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Article
OMEGA—Journal of Death and

End-of-Life in Disney Dying

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Engaging in Difficult
Conversation

Kelly E. Tenzek1 and Bonnie M. Nickels2

Abstract
This study expanded upon previous scholarship by examining end-of-life (EOL) depic-
tions and messages of death within Disney and Pixar animated films. We argue
Disney and Pixar depictions of EOL and death can provide critical opportunities
for discussing death and dying processes with children and adults alike. A content
analysis of 57 movies resulted in a total of 71 character deaths. These instances of
death became the discourse used for analysis. The EOL discourse was coded based
on five categories (character status, depiction of death, death status, emotional
reaction, and causality). After quantitative analysis, the films were qualitatively
analyzed. Four themes emerged from analysis, unrealistic moments, managing EOL,
intentions to kill, and transformation and spiritual connection. Discussion of results,
limitations, and directions for future research are included.

Keywords
end-of-life, Disney and Pixar, film, Cinemeducation

1
Department of Communication, University at Buffalo–State University of New York, Buffalo, USA
2
School of Communication, Rochester Institute of Technology, NY, USA
Corresponding Author:
Bonnie M. Nickels, School of Communication, Rochester Institute of Technology, Rochester, 585-475-
5201 NY, USA.
Email: [email protected]
2 OMEGA—Journal of Death and Dying 0(0)

In a recent Huffington Post blog entry, Dr. Wyatt (2015), a medical doctor
explains that bringing up preferences for end-of-life (EOL) care remains extre-
mely challenging. She further explains that ‘‘as a society we are waking up to the
fact that we need to tell others what we want for our final days of life in order to
make it happen’’ (Wyatt, 2015, para. 2). Discussing preferences represents no
easy task though, as doctors and patients avoid conversations regarding EOL;
Casarett & Quill, 2007; Ogle, Mavis, & Wyatt, 2002; Quill, 2000). Death and
dying constitutes a taboo topic due to the uncertainty, anxiety, fear of aging, and
unknowns related to dying (Furer & Walker, 2008; Keeley & Koenig Kellas,
2005; Manceau & Tissier-Desbordes, 2006; Nyatanga, 2015). Advances in tech-
nology and biomedical care may improve quantity of life; but if conversations
about how a person wants to experience EOL are in conflict, a lower quality of
life may be an outcome (Navasky & O’Conner, 2010).
Recently, there have been many projects and movements dedicated to helping
people have conversations related to EOL such as ‘‘Consider the Conversation’’
series (Bernhagen & Kaldhusdal, 2014; Kaldhusdal & Bernhagen, 2011), ‘‘The
Conversation Project’’ (2015), and PBS Frontline episode ‘‘Being Mortal’’
(Jennings & Gawande, 2015). Using film as a method to jumpstart these difficult,
but important, conversations is a worthwhile endeavor (Wyatt, 2015, see also
Walker, 2014).
Cinematic feature films deliver storytelling with audio–visual effects, immer-
sing viewers into the narrative. Feature films enable individuals to explore their
own feelings by connecting with characters and by observing experiences that
may otherwise be difficult to comprehend. In doing so, audiences increase aware-
ness and enlarge personal perspective (DiBartolo & Seldomridge, 2009). We
argue that while watching a powerful movie with a loved one is an excellent
way to jump start the EOL conversation, waiting to older adulthood for these
important conversations is too late.
Another avenue for engaging in productive EOL conversations is through
children’s films. The Association for Natural Psychology contends that the per-
sonality, emotional, social, and cognitive development of kids is influenced by
watching children’s films (Langham, 2014). Interestingly, children’s animated
films are not innocent and without tragedy, as a recent study finds that children’s
films are full of death (Coleman et al., 2014). Results of Coleman et al.’s (2014)
study found that ‘‘two thirds of children’s animated films contained an on-screen
death of an important character compared with half of comparison films’’ (p. 2).
Furthermore, Coleman et al. (2014) argue that young children do not fully
understand the concept of death even though it is a common theme among
children’s films. Based on previous research by Cox, Garrett, and Graham
(2005) wherein 10 Disney films were viewed and 23 death scenes were analyzed,
a conversation was started about depictions of death and dying in children’s
films. Results of the study described five aspects of death portrayal, character
status, depiction of death, death status, emotional reaction, and causality.
Tenzek and Nickels 3

