Sociological Concepts In The Film Antz '

In the Pixar movie Antz, there are several sociological concepts thought out the entire film which is based around an ant colony. There are four main points in this movie, sociological ideas of class, culture, societal roles and conflict theory. These four topics are clearly illustrated with myrmecological, to present anyone can be a hero film, which makes our own experience of class struggle, expectations of ideal culture, societal relationships and the struggle for betterment in modern human life.

According to Henslin, the scenario that took place in Antz, the self-controlled subjects constrained within of strict class rules, Antzdepicts the folkways of diligent worker ethics and mores of unquestioning servitude that keep little Z and everyone

else in his worker class in obedient order. Z’s dream of self-fulfillment, "which emphasizes becoming all that one can be"(Henslin, 2009, p.53), is constantly squelched by the culture of class expectations to continuously toil extremely hard for the sake of the colony. This is an example of roles, for example, Z tries to remain positive about his own worker class burden, but as he lifts up his pick ax he says: "See, it's working already, I am so meaningless, I am insignificant," to which his worker class friend Azteca laughs and replies "See, now you're getting it. After all, it's not about you, it's about us, the team." (Antz, 1998).
Class is explored by the depiction of the worker ants joining with the army ants at the group dance bar when an old-timer speaks out, disclosing the location of Insectopia, suddenly he is taken away by a member of the upper-class. Later on, a shift manager of the worker ants tries to do his job, and for that he is called a "pawn of the oppressor" (Antz, 1998).
By deviating against his own control limitations, Z is compelled to challenge the attachment of his best friend Weaver. This is the only way Z is able to seek out the symbolic fantasy of life known as insectopia. By asking to trade places with his happy army-class friend Weaver, Z commits to jumping class also known as knowing his place in the colony, to further pursue individual happiness by reuniting with a pretty female he met in the bar. The female royalty-class ant, who chooses to cross her own line of class expectation by entering a place that is off limits to her, is seeking to be treated as an individual because of her dissatisfaction of being forced into the prescribed life of superficial prestige and royal marriage to the General.
This culture of obedience and work, along with conjoined classes of large groups with no individual recognition, sets the stage for Z to break norms to attain higher cultural values of personal happiness, but not without challenging authority to save all the others from destruction. In this colony culture that values activity and work above all else, it serves as a blinder to question one's own individual values. When Z breaks the symbolic culture of following orders, the backlash of moral imperative serves up a great deal of problems for the colony's social structure. After being swept up in the army's erroneously ordered attack on the termites, Z learns new cultural lessons during wartime, such as individual valor and selfless protection, which cultural values are not practiced by the worker class or the royal class. In the dying words of his newfound soldier protector, Z is imparted with a new sense of ideal culture; "Don't make my mistake kid, don't follow orders your whole life. Think for yourself." (Antz, 1998).
A plot change causes a sudden shift in societal roles for Princess Bala into class-less follower, and Z's role of a former virtual nobody is rocketed to demigod.

These two dramatic role changes are thrust together to sharply contrast the former agents of socialization that forged this unlikely couple. Weaver-the-former-army ant is left to labor back home, while Z takes on his new role performance as caretaker to the Princess, saving her from destruction, starvation and desertion. Bala needs Z for his ability to guide her back to whence she came. This role strain, shared by both, comes to a head when the promise of insectopia is visible and within walking distance. The Thomas Theorem comes to bear on this resolute decision to march onward towards a better life for Z, who has "defined the situation as real, so it is real in its consequences" (W.I. & Dorothy S. Thomas, as quoted in Henslin, 2009, p. 105). Here, the fantasy of insectopia parallels our own desire for happiness by attaining the life of our own choosing, illustrating the Social Construction of

Reality.
The structural functionalism is presented early in the story uniting the different classes, all finding their place in support of the colony. For example, soldier-class ants follow orders to protect the colony, worker-class ants labor for improved living terrain, the Queen and elite class live in luxury to oversee the reproduction of the classes, while the Princess is groomed to be next in line for the throne. The conflict theory, however, comes to bear on each group in this society as they fight for resources of individual freedoms and the right to choose their own destiny.
As social functionalists would call this former ant colony "a harmonious whole, with its parts working together" (Henslin, 2009, p.

18), the break from her throne and his break from the caste of worker cog in the wheel of the autocratic colony, causes major conflict to its symbolic interactionism. To examine the macro-sociological implications of conflict theory in this film, it is pertinent to acknowledge the changes in status outside the protective structural functionalism of the insular colony. Although it is true that the many parts of the colony depend on each other to prosper, it is not an individual's choice to do so. Z is the first to ask why, which sets in motion his individual changes leading his quest outside the colony, subsequent class changes and the ensuing conflict theory. This conflict theory depicts the tug of war that pits Z and his proletariat worker comrades against the bourgeoisie-ant-elite in more than just a battle for power, it becomes a battle of survival for the entire colony. Subsequently, social conflicts between the two escaped deserters and the authorities of the ant colony manifest in conflicts on the macro level of social interaction. For example, when the stories of Z and Bala's escape circulate amongst the workers, the rumor mill generates revolution in the air, so the workers stop working. In addition, the subordinate questions the general about his judgment, and eventually disobeys his orders. Since these "opposing interests permeate

every level of society;whether it be a small group, an organization or an entire society" (Henslin, 2009, p. 18), the entire social order is on the brink of social revolution. All in the name of reaching for an ideal culture, Z has passed the point of no return; there's no going back.
The conflict theory to the final battle of worker class versus the elite, we see that the ultimate value is survival, held by the entire colony. By experiencing this class conflict for survival, as well as resources such as a location to exist, transparency of leadership and functional equality, the symbolic interaction must evolve to sustain the colony as a whole. Using this perspective, we also see how fragile the group dynamic becomes when an individual is catapulted to hero status in order to effectively save the colony from the individual who upset the social harmony in the first place. In going from micro to macro to micro, we encompass all three sociological perspectives, ending up with the colony as a whole still intact, but with an evolved social order that includes a new place to prosper - Insectopia.
Without the need for change, there is no societal evolution. Because the one ant in the millions spoke out to address the need for change, we see how it affects individuals, the classes and the society as a whole. After the any colony is rebuilt, its improvements include not only the enjoyable amenity of a large indoor swimming pool, but a greater sense of social patterns that come from being able to choose them. The class struggle to work in harmony that was present in the beginning is now a class celebration with greater rewards to each class, making the ties that bind more valued. The struggle also succeeds by producing relationships between two couples that could have never existed before: Weaver and Azteca, Z and the Princess. These individuals' newly expressed bond affects the colony by modeling new social possibilities.
The ideas of class and societal roles culminate within this ant culture by encapsulating a story all about conflict theory, starting with an individual seeking higher ground, literally and figuratively, in a group that depends on each other to subsist. As Z himself admits, it was not his one act of non-acquiescence that elevated and saved the colony, but all of their effort combined to bring them to a higher sense of social interaction. It was a simple "boy meets girl, boy likes girl, boy changes underlying social order story" (Antz, 1998, 1:16:59).The last shot of the sunny skyline of New York, as the camera floats back and zooms out, shows a global macro view of a sunny new horizon, new societal expectations, a new power couple and new social experiences with bits of ideal culture about to begin.