In the article “All’s Not Well in Land of ‘The Lion King’” by Margaret Lazarus, she states her opinion on Disney’s new movie, The Lion King. In the time before the movie was released into the movie theater, her and her children were excited to go see the movie, hoping that it would be a storyline somewhat along the lines of Beauty and the Beast and The Little Mermaid. She had high hopes of it being less traditional and straying away from the old folk-tales. Right off the bat, she wasn’t impressed with what the movie was putting out there for the children to see and interpret. The movie starts with the animals in the Pride Land gathering around to see the King’s newborn son, the first thing that upsets her is that the movie implies that all of these …show more content…
Nor have I ever heard of someone else perceiving it in that way. The hyenas are the scavengers of Africa, they’re going to be dingier and they’re going to be more menacing. They steal food from the predators and they’re always digging around in carcusses, Disney wasn’t doing anything wrong by representing the hyenas in the way that they did. They were honestly very nice about the way they represented the hyenas, they could’ve been much more blunt about it but they kept the characters appropriate for the age group. Also, with Scar, I didn’t ever get the message that he was supposed to be representing a gay person. I always took it as he talked in the way he did because he was the “bad” guy in the movie and they always have a different tone of voice, and are always a little bit darker in character, it’s just how it goes. Disney couldn’t been much more harsh in the way that they characterized Scar and the hyenas but instead they kept it a kid friendly level and I don’t think that there is anything wrong in the way they wrote and animated the
The lion with the fatling on did move. A little child was leading them in love.”
It is within those years that they discover the different ways that imagination and humanity can alter the way you think. Halberstam brings up this point within a lengthy analysis of the movie March of the Penguins. At first view this film is simply documentary of a group of penguins as the mothers leave to find food and the fathers stayed to protect the eggs. At first glance, this is true. But Halberstam presents a second interpretation. She states that “Most often we project human worlds onto the supposedly blank slate of animality, and then we create the animals we need in order to locate our own human behaviors in ‘nature’ or ‘the wild’ or ‘civilization’” (275). This idea changes the way we think about most man-made documentaries, showing how we don’t just document the animals, but we add our own human narrative to them. Enforcing ideas such as authority, gender roles, and even heterosexuality. That may seem like a stretch to some. But Halberstam states that we use these animals to study these ideas. To directly quote “Animated animals allow us to explore ideas about humanness” (276). What exactly does she mean by this statement? She uses the term animated to describe these penguins. But to any movie-goer who has seen this film know that it follows a group of real live penguins. Her use of the word animated in this case describes what it is like to be
Although the movie The Lion King is often times viewed as nothing more than a child-based movie, in actuality, it contains a much deeper meaning. It is a movie that not only displays the hardships of maturation, and the perplexities associated with growing, but it is also a movie that deals with the search for one's identity and responsibility. As said by director Julie Taymor, "In addition to being a tale about a boy's personal growth, the `Lion King' dramatizes the ritual of the `Circle of Life'." Throughout The Lion King, Simba must endeavor through the cycle of birth, death, and rebirth to take his place in the circle of life, as king of the pridelands.
Film analysis with a critical eye can give the viewer how animation giant Disney uses literary element to relay key messages to the audience. Walt Disney’s “The Princess and the Frog” is a perfect example how different literary theories like ‘the Marxist theory’ and ‘Archetypal theory’ can be embedded in the simplest of the fairy tales. The different literary elements in the movie, shows a person how characters like ‘the banker’ and the setting of the houses helps to portray the socio-economic differences in New Orleans at that time. Applying ‘the Marxist theory’ and ‘the Archetypal theory’ to the plot, characters and the setting, shows how movies can be a medium to confront social issues and to prove that all fairy tales are of the same base.
When we typically think of racial tropes in popular culture, we often don’t look towards animated G-rated movies. The film The Princess and the Frog released by Walt Disney Animated Classics in 2009 created by John Musker, Ron Clements and Rob Edwards is a perfect contemporary example of a film that shows images of pre-constructed racial tropes. Though Disney has produced multiple films based on past fairy tales, The Princess and the Frog was the first animated Disney princess film that featured an African American woman in a leading role. Often times regarded as a turning point in Disney’s movie production career, the film’s representation of African Americans proves to be regressive of racist politics surrounding the 21st century. The design
Jean Margaret (Peggy) Wemyss was born in Neepewa, Manitoba on July 18, 1926 to Robert Harrison Wemyss, a lawyer, and Verna Jean, nee Simpson. Margaret’s mother died when she was only four and her father later married her sister, Margaret Cambell Simpson, a teacher and later a librarian. She was throughout the years one of Margaret’s "greatest encouragers." After her father’s death, when she was nine and her brother still a baby, the family went to live with Grandfather Simpson in his big brick house on first avenue.
The Animal Kingdom is a modern exhibit designed to follow the “natural pattern” of an African community. The most eye-popping attraction, the Kilamanjaro Safari, is an open-air, nearly barrier-free animal reserve at Florida’s Walt Disney World. It was a major shift from a cow playground to a zone of care for other wise caged animals. Here, African animals freely roam through acres of savanna, rivers, and rocky hills. The rider is advised to be aware, “You never know what could happen in the wilderness” (Tate 1).
