Introduction
Cultural differences significantly impact social cohesion, defining interactions between individuals from different backgrounds, age groups, geographical regions, and belief systems. Intercultural communication has gained interest in the film industry due to its ability to evoke diverse viewpoints from viewers while displaying real-life experiences. According to Dasih et al., cross-cultural interactions entail the ideological, sociological, and theological differences that shape individuals’ discourse within society (30). Elements of culture, such as clothing, language, and gender roles, are used to demonstrate how different generations and cultures connect to define and shape their paths. In Disney’s Brave, gender norms, games, witchcraft, and mother-daughter discourses are key aspects used to display intercultural communication.
Gender Norms
Traditionally, men and women have been subjected to socially-defined codes of conduct that limit them to a pattern beyond their control. Deviance from the gender-specific norms of behavior renders one a pervert and may lead to ex-communication in extreme cases. In this film, Princess Merida, the “tomboy” princess, received accolades for eschewing the confines of gender and her mother’s expectations of feminine decorum (Andrews et al.). The deviation from an ancient culture that defined individuals’ lives placed Merida on a course that would later call for bravery and self-realization as she sought to address the consequences of her actions. Her path from a palatial home to the forest and later reconnection with her mother reveals the significant harm of traditional gender norms that restrict people to oppressive positions while disregarding personal desires and potential.
Masculinity and femininity are used to depict a young girl’s position and her deviance, which in turn renders her an icon for change. Along with her outright rejection of gender norms and insistence on autonomy, Merida then further exhibits hegemonic masculinity by making fun of her admirers in a shooting competition where she wins (Andrews et al.). In a scenario rife with symbolism regarding femininity and power, the mockery served as the lead-up to her tremendous, winning shot. As expected, the differences between Merida’s revolutionary mindset and an old culture led to conflicts that deviated from her destiny. She then addressed disputes by showing weakness as opposed to taking heroic measures when restoring her mother’s nature. Her standing as a style icon of independence who can fight societal pressure to conform is called into doubt by this pronounced move toward a more conventional gender role (Dundes 83). This last stage reveals the challenges associated with breaking the traditional gender attributes in society.
Games
In many communities, play has been used for recreational purposes and cultural identity. In Scotland, archery was central to the society’s heritage and was used as a measure of an individual’s masculinity, power, and leadership ability (Dundes 84). In addition to establishing one’s ability to focus, the game further demonstrated a person’s balance and character, which were highly valued in society. Merida’s mind was transformed by the gift of a bow during her sixth birthday (Andrews et al.). While King Fergus’ intention of gifting her daughter was purely to please her and offer her an opportunity to practice archery, the bow became Merida’s primary weapon and source of power and freedom. Inspired to become the best archer in the kingdom, she thoroughly trained while riding on Angus, making memories that would later motivate her in the pursuit of autonomy. Although men and women joined in the game, victory was mostly reserved for men. Merida’s win in the competition presented a contrast and an intercultural conflict.
Witchcraft
Sorcery and the pursuit of supernatural power is a common social attribute that demonstrates a people’s beliefs. In many instances, people seek help from witches and wizards to alter people’s minds for their gain. In this movie, Merida was motivated by her longing for independence, power, and masculinity to seek the services of a sorcerer who would change her mother’s mind, allowing her to follow her heart (Andrews et al.). In her traditional worldview, Merida’s mother believed that her daughter, a princess and the firstborn, was set for marriage instead of riding on horses and engaging in archery. These thoughts contrasted with the girl’s belief in independence, leading her to approach a witch.
The inability to communicate their differences and find an amicable solution forced a mother and her daughter to confront an immense challenge that threatened to tear the kingdom apart. Merida’s move aligns with Dasih et al.’s idea that theological conflicts in intercultural communication are founded on deep convictions that prompt individuals to go beyond human capacities for survival, influence, and dominance (31). She believed the witch would work on her mother’s mind to align with her views, but the unexpected happened when the mother was turned into a bear. Upon realizing the extent of the damage she had caused, Merida understands that she had taken upon herself a heavy responsibility, and she had to break the spell to free her people and save the kingdom. In their self-realization, the mother and daughter relationship significantly improves, indicating the potential of intercultural communication in shaping an entire kingdom’s destiny.
Mother-daughter Discourses
Generational differences define the bonds between children and their parents, leading to conflicts that are best solved through mutual understanding. The mother/daughter bond in this film is described as a central, thorny, and lifelong connection (Dundes 85). The two characters fail to develop a common viewpoint over Merida’s destiny, worsening their relationship. Their conflict was fueled by the engraved cultural values that required the princess to be married off to a prince from a different clan for the kingdom’s sustenance, an ideology that Merida rejected (Andrews et al.). The deviation from cultural norms characterized the princess’s young, transformational mindset that significantly contrasted with her parent’s beliefs.
In addition to the ideological differences, the lack of communication between parents and their children in the traditional community setting made it impossible to arrive at a compromising point that would leave both parties satisfied. This is mainly because parents, as shown by Merida’s mother, believed that the entire child’s upbringing role and character molding rested entirely on the codes of conduct to which they subscribed. In their discourse in the forest, the princess and her mother realized the need for relationship rebuilding, mending the bond that led to a solution for the kingdom’s survival. In essence, Andrews uses the mother/daughter connection to reveal how cross-cultural distances play a crucial role in determining destiny for individuals and entire communities.
Conclusion
In conclusion, intercultural communication is essential in understanding discourses in society. In the film Brave, the value of generational, ideological, sociological, and theological differences between a princess and her parents are depicted through the movie’s major themes. Gender norms, witchcraft, games, and the mother-daughter relationship are applied to give the viewer a clear picture of cross-cultural differences and their potential impacts on society. A princess’s pursuit of freedom leads her to defy gender roles, engage in archer, seek help from a witch, and eventually realize the need to mend her relationship with her mother and rebuild the kingdom.
Works Cited
Andrews, Mark, et al., directors. Brave. Walt Disney Studios Motion Pictures, 2012.
Dasih, I Gusti Ayu Ratna Pramesti et al. “Intercultural Communication Based on Ideology, Theology and Sociology”. International Journal Of Linguistics, Literature And Culture, vol 5, no. 5, 2019, pp. 29-35.
Dundes, Lauren. “The Upshot on Princess Merida in Disney/Pixar’s Brave: Why the Tomboy Trajectory is off Target”. Humanities, vol 9, no. 3, 2020, pp. 83-86.