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Michel Foucault’s The History of Sexuality (1978) [6] argues that social and cultural forces shape our identity, and ultimately, create within us a sense of our own selfhood. Since the Lumiere brothers screened their first film, Workers Leaving the Lumiere Factory, in Paris in 1895, films have become one of the most effective mediums of social and cultural conditioning. Employing both artistic and technical tools, the film-maker creates a cinematic language which expresses his/her vision of the world, and compels the audience to experience it through his/her lens. As such, film-makers hold the immense power of manipulating the audience’s emotions, their impressions of the world and their perceptions of the constantly evolving matrix of human interactions. However, making a film also entails financial risks, and hence, film-producers, who see films as potential profit-making ventures, often choose to finance films which they see as safe sites for investment. This paper looks at Walt Disney’s conscious decision to promote heteronormativity in his 1942 animated feature film, Bambi. This paper argues that within a seemingly innocent world, Bambi glamourises masculinist ideologies, which are detrimental to the creation of a progressive inclusive society, by reasserting the sexual politics which informs our gendered identities and roles in a patriarchal social order. It seeks to investigate the treatment of the “queer” character of Flower in Bambi and argue that Disney’s conforming to and advocation of regressive heteronormative social codes of morality was motivated by his business interests, rather than his cultural and artistic responsibility of creating on the silver screen a narrative that would help normalise non-heteronormative values in the society, especially among the children.