. Also, in Disney’s ‘Snow White and the Seven Dwarves’ there is the common
theme evident in many fairy tale, of the absent father, which is evident throughout the film
which can be a clear indication of patriarchy. However, there are other characters in the
Disney film which try to take on this patriarchal role (other than the Prince). Firstly, there is
the image of the magic mirror, to which Disney has given a male voice. The Evil Queen always
seems to seek approval from this male voice and never being able to meet his approval of her
beauty as the voice says to her, ‘But more beautiful still is Snow White, as I ween’ (Grimm,
2013, p.188). Therefore, the magic mirror seems to speak the voice of patriarchy, which
Gilbert and Gaubar also agree with as Bettelheim interprets the story as an ‘oedipal drama’.
Gilbert and Gaubar state, ‘the voice of the looking glass, the patriarchal voice of judgment
that rules the Queen’s – and every woman’s – self-evaluation.’ (Gilbert and Gubar, 2002,
p.38). Another character which takes on the patriarchal role can also seem to be the
Jade Stevens

Huntsman as Bettelheim shows that ‘the huntsman is really a surrogate for the King, a
parental- or, more specifically, patriarchal figure’ and that acting as Snow Whites father, ‘he
must save her, not kill her’ (Gilbert and Gubar, 2000, p.39). Also, as stated in the Bible of the
sacrifice of Isaac, the huntsman plays the figure of Abraham and Snow White plays the figure
of Isaac.

Disney’s ‘Cinderella’, also has similar themes to that of ‘Snow White and the Seven Dwarves.
For example, the theme of the absent father and the mother and daughter theme that shows
the conflict between the two female characters. However, one of the key important themes
of Disney’s ‘Cinderella’ is not just the theological themes but also thealogical themes, which
shows the evidence of the theme of the Goddess in the story rather than that of the
patriarchal God.
Cashford and Baring recognise that ‘the story of Cinderella belongs with the image of Sophia’
(Cashford and Baring, 1993, p.655). Sophia is recognised as the Goddess of Wisdom as Sophia
is the Greek word for Wisdom. Sophia can also be linked to the image of the Holy Spirit as
Matthews says, ‘Sophia, like the Holy Spirit is the presence of Deity among us: a travelling
presence that inter-penetrates both the earthly and otherworldly realms’ (Matthews, 2001,
p.128). In Disney’s ‘Cinderella’, the character of the fairy godmother is shown to be the
Goddess Sophia herself, as Cashford and Baring also agrees to this fact as well, ‘who is the
fairy godmother but Sophia herself, Divine Wisdom, the Holy Spirit’ (Cashford and Baring,
1993, p.655). Here Cashford and Baring also suggest that the Goddess Sophia is the Holy Spirit
and therefore also in agreement with Matthews.
Another key theme of Disney’s ‘Cinderella’ is the theme of transformation, not just that of
the transformation of Cinderella, the animals and the pumpkin; but also the transformation
of the soul which has much theological significance to it. However Cashford and Baring
express more emphasis and stress on the transformation on Cinderella’s ball gown. In the
Disney film, Cinderella’s ball gown is as described by Cashford and Baring, ‘‘blue like the sea’’
etc (Cashford and Baring, 1993, p.656). This suggests that this is a reference to Sumerian
mythology, to Nammu, the sea goddess. Another link to the theme of the Goddess is that
Cinderella’s dress in other versions is compared to that of the Egyptian goddess Isis’ dress, as
Cashford and Baring state, ‘like Isis, she is robed in jet black; sometimes her dresses shine like
the sun or gold, covered in diamonds and pearls’ (Cashford and Baring, 1993, p.656 & 657).
Furthermore, the ‘glass slipper’ featured in the Disney film is a symbol and or shows the
presence of the Goddess Sophia as Cashford and Baring also show that it is the ‘light of
Wisdom’ (Cashford and Baring, 1993, p.657). Therefore suggesting that the Goddess Sophia
is present throughout the remainder of the film.
Finally, there is the theme of the transformation of the soul, as the character of Cinderella
and her soul is going on a journey throughout the story and film. At first her soul is darkened
by the ‘untimely death’ of her father (Cinderella, 1950) and by Cinderella being ‘abused,
humiliated’ by her stepmother and two stepsisters (Cinderella, 1950). These show her soul is
darkened as these attributes are slightly similar to that of ‘mythic figures’ (Cashford and
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Baring, 1993, p.657). It is not until the ball scene in Disney’s ‘Cinderella’, where the Prince
discovers her and by his kiss alone awakens her soul and she finally knows who she is.
However it is quite questionable if the Prince plays the part of the patriarchal God, as he, like
in Snow White is the saviour or is a puppet pulled by the strings by the Goddess figure. This is
because in Cashford in Baring, he is shown to be ‘the solar bridegroom, consort of the moon
Goddess’ (Cashford and Baring, 1993, p.657).