The researchers called for future studies to continue the line of research by
examining additional movies as they continue to be released (Cox et al.,
2005). Therefore, we continue the work of previous scholars and examine the
intersection of EOL conversations and children’s films.
We continue this work by investigating 47 films in a content analysis that
includes Pixar films. This is done to understand how death is communicated in
this form of media entertainment. Cinematic depictions can influence public
perceptions of EOL issues, ultimately creating expectations for an EOL experi-
ence (Alarcon & Aguirre, 2007; DiBartolo & Seldomridge, 2009; Ozcakir &
Bilgel, 2014). We argue the implications for understanding how death is por-
trayed in Disney and Pixar films have important educational value, and the
study has two important contributions to scholarship in EOL conversations.
First, it expands on Cox et al. (2005) work to add a more comprehensive list
of films for analysis, and second, qualitative analysis of themes present in the
movie is examined to begin understanding the possibilities of how to engage in
conversations that may conquer the taboo nature and anxiety related to EOL.
In doing so, we argue children and adults who watch Disney and Pixar films can
engage in productive, meaningful conversations about EOL. The ability to inte-
grate conversations about EOL into conversations with young children, to
young adults, has the ability to develop comfort and ease instead of ‘‘shock
and awe’’ (King-McKenzie, 2011, p. 512). To begin, relevant literature will be
discussed, followed by methods, results, and discussion. The study concludes
with limitations and directions for future research.

Literature Review
Watching Films
People engage in media entertainment because they enjoy the experience
(Vorderer, Klimmt, & Ritterfeld, 2004). More specifically, the passtime of
watching movies has been a consistent activity of American society due to
their massive popularity and ease of accessibility. According to the Motion
Picture Association of America (2013, 2014), theatrical market statistics
reported 1.34 billion admission tickets were sold in 2013 and 1.27 billion
tickets sold in 2014. Animated and family-oriented films are no exception.
This is confirmed by the remarkable ticket sales of Disney’s Frozen, which is
the fifth-highest grossing film of all time earning US$1.219 billion worldwide
(Stewart, 2014). In a report by the Pew Research Center, even with diminishing
number of theater tickets sold over the years, home movie watching continues
to increase and be a regular weekly event in 7 in 10 (71%) adults (Taylor,
Funk, & Craighill, 2006). Viewers watch films as a source of relaxation and
entertainment, often being ‘‘transported’’ into the story (Mutz & Nir, 2010).
Further, films serve as a temporary distraction from the everyday burdens
4 OMEGA—Journal of Death and Dying 0(0)

of reality. The significance of films extends far beyond their entertainment

value due to the passive nature of film narratives. Films can also serve as a
source of education.

Educational value. Media often serve as a useful pedagogical tool in creating

meanings and influencing attitudes of life and death. The capability of films to
educate lies in the fact that viewing is a visual process, linked to leisure (Alarcon
& Aguirre, 2007), and allows individuals to immerse themselves and explore
their own feelings regarding a situation. Cinemeducation refers to the use of
movie clips or whole movies as a pedagogical tool to educate viewers. Films
can supplement concepts and ideas to enhance learning in wide range of dis-
ciplines from criminal justice (Oliver, 2011) to medicine (Walker, 2014).
Examining the relationship between films and academic medicine dominates
the literature examined using three main forms (Shapiro & Rucker, 2004). First,
films have been examined in how they portray various medical conditions, ran-
ging from psychiatric disorders (Owen, 2012), the comatose state (Wijdicks &
Wijdicks, 2006) to EOL issues and palliative care (Alarcon & Aguirre, 2007;
DiBartolo & Seldomridge, 2009). The second form is the representation of med-
ical staff within the film (Flores, 2002; Lumlertgul, Kijpaisalratana,
Pityaratstian, & Wangsaturaka, 2009). Lastly, films have been used in medical
education to teach skills that many students would not be able to acquire by
lecture or textbook, such as empathy, compassion, and professionalism
(Deloney & Graham, 2003; Lumlertgul et al., 2009; Ozcakir & Bilgel, 2014;
Walker, 2014). The most prominent film used in medical cinemeducation is
Wit (Deloney & Graham, 2003; Ozcakir & Bilgel, 2014), a Pulitzer Prize-winning
play and film adaption, and the development of the Wit Educational Initiative
focusing on the emotional themes of the narrative (for a full review of the
educational initiative, see Lorenz, Steckart, & Rosenfeld, 2004). Wit describes
the personal story of a patient dying from metastatic ovarian cancer and
her experience with medical care from diagnosis to death. Research has also
identified a relationship between the portrayal of medical narratives and viewer
motivation for more information. Brodie et al. (2001) have found that viewers
are interested in health-related story lines and are then motivated to seek addi-
tional information.
Films can be a critical source of education due to the ability to emotionally
connect, yet free the viewer from immediate responsibility or consequence.
Shapiro and Rucker (2004) argue that viewing a film forces the primacy of
emotional response by evoking feelings of joy, sorrow, or anger without the
first-hand experience of responsibility within the real world. The distance
between the sensitized reality within the film and the viewers’ own physical
reality allows the viewer to experience the challenging events in a more palatable
way. This can be especially true for situations that create distress and anxiety,
such as EOL issues and death.
Tenzek and Nickels 5

