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Disney and racial stereotypes
Disney and racial stereotypes
Disney and racial stereotypes
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Walt Disney’s Song of the South (Jackson & Foster, 1946) is probably one of the least known films from the wildly successful company. The film tells the story of Uncle Remus—an African-American former slave—who tells the stories of Br’er Rabbit and his friends to children, some of which are white. The film is separated into segments which include live action, animation and a blend of both. The films animated sequences included catchy songs such as “Zip-A-Dee-Doo-Dah and Everybody’s Got a Laughin’ Place” which accompanied the lessons that were taught, which are still popular and in use by the company today. The stories were borrowed from Joel Chandler Harris’s books about Uncle Remus who narrates African-American folk tales. The representation of African-American and white relationships has lead to a discussion of the film as an example of a racist text. Since its initial release conversation of the film as racist persists and as a result has lead to the film being tucked firmly away in the Disney vault—“Disney has declined to release the film on video in the U.S., fearing an outcry over the crude stereotypes. Song of the South was plagued with notions of racism from its inception, based on the stereotypes used, initial drafts of the script, and outspoken opinions by organizations which preceded the film. However, the film was not intended to convey racist imagery and perpetuate the notion of racism, but to share the stories of Uncle Remus with a new generation.
My initial idea for this paper was to focus on the technical aspects of the film—the hybrid of animation and live action. I first saw this technique used in The Three Caballeros (Ferguson & Young, 1944) and was going to research this film, but the amount of literature on t...
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...Vault and probably won’t see the light of day for a very long time—if ever. In fact, the controversy has been so much of a spectacle for Disney that they do not even acknowledge the films existence in its parks or in compilation videos. Splash Mountain is based off of the film and only bears resemblance in the inclusion of the Br’er characters and some of the musical accompaniment. I think further research could be done on how Walt Disney himself felt about the making of the film and the controversy surrounding it. I think that it would bode well to look into this aspect and maybe shed some light on this aspect of the film as opposed to the controversial aspect which will always garner more attention. In the end Walt Disney’s favored childhood stories made it to the big screen and was subsequently shut down, leaving many to wonder, what else is hidden in that vault?
Bordwell David and Thompson, Kristen. Film Art: An Introduction. 8th ed. New York: McGraw-Hill, 2008.
This analysis will explore these cinematic techniques employed by Pontecorvo within a short sequence and examine their effects on our understanding of the issues and themes raised within the film.
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
Presently, Disney known for its mass media entertainment and amusement parks technically bring warm feelings to many children and some adults. Personally, Disney elicits magical fantasies that children enjoy and further encourages imagination and creativity. For decades Disney has exist as an unavoidable entity with its famous global sensation and reach. Furthermore, Disney is a multibillion dollar empire with an unlimited grasp on individuals and territories. An empire per se, since they own many media outlets, markets, shops, etc., you name it they got it. However, the film Mickey Mouse Monopoly presents an entirely new perspective on the presumed innocence projected in Disney films. This film exposes certain traits Disney employs and exclusively portrays through its media productions, specifically cartoons for directing and nurturing influence beginning with children. Mickey Mouse Monopoly points out camouflaged messages of class, race, and gender issues in Disney films that occur behind the scenes intended to sway viewers towards adopting Disney values.
Walt Disney was born in 1890 to a woman named Señora Isabelle Zamora. His father, Elias, met Isabelle in California of that same year and the two carried on an affair that ended with the birth of Walt. Later, Elias brought the two back to Chicago, Illinois where Isabelle became a housekeeper for the Disney family. Walt was assimilated into the Disney household and treated as the biological son of Elias and Flora Disney. Isabelle was with the family for years, being passed on from the Elias and Flora household to the Walt and Lillian family years later (Eliot 152-157). This account of Walt Disney’s birth poses many questions about myths, legends, and rumours that encircled the life of the “man behind the mouse”. Biographies and documentaries attempt to give accurate chronicles of his life and delve into the mind of this genius. Even people who make a career of studying the man’s life can only make theories about his actions from oral descriptions given by those who knew Disney personally. However, On Friday, October 24, 1947, Walt Disney testified in front of the House Un-American Activities Committee (HUAC) and left his legacy on record for the entire world. While the testimony was documented and cannot be questioned, Disney’s motives for testifying, impact it had on his animated features, and how the ordeal affected his image are issues that are still scrutinised and debated.
