Abstract
In this rhetorical analysis, we apply Goffman’s theory of facework to the Disney film Encanto, arguing that Encanto provides important lessons regarding facework and advocates for using facework in moderation. Encanto tells the story of the Madrigals, a family who experiences a miracle that results in each member of the family having a special gift – all except for one, the teenage protagonist, Mirabel. When Mirabel recognizes that both the miracle and her family are in danger, she realizes that her individual family members are using facework in order to fit in with the rest of the family and impress the community, even though they feel confined by their gifts. Mirabel’s sisters use idealization to mask feelings of insecurity as well as their own creativity, while her aunt Pepa and cousin Camilo experience difficulties engaging in facework due to the nature of their gifts. Furthermore, Mirabel’s uncle Bruno is shunned by the family because he fails to properly engage in facework. We contend that Encanto provides a cautionary message for its young audience: facework should be used in moderation and that maintaining face, idealization, and front at the expense of expressing one’s emotions can have negative consequences on not only the individual engaging in facework, but also those around them.
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Recommended Citation
Gruber, J. L.,
&
Schrader, V. L.
(2024).
"You are More Than Just Your Gift:" Facework and Idealization in Disney's Encanto.
Communication and Theater Association of Minnesota Journal, 47(1).
DOI: https://doi.org/10.56816/2471-0032.1172