EOL in Films
EOL and death have been an integral part of film narratives from the beginning
of the medium (Niemiec & Schulenberg, 2011). The way in which we see death
portrayed (temporally, spatially) can influence individuals’ perceptions and
understanding of the death and dying process (Gibson, 2001). Schultz and
Huet (2000) examined 65 films and found 857 death-related scenes, mostly
dominated by sensational and violent deaths. This finding enforces the notion
that films often perpetuate misconceptions about death and feed unnecessary
fears (Niemiec & Schulenberg, 2011). This is often the case due to films roman-
ticizing illness with scripts that are not always adapted to scientific, medical, or
historical truth (Alarcon & Aguirre, 2007). However, even sensationalized death
portrayals in films can serve as an important pedagogical tool by both showing
death and exploring the influence that death has in the human experience
(Sullivan & Greenberg, 2013).
Films facilitate discussion and awareness by disseminating information about
the EOL experience to the general population. Further, the death scenes within
the films assist viewers in developing sensitivity and empathy (Shapiro &
Rucker, 2004) for the deceased and for the survivors.
Recently, Coleman et al. (2014) compared death portrayals in children and
adult films and found that children are exposed to gruesome deaths (e.g., gun-
shots, stabbings, and attacks) in animated films; however, important characters
die more quickly than dying characters in adult films. The difference in the way
death was portrayed in the films is worthy of further investigation in hopes of
stimulating important conversations about EOL. In an effort to examine the
realities portrayed in Disney and Pixar films and identify entry points for enga-
ging in difficult conversations between children and adults, we pose the following
research questions:

Research Question 1: How is EOL depicted in Disney and Pixar films?

Research Question 2: How can portrayals of EOL become conversation starters for
children and adults?

Method
Data Collection
In order to collect relevant data for this study, we first obtained a list of all films
created by Disney and Pixar rated G or PG from 1937 the first release Snow
White until the most recent release in 2015 Inside Out. The total number of films
at the beginning of data collection was 81. For inclusion purposes we agreed that
the film had to clearly and primarily be Disney or Pixar studios production,
6 OMEGA—Journal of Death and Dying 0(0)

not a coproduction with another studio. Films that were a television special or
‘‘Toon Studios’’ were eliminated to maintain boundaries and a clearly defined
data set. Going into the study from previous viewing, we eliminated movies in
which no EOL or death scenes were present (e.g., Winnie the Pooh and Monster’s
University). The final list of movies coded includes 57 films and can be viewed in
Appendix.

Coding Scheme
The coding scheme for the content analysis of movies was built on Cox et al.
(2005), wherein they examined 10 Disney Classic movies and coded for five
categories: character status, depiction of death, death status, emotional reaction,
and causality. To extend the study, we included additional Disney and Pixar
films and created an extension to the death status category that included side or
extra character deaths. Rationale for the additions was to add more in depth
understanding of how death and dying is communicated in all Disney and Pixar
films and for all character types. To further understand EOL depictions and
opportunities for conversation starters, a qualitative comments section was
added to the coding scheme.

Character status. This category refers to the role the character that died played in
the plot. Three different types of character roles were identified: protagonist,
antagonist, side or extra character. First, a protagonist is a character that is seen
as the main character in which the story revolves around, the hero or heroine, or
the ‘‘good guy’’ (Cox et al., 2005). An antagonist is the villainous character,
enemy of the protagonist, or overall ‘‘bad guy.’’ Side characters are characters
that are known for short periods of time that may or may not have substantial
significance to the overall plot. For example, Frozen, the parents of the main
characters die, but the protagonists remain alive. Lastly, extras are characters
that die in the film but are not significant to the main storyline such as battle
scenes or nameless characters only seen at their time of death. However, death is
still portrayed on screen.