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
Since the late 1890’s films have been constantly changing the history of pop culture and the way people view war, politics, and the world as a whole. As the timeline of the history of film progressed, there were many different phases: gothic noir, slapstick comedy, tragedy vs. love, romance, and many more. Towards the more recent times, the central ideas of films started drifting to the greatness of the directors. Directors such as Stanley Kubrick, Martin Scorsese, Steven Spielberg, and many more were noted as outstanding directors of action and cinematography. In this paper I will speak about Wes Anderson, Martin Scorsese, and the ever so infamous Baz Luhrmann. These directors have changed the way filmmaking has been and will be looked at from this point on.
Bordwell, David, and Kristin Thompson. Film Art: An Introduction. 5th ed. New York: McGraw-Hill, 1997.
Arnheim’s body of theory suggests that the necessity of human intervention to implement plot, tropes, and culturally legible symbols raises a film to a higher level than a mere copy of reality, and that this interpretation and expression of meaning is “a question of feeling” or intuition on the part of the filmmaker. (“Film Theory and Criticism” 283) One consequence of effective directorial intervention is that differences in speed, stops and starts, and what would otherwise be jarring gaps in continuity can be accepted by viewers, because if the essentials of reality are present, th...
The purpose with this paper is to study and compare two different directors, and to compare and contrast the two different works. How are they working with their movies and how do they use mise-en-scene? By studying two different directors that uses different techniques when making movies, we are going to find out how important mise en scene really is, and how it affects the movie.
Walt Disney stated “it all started with a mouse.” Little did Mr. Disney know what an empire his name and his mouse would create all while having such a large impact on American culture and society. Disney has proven a brand with iconic characters and images that he was able to create a connection with not only the average American family, but also allowed other cultures to have the same connection and experience. Disney’s characters had the ability to be recognize by a large number of people, allowing Disney to have a broad market to serve making the park a safe and comfortable place for large audience of American families, while other parks limited their target audience to young adults and
For many years, the dispute concerning racism in Disney movies has been ongoing. Many people argue that Walt Disney himself was a racist; therefore the movies he created were filled with racial remarks. Ever since though Disney has evolved, racism is still present in its films to this day. Most of the animated cartoons deal with the idea that people of color are inferior, and also face problems that they do not really overcome in the end of the
Even though the production of Disney’s film The Frog Princess is a huge step forward to show the equality of all culturals and ethnicities, it just shows that racial components which were once overlooked by most parents and children are now a wide spread controversy. Giroux thoroughly explains the effect Disney films has on the youth, “Rather, it points to the need to address in meaningful and rigorous ways the role of fantasy, desire, and innocence in securing particular ideological interests, legitimating specific social relations, and providing the content of public memory” (Giroux 132).
It is safe to say that Disney movies are not before anyone’s time. They have been passed down from generation to generation and still have a positive impact on pop culture today. The values of Disney movies though have always been the same. That is to follow your dreams and good things will come. The only problem is what they teach you about the journey and the people you meet on the way there. Women aren’t given the most respectful depictions in Disney films and that hasn’t been a problem through the years because their films still sell. Children don’t know the difference between being a damsel and a heroine, or how the hero always gets what he wants. Given the right distraction, parents are none the wiser about these hidden personas that their children are being exposed to. Ironically enough, these stories originated from a darker perspective. Both Disney and German fairytales focus on stories about a character that come from rags to riches because it inspires people. At a time when Germany needed hero’s and magic, these fairytales gave people of older and younger ages hope for better times. Disney on the other hand targeted the younger female viewers. Fairy tale films made in the GDR have a surprising number were adaptations of the Brother Grimms’ fairy tales (Fritzsche, 4). At first, the fairy tale genre as a whole and particularly the Grimms’ tales were designated as “folklore,” which reinforced the values of the ruling classes. It was until the first congress of Soviet writers in August 1934 when Maxim Gorky rehabilitated the genre as a folktale that encouraged class struggle (Fritzsche, 5). Although the fairy tales were seen as East German cultural heritage during the country’s formalism debates, the Gri...
Smith, David R. “Disney, Walt.” World Book Advanced. World Book, 2014. Web. 19 Mar. 2014.