Through dance and movement, the storyline were expanded with the assistance of choreographer, Garth Fagan. A well-renowned choreographer for his innovative choreography primarily for Garth Fagan dance, Fagan used his unique style of choreography to the Lion King by combining a variety of Ballet, Jazz, Modern Dance, African Dance and Balinese Dance to suggest representations of nature without making a replica itself and use dance to help tell the story (Exploring the Lion King, 2010). Taymor’s idea of expanding the film by adding in choreographic elements not only will set the overall concept, it would additionally guide the visual aesthetic by allowing dance as the main element that balances musical numbers in all categories: effects, music and so on into the choreography (Bluemental et al 210:1999). Both Fagan and Taymor gave major contributions to the different styles of dance and performance techniques from around the world creating the precision and versatility that is being portrayed in the musical. In order to create the ideal staging of the hunting lionesses, flying dancers in the aerial ballet to the takeover of the hyenas at Pridelands, the collaboration between Fagan and Taymor gave suggestions of how these movements being performed with grace and poise using different dance styles and are cultural based be the forefront of the production(Taymor 148:1997). By looking at three notable dances in the musical, this chapter will analyse the presence of dance and movement being portrayed in the musical and how are these dances create the drama, still giving the idea of moving in an African Savannah. Furthermore, this will give an insight to all challenges and pitfalls both Fagan and Taymor endured during the development of the...
According to Giroux (1996), animated movies are a part of children’s culture. Children’s culture consists of entertainment, artifacts, myths, etc. that are based around the notion of what it means to be a child. Animated movies, particularly Disney films, encourages the child’s imagination and fantasy to be enhanced, creates a drive within them to go on adventures and helps them develop an aura of innocence. Animated films are “teaching machines” (Giroux, 1996, p. 66). Disney films teach children about specific roles, values and ideals and also take them through the world of enchantment. It helps them to understand who they are and what it means to be a part of the society and an adult environment (Giroux, 1996). Disney characters are a reflection
The media of a time, whether stories, movies or music, generally reflect the thoughts and issues of that time. In all the variations of “Beauty and the Beast”, by Janne-Marie LePrince de Beaumont and Angela Carter, the father “gives” his daughter to a beast. Each author either embraces or rejects the idea of fathers giving away their daughters by examining the reasons for arranged marriages and the effect it has on both the daughters and their fathers. LePrince de Beaumont rejects arranged marriages by almost mocking the idea, while Carter seems to embrace the thought.
It is amazing how a seemingly educated woman that has won Oscar awards for her documentaries, could possibly be so far off base in her review of the Disney movie “The Lion King”. Margaret Lazarus has taken a movie made for the entertainment of children and turned it into something that is racist, sexist and stereotypes gender roles. She uses many personal arguments to review the movie but offers few solutions. The author is well organized but she lacks alternate points of view and does not use adequate sources. Lazarus utilizes the statement at the end of her review that “the Disney Magic entranced her children, but they and millions of other children were given hidden messages that could only do them and us harm” (118). She makes her point by saying that “the Disney Magic reinforces and reproduces bigoted and stereotyped views of minorities and women in our society” (Lazarus 117). She makes comparisons such as elephant graveyards are like ghettos (Lazarus 118). Other lines of reasoning Lazarus gives us are about Whoopie Goldberg using inner city dialect, the villain Scar being gay, and only those born to privilege can bring about change (118).
The popular Disney film Aladdin follows the story of “street-urchin” and orphan Aladdin and his pet monkey Abu. In the story, Aladdin falls in love with princess Jasmine. However, she is not allowed to marry anyone other than a prince. Meanwhile, Aladdin is swept away to become a part of a ploy by villain Jafar to search for and claim a mysterious lamp that is said to grant wishes. The movie is full of false representations of Arabia and Arabians. Seen by children, Aladdin perfectly exemplifies the idea that many racial stereotypes in the media easily go unnoticed. While these young boys and girls are excited by the story, they are blind to treacherous social constructions that are indoctrinating them.
Smith, Caroline. “The Not So Wonderful Word of Disney.” University of Alabama Arts & Sciences Department. Retrieved 13 Dec. 2013 from < http://www.english.uga.ed u/fyc/barnett/smith2006-07.pdf>.
In today’s modern age, young children are being raised by their TV screen. Reining from the original tales of Perrault and the Grim Brothers, the Disney princess line has been a staple on the screens since the 1930s (Do Rozario 1). However, these princesses have gone through dramatic changes to remain relevant to todays youth. The effects that can be influenced by the roles expressed in these types of films send mixed messages to the audience, causing them to ask themselves whether or not they should believe what the princess is expressing on the screen.
Brian May and Roger Taylor, in 1970, set the wheels in motion for Queen when they decided to form a band during their college years. Queen started out as a band called Smile who signed with Mercury Records, and included: Tim Staffell, Brian May, and Roger Taylor. Once Tim Staffell left, the group added Freddie Mercury (lead singer) and bassist John Deacon. Freddie Mercury, Farrokh Bulsara, was a fan of Smile and was added on as the lead vocalist. John Deacon began as a young guitarist who was a member of the group called The Opposition. This band was composed of a group of friends, and they were influenced by groups such as The Hollies and Herman’s Hermits. Eventually, Deacon was added to the group that already included Mercury, Taylor, and May. Over time, the group changed their name to Queen. The name Queen was selected by Mercury, and this name is symbolic of power and regality. The addition of Mercury proved to be an essential aspect to the history of Queen’s success. In Queen: The Early Years, Hodkinson writes, “much of what made Freddie also defined Queen: without him they were merely a model rock band with a bent for a commercial tune” (2). The group became well known for their theatrical performances and costumes that were often over the top. “From their international breakthrough in 1976, Queen continually remained one of the best-selling rock acts worldwide beyond Mercury's death in 1991. Their total record sales are estimated at up to 300 million records” (Desler 391). This group was important to the evolution of music and music performance in bands that were to follow them.