Depiction of death. This category refers to the portrayal of the character’s death
within the film. Adopting Cox et al.’s (2005) coding definitions, the depiction of
death was broken down into three subcategories: explicit death, implicit death,
and sleep death. An explicit death is one in which the audience can see that the
character is definitely dead by either showing a motionless body, one that is
physically damaged, or the act of being killed. An implicit death refers to a death
in which the audience can only assume that the character is dead. Implicit deaths
often occur when the character has encountered something that would presum-
ably result in death or the fact that the character does not make another appear-
ance. Lastly, sleep death refers to state of prolonged sleep.
Tenzek and Nickels 7

Death status. According to Cox et al. (2005), this category refers to whether the
death of a character was a true EOL event or a negotiable status in which the
character may return back to life. A permanent or final death status is one in
which represents true EOL, with no chance of returning. A reversible death
status is one in which the character may regain life in one of two ways: reversible
same, where a character returns to their original form or reversible altered, where
a character returns either physically transformed or in the form of a spirit. For
example, in Brother Bear and Hercules, the main character has ‘‘died’’ in the
human sense in that their physical body is no longer human, but a bear, or a
god, wherein a spirit remains, but is not the same as previously seen on screen.

Emotional reaction. This category refers to the emotional response other charac-
ters in the movie display when responding to or dealing with another a char-
acter’s death (Cox et al., 2005). Positive emotion is present when a character or
characters are visibly happy or relieved over the death of another character.
Negative emotion refers to displays of sadness, grief, or anger in response to
another character’s death. Lacking emotion refers to instances when other char-
acters do not acknowledge the death.

Causality. The events that led to or caused the death are coded as either purpose-
ful or accidental (Cox et al., 2005). In a purposeful death, a character dies as a
result of one’s intent to harm or kill, whereas an accidental death refers to an
unintentional event that caused the character’s death. Further, this category
codes the deaths as either justified or unjustified. A justified death is one in
which the general message conveyed is the death is acceptable due to destructive
behavior. An unjustified death refers to ones in which the deceased character did
not deserve to die and did not do anything wrong.

Intercoder Reliability
To select a smaller random sample (somewhere between 5% and 25%) to test
reliability, a subset of 11 films (20% of the sample) was strategically selected
(Lacy & Riffe, 1996). Based on the chronological list of movies, we (the two
authors) watched and coded every fifth movie independently which resulted in
12 films that were coded for the categories outlined above. Discrepancies were
resolved through discussion and a systematic ordering of response; for the first
discrepancy coder 1’s response was chosen and then coder 2’s response for the
next one and so on throughout the data set. Results of intercoder reliability
using Cohen’s k are as follows: character status (k ¼ .89), depiction of death
(k ¼ .83), death status (k ¼ .83), emotional reaction (k ¼ .77), and causality
(k ¼ .87). Each category reached an acceptable reliability given that each cate-
gory’s Cohen’s k score was (.77) or higher. At that point, the remaining 45
movies were divided between the coders and independently viewed.
8 OMEGA—Journal of Death and Dying 0(0)

Qualitative Component
To add depth and nuance to the understanding of how EOL was portrayed in
Disney and Pixar films, we engaged in an exploratory thematic analysis (Green
& Thorogood, 2004). The qualitative component includes noting the observa-
tion and critical insight into the movies that may not fit into one of the five
quantitative categories but was still valued as important to bring to the larger
societal conversation regarding portrayals of death and dying.

Thematic analysis. For thematic analysis, we independently took note of recurring

themes and ideas that emerged in the films we watched. (Green & Thorogood,
2004). Thematic analysis themes included meaningful conversations, extreme
examples of death, and transformation. After all films were watched, we met
to share notes and compare responses looking for overarching ideas and
consistencies in notes. Examples of items noted as important included, good
versus evil, uncertainty, transformation, socially acceptable behaviors in certain
situations, spiritual aspects of life and death, and coping mechanisms. We then
discussed thematic ideas together and organized the exploratory ideas into four
emergent themes that represent depictions of EOL in Disney and Pixar films: (a)
unrealistic moments, (b) managing EOL, (c) intentions to kill, and (d) transfor-
mation and spiritual connection with a subtheme of character morality. The next
section shares both quantitative and qualitative results below.

Results
After watching a total of 57 Disney and Pixar films, 84.2% (n ¼ 48) of the movies
had a death occur. The results for each category are presented in Table 1,
indicating how many instances of each category type occurred and also instances
of death out of total death scenes. The following paragraphs highlight key
findings.

Character Status
In this category, of the 72 characters who died, 15.3% were protagonist (n ¼ 11)
and occurred in 19.3% of the total death scenes. The majority of recorded
depicted deaths in the category were side or extra characters 55.6% (n ¼ 40)
followed by antagonist character deaths (see Table 1).

Depiction of Death
In this category, a majority of death portrayals in films were implicit, accounting
for 54.9% (n ¼ 39). Sleep death accounted for the least portrayed death depic-
tions in films at 11.3% (n ¼ 8) and occurred 14.0% of the time (see Table 1).
Tenzek and Nickels 9

Table 1. Results.