Unlike other Disney films, ‘Frozen’ is more of a modern fairy tale. However it is based upon
Hans Christian Anderson’s ‘The Snow Queen’ as the character of Elsa is the Snow Queen of
Arendelle and has such powers which are like that to Andersons ‘The Snow Queen’, however
their personalities are vastly different. Also, the themes featured in the Disney film are that
of theology, yet it does not feature the patriarchal God in any of the male characters but in
the female characters.
Firstly, there is the theme of the clear and plain rejection of patriarchy. The two male
character featured throughout the film, Kristoff and Hans, (the Prince) even though both of
these two characters, especially Hans, are set up to be the Saviour or Christ-like figure, they
are not. Gabarino suggest that he in fact ‘sees Anna, younger of the two sisters at the centre
of Frozen, as a Christ-like figure’ (Pinsky, 2014). This is shown in ‘Frozen’ as like the figure of
Christ, Anna dies to save Elsa like Christ died to save all of us, as an act of sacrifice which is
what Christ was to save us as well. Also, at the end of the Disney film, it shows Anna’s
‘resurrection’ from her icy death. By showing the female character as Christ-like and saviour,
it shows Gabarino’s agreement with the theme of the rejection of patriarchy, but to what
extent.

In conclusion, looking at these three films, the Goddess is indeed alive, well and living in
Disneyland. The film which features the Goddess more in its story is Disney’s ‘Cinderella’. This
is because of the Goddess Sophia being clearly represented by the fairy godmother shown to
be Sophia herself. Furthermore, it is not the only film which shows the theme of the Goddess.
In ‘Snow White and the Seven Dwarves’ it features the image of the triple goddess, in showing
the different stages of female experiences; the self-maiden, mother and crone. However,
theological themes are more presently shown in all of these Disney films. In ‘Snow White and
the Seven Dwarves’ there is the patriarchal God, the Huntsman and the apple. In ‘Cinderella’
there is Prince who like in ‘Snow White’ acts as the Christ-like figure and as saviour. However,
there are times in some of these Disney films where the theology and theology inter-link, like
in ‘Frozen’ when instead of a male Christ-like figure, there is a female Christ-like figure.

Word Count: 2,270

Jade Stevens

Bibliography
Gilbert and Gubar, 2000, The Madwoman in the Attic. Yale University Press. Pgs. 38 & 39

Baring and Cashford, 1993, The Myth of the Goddess Arkana, pgs 655-658

Heit, 2011, Vader, Voldemort and Other Villains: Essays in Popular Media, p.90

Pinsky, 2004, The Gospel According to Disney

Lehtonen, 2013, Girls Transforming: Invisibility and Age-Shifting in Children’s Fantasy Fiction
since the 1970s. pgs 45 & 46

Grimm, 2013, The Complete Grimm’s Fairy tales, pgs 187 & 194

Matthews, 2001, Sophia: Goddess of Wisdom, Bride of God, p.128

Holy Bible, New International Version

The Guardian, 2014, Disney’s Frozen might be the most Christian movie lately [online]
Available from: http://www.theguardian.com/commentisfree/2014/jan/25/disney-frozen-
religious-allegory

Cinderella, 1950, Directed by Clyde Geronimi and Wilfred Jackson and Hamilton Luske, Walt
Disney Home Video/ Buena Vista Home Entertainment 1995