Frequency in Percentage in Percentage out

Category category Category of total films

Character status
Protagonist 11 15.3 19.3
Antagonist 21 29.2 36.8
Side or Extra 40 55.6 70.2
Total 72 100 57
Depiction of death
Implicit 39 54.9 68.4
Explicit 24 33.8 42.1
Sleep 8 11.3 14.0
Total 71 100 57
Death status
Permanent 45 71.4 78.9
Reversible same 12 19.1 21.1
Reversible altered 6 9.5 10.5
Total 63 100 57
Emotional reaction
Positive 9 13.0 15.8
Negative 33 47.8 57.9
Lacking 27 39.1 47.4
Total 69 100 57
Death causality
Purposeful 35 31.8 61.4
Accidental 18 16.4 31.6
Justified 23 20.9 40.4
Unjustified 34 30.9 59.6
Total 110 100 57
Columns may not sum to 100 owing to rounding.

Death Status
In this category, permanent deaths occurred the most often at 71.4% (n ¼ 45).
The total percent of permanent deaths coded across 57 films was 78.9%. Deaths
that were reversible with the character returning in the same form occurred in
19.1% (n ¼ 12). Reversible deaths with a returned altered form was the least
depicted at 9.5% (n ¼ 6) in the category (see Table 1).
10 OMEGA—Journal of Death and Dying 0(0)

Emotional Reaction
In terms of reactions displayed to a character’s death, positive emotion occurred
in only 13.0% (n ¼ 9). Across the 57 films, positive emotion was portrayed
during death scenes 15.8% of the time. In contrast, negative emotions had the
highest frequency occurring 47.8% (n ¼ 33) during death scenes when a char-
acter reacted to death. Finally, 47.4% of reactions to death were lacking in
emotion among the 57 films (see Table 1).

Causality
Purposeful deaths occurred most frequently in the category at 31.8% (n ¼ 35).
Overall of the 57 films, justified deaths were present 40.4% of the time and
unjustified 59.6% of the time (see Table 1).

Qualitative Component
Results of qualitative analysis illustrate four emerging themes in Disney and
Pixar films: unrealistic moments, managing EOL, intentions to kill, and trans-
formation and spiritual connection.

Unrealistic moments. A consistent theme that emerged in the films was situations
that placed characters near EOL but then are able to survive. Some examples
of this include a magical spell enabling the character to come back to life as in
Sleeping Beauty, Snow White, Tangled, Hercules, and Brother Bear. Scenes of
this nature show other characters expressing sadness over the death and then
joyful upon reawakening. In other movies, there were instances where a char-
acter experienced a trauma in battle or dangerous events that seemingly caused
death. For example, in The Little Mermaid, during a storm at sea, Eric is
thrown in the water and Ariel saves him by bringing him to shore. At this
point, it is unclear if he is dead. After a few moments Eric begins breathing
again and we see he is alive. Unrealistic expectations can be created by repeat-
edly watching these scenes can foster the belief that even when one is thought
to be dead, if you wait and hope long enough, the he or she will come back
to life.

Managing EOL. The theme of managing EOL encompassed thoughts and feelings
related to grief, sadness, coping, and embracing or rejecting reality. Feelings of
grief and uncertainty related to the death itself often set the course for the plot of
the rest of the film. There was a strong thread of implicit death throughout the
films, wherein the audience may not actually see the death on screen, but we
knew it to be crucial for the character’s narrative (e.g., death of Bambi’s mother,
Hero’s brother in Big Hero Six).
Tenzek and Nickels 11

An additional thread of managing EOL includes a loss of identity without the

loved ones and the character must choose how to move forward (e.g., UP,
Frozen, and Big Hero Six). The characters often lack a constructive response
to death. In UP, Carl for instance drags his house with balloons to the place he
promised his wife they would go, but never made it in life. Threads of Kubler-
Ross (1969) stages of grief, denial, anger, bargaining, depression, and acceptance
are visible in the films, as characters struggle to make sense of death and dying.
Big Hero Six and Inside Out, the two most recent films released in 2014 and
2015, respectively, explicitly addressed the emotional response of grief, loss, and
the need for social support. Inside Out directly depicts how emotional sadness is
needed for one’s overall health, just as much as the feelings of joy.

Intentions to kill. Based on thematic analysis, the intention to kill surfaced as a

recurring theme in films. Many characters used language specifically directed at
another that included death threats and plans to ‘‘kill’’ another character. The
death threats drive the plot, as seen in Aladdin with Jafar’s threat to kill Aladdin
and in Hercules with Hades attempt to kill Hercules. Viewers are able to see
characters getting angry and at times violent when the intention to kill is foiled,
resulting in the target getting away. Additionally, paramount to the plot of the
film, the antagonist loses their life in pursuit of killing another person. Examples
include Scar talking with the hyenas about plans to take over Pride Rock by
killing Mufasa (The Lion King), Gaston and community members shouting
‘‘Kill the Beast’’ (Beauty and the Beast), and Hopper being fed to the bird
after viciously pursing Flik (A Bug’s Life).
Through this observation, we believe that watching characters with intentions
to kill sets up an interesting dynamic, wherein society avoids talking about death
and dying, but we see statements and conversations embracing intentionality to
cause death. A change in narrative is seen in Big Hero Six, wherein the intent to
‘‘destroy’’ the protagonist was perceived by other characters as wrong, this is
demonstrated by expressions of negative emotions and communicated state-
ments that injuring another was not part of the plan.

Transformation and spiritual connection. Transformation of physical body was an

emergent theme in the films, wherein a character changed into something else,
oftentimes an animal or spirit. Viewers were still able to see the character on
screen with the knowledge that they were not dead, but other characters in the
film did not possess this knowledge. For example, in Brother Bear, the main
character is changed into a bear (unbeknownst to all others) to illustrate his
shortcomings in human form and learn through a journey of adversity that his
actions matter both in the family and with the earth. Similarly in Brave, the main
characters mother is transformed into a bear that becomes hunted by humans,
not knowing that the bear is actually the mother. Both movies include strong
ethnic cultural backgrounds that share a legend narrative that becomes a reality.
12 OMEGA—Journal of Death and Dying 0(0)

Along the same lines as the legend narrative, transformations and spiritual
connections including ancestors, gods, and spirits help the characters find
their way. For example, in the Lion King, the circle of life is a great metaphor
that Mufasa uses to have a conversation with Simba when he questions what
happens when one dies. This type of transformation in films is hard to categorize
and challenges depictions of death and dying in realistic situations. A subtheme
includes morality of characters in life and death.

Character morality. In this subtheme, we observed the religious and spiritual

undertones of the character through life and death. The act of creating an
antagonist and protagonist created a dynamic of bias in constructing impres-
sions of good versus bad, especially in death reactions. The antagonist’s goal in
many of the films is to make the protagonist die because they possess something
of desirability.
We argue that in films, expressions of sadness in response to death are highly
emotional when the protagonist loses someone, but there is little emotional
reaction when the antagonist dies (e.g., Tangled). We argue the simplistic struc-
tures of protagonist lives and antagonist dies creates issues for young children’s
creation of reality. This is not how life works in reality; the Disney and Pixar
model can set up unrealistic expectations for EOL and the dying and grieving
process when people pass away. Further in relation to spirituality, religious
beliefs, and the EOL process, there is a gap in the narrative.
In real life, it can become an expectancy violation when real individuals
get away with illegal behavior, are not punished, or unrealistic depictions of
consequences and moral questions arise. We are not arguing that the children
films should create realistic images of the social world as children’s psychological
ability to process such information is not developed enough; however, we do
argue using the films as a discussion starter can help manage social realities,
specifically religious and spiritual belief systems, and begin productive conversa-
tions about death and dying. While there is much more to be gained from
qualitative analysis, this is the productive step in understanding portrayals of
EOL in films.

Discussion
The current content analysis answered the first research question related to how
EOL is depicted in Disney and Pixar films. In the analysis of 57 Disney and Pixar
films, we expanded Cox et al. (2005) study on the five categories of death and
extended their work by adding an option for a side or extra character death
status. Based on results of the study, the deaths shown in the Disney and Pixar
films were comprised primarily of antagonist and side or extra characters. This
finding is in contrast to Cox et al. (2005) results which indicated a fair distribu-
tion between the number of protagonists and antagonist deaths. Depictions
Tenzek and Nickels 13

of protagonist deaths were still recorded which may create a message that even
good characters may die. However, the large majority of visible deaths of side or
extra characters, and the frequency of positive and lacking emotional response,
is problematic in that it may develop the perception that lesser known charac-
ter’s deaths are inconsequential in comparison to those of the protagonist. While
it is an unrealistic expectation that in film, or in real life, anyone could notice,
acknowledge, and express the same level of emotional response for every char-
acter that dies, we argue that the important element is that death is happening on
screen. If films are going to have power to begin conversations about EOL and
address the difficult conversation about people’s own mortality, it is valuable to
acknowledge the different ways and circumstance that people die and express
what that means to the individual. Furthermore, we argue that if positive or
lacking emotions in regard to death in films becomes the norm, it could lead to
an even larger gap between ability to communicate and express emotions during
difficult circumstances surrounding EOL.
The majority of deaths portrayed in the films were permanent, compared to
unrealistic reversible deaths. This is positive in that it promotes the idea that
death is a permanent event within the life cycle. Further, displays of negative
emotions, such as general expressions of grief, sadness, anger, and frustration
were most commonly observed. Characters expressing grief due to death may
provide young viewers, who may lack experience with death, with a model of
acceptable and normal behaviors. We argue that as animation technology and
storylines progress, it is evident that films are increasing their explicit discussion
of EOL and grief-related issues. We observed a trend in Disney and Pixar films
as conversations regarding EOL and coping are becoming more visible. Big Hero
Six explicitly addresses the psychological pain and grief associated with the
death of a loved one and the important role of social support. Most recently,
Inside Out deals with experiencing emotions and the importance of expressing
sadness over loss (loss of childhood and loss due to changes in life) and the
subsequent social support that results when these emotions are communicated.
However, when a character dies and then returns, either in the same form or
altered, this has the potential to create misimpressions of the realities. The ability
of an adult to start conversations about these topics with children can be ben-
eficial for both parties involved.
Not only can conversations about EOL begin at home after watching Disney
and Pixar films, but as King-McKenzie (2011) points out in her argument to
bring the conversation of death and dying into public school curriculum, ‘‘Death
is not a myth but a reality of life and living; something we cannot and will not
escape’’ (p. 511). Further, these films may provide children with relatable expec-
tations for the grief associated with loss and a deeper understanding of dying
(Coleman et al., 2014). We believe that there are key moments of opportunity for
parents to use films as a mechanism for igniting meaningful and educational
conversations about EOL.
14 OMEGA—Journal of Death and Dying 0(0)

These ideas lead into answering the second research question: How can por-
trayals of EOL become conversation starters for children and adults? Based on
the four themes from qualitative analysis: (1) unrealistic moments, (2) managing
EOL, (3) intentions to kill, and (4) transformation and spiritual connection with
a subtheme of character morality, each one of these can be a conversation starter
between adult and child after viewing the film.
First, if parents are able to discuss with children what was realistic and
unrealistic in the films, then the child can better understand between fiction
and real life, therefore managing expectations that if a loved one has passed
away, it is permanent. The permanence of death however creates anxiety in
individuals (Cicirelli, 2002; Niemiec & Schulenberg, 2011). The opportunity
differentiate realistic and unrealistic expectations and accept the permanence
of death through meaningful conversations into interaction after watching
Disney and Pixar films can be very powerful and have positive long-term
outcomes if EOL conversations are started much earlier.
Secondly, the theme of managing EOL encompassed grief responses, emo-
tional reactions, and set the course for actions. We argue starting a conversation
about managing grief and emotions while talking about how to process dying
could be helpful for children and adults alike. It is important to understand that
children and adults process death differently (Quinn-Lee, 2014; Webb, 2010;
Willis, 2002). Therefore, it is unrealistic to have a conversation with a child
and expect to use the same language, however it can be helpful to wait for the
child to process a reaction and allow the child to respond in their own way (Du
Pre, 2014; Willis, 2002). While research suggests explaining illness to children as
‘‘normal’’ (Du pre, 2014, p. 158, see also Whaley, 1999. for detailed review) we
argue that EOL in Disney and Pixar films should be handled the same way.
Death is part of the normal life process and by opening conversations of char-
acter death children may be able to cope more effectively when real-life deaths
occur. Further, because death is often a difficult and taboo topic, discussing
death of animated characters may serve as an icebreaker to the real-life death
situations that inevitable occur.
The third and fourth themes, intentions to kill and transformation and spiri-
tual connection with the subtheme of morality, are more complex, as it relies on
a moral component. Religion and spirituality are an important part of a child’s
coping experience (Quinn-Lee, 2014); therefore, parents discussing religion and
spirituality with their children can be a fruitful discussion after viewing Disney
and Pixar films. While there is a lack of content in Disney and Pixar films
dedicated to specific religious or spiritual aspects of the death and dying process,
we see the films as a great opportunity to start a conversation about religious
beliefs and EOL.
For parents, much like doctors in health-care settings, they can use techniques
that can help discuss difficult conversations about death including, ‘‘self-
disclosing, expressing empathy, involving patients in decision-making, talking
Tenzek and Nickels 15

openly about patients’ fears, asking open-ended questions, and listening atten-
tively’’ (Du Pre, 2001, p. 1). There are many resources for doctors and civilians
to learn more about addressing the taboo topic of EOL such as the PBS doc-
umentary ‘‘Being Mortal’’ based on the bestselling book Being Mortal
(Gawande, 2014; Jennings & Gawande, 2015), the documentary series
‘‘Consider the Conversation’’ (Bernhagen & Kaldhusdal, 2014; Kaldhusdal &
Bernhagen, 2011), and The Conversation Project (2015). In order to have a good
quality of life, hope must be balanced with reality and doctors cannot be afraid
to engage in a conversation about EOL.
The pervasiveness of Disney and Pixar films in the lives of average families
provides a suitable platform for examining how EOL and death is portrayed and
the type of messages viewers may be receiving. We argue that film has
the capacity to reach large audiences and provides an acceptable way to bring
up EOL. Through engaging in EOL conversations, we can reconstruct the
taboo nature of death and dying into something more positive. As such, films
can serve as an effective pedagogical tool for parents and educators of young
children.

Limitations and Future Directions

Although the current study contributes to our understanding of how Disney and
Pixar films depict EOL experiences for young viewers, the study is not without
limitations. First, because the current study primarily focused on Disney and
Pixar, films produced by other animated studios (e.g., DreamWorks) were
excluded. Secondly, while the qualitative analysis was exploratory, we believe
there is room for a more concentrated and in-depth look into the qualitative
nature and social construction of death in films. Further scholarship can con-
tinue to build and expand Cox et al. (2005) categories of depictions of death and
in doing so offer educational intervention for viewers.
In the future, studies should continue to examine content of films for the
purposes of addressing taboo topics. Additional quantitative and qualitative
studies should be conducted to incorporate more coding categories and examine
long-term effects of watching Disney and Pixar movies on perceptions of reality
at EOL. There is also a window of opportunity for scholars to create interven-
tions through films to help parents and children start the conversation.
Findings from this study and future studies can be used to map the current
state of EOL portrayals in films across the life span, comparing how the com-
municative messages and EOL depictions change based on targeted audience
(children, adolescent, and adult). Further, testing viewer perceptions of the EOL
experiences and film portrays may further our understanding of how viewer’s
perceptions are experienced. While we are unable to argue the impact the movies
have on viewers, we believe that this is a great step forward in understanding and
addressing the deeply embedded social and cultural taboo nature related
16 OMEGA—Journal of Death and Dying 0(0)

to death and dying. We look forward to future studies and films that continue to
contribute in the context of EOL while addressing the ‘‘Dumbo’’ in the room.

Appendix
List of movies

Disney and Pixar film Year released

Snow White 1937

Pinocchio 1940
Dumbo 1941
Bambi 1942
The Adventures of Ichabod and Mr. Toad 1949
Cinderella 1950
Alice in Wonderland 1951
Peter Pan 1953
Lady and the Tramp 1955
Sleeping Beauty 1959
101 Dalmatians 1961
The Sword in the Stone 1963
The Jungle Book 1967
The Aristocats 1970
Robin Hood 1973
The Rescuers 1977
The Fox and Hound 1981
The Black Cauldron 1985
The Great Mouse Detective 1986
Oliver and Company 1988
The Little Mermaid 1989
The Rescuers Down Under 1190
Beauty and the Beast 1991
Aladdin 1992
The Lion King 1994
Pocahontas 1995
Toy Story 1995
Hunchback of Notre Dame 1996
Hercules 1997
(continued)
Tenzek and Nickels 17

Continued

Disney and Pixar film Year released

Mulan 1998
A Bugs Life 1998
Tarzan 1999
Toy Story 2 1999
Dinosaur 2000
The Emperor’s New Groove 2000
Atlantis: The Lost Empire 2001
Monsters, Inc. 2001
Lilo and Stitch 2002
Treasure Planet 2002
Finding Nemo 2003
Brother Bear 2003
Home on the Range 2004
the Incredibles 2004
Cars 2006
Ratatouille 2007
Wall-e 2008
Bolt 2008
UP 2009
The Princess and the Frog 2009
Toy Story 3 2010
Tangled 2010
Cars 2 2011
Brave 2012
Wreck it Ralph 2012
Frozen 2013
Big Hero Six 2014
Inside Out 2015

Declaration of Conflicting Interests

The authors declared no potential conflicts of interest with respect to the research,
authorship, and/or publication of this article.

Funding
The authors received no financial support for the research, authorship, and/or publication
of this article.
18 OMEGA—Journal of Death and Dying 0(0)

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Author Biographies
Kelly E. Tenzek is a clinical assistant professor at the University at Buffalo, The
State University of New York, in the Communication Department. Her research
and teaching interests include end-of-life, interpersonal, and health
communication.

Bonnie M. Nickels is a lecturer in the School of Communication at Rochester

Institute of Technology. Her research specializes in end-of-life, interpersonal,
and health communication.

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