Animating Difference: Race, Gender, and Sexuality in by C. Richard King Washington State University, Carmen R.

By C. Richard King Washington State University, Carmen R. Lugo-Lugo, Visit Amazon's Mary K. Bloodsworth-Lugo Page, search results, Learn about Author Central, Mary K. Bloodsworth-Lugo,

Animating distinction reviews the way in which race, ethnicity, sexuality, and gender are portrayed in contemporary lively movies from 1990 throughout the current. starting from Aladdin to Toy tale to Up, those well known movies are key media in which young children (and adults) find out about the area and the way to act. whereas racial and gender stereotypes is probably not as noticeable as they might were in movies of a long time earlier, they generally proceed to show troubling messages and stereotypes in refined and fabulous methods.

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Extra info for Animating Difference: Race, Gender, and Sexuality in Contemporary Films for Children (Perspectives on a Multiracial America)

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For instance, in one scene, Oscar tries to “hustle his way” out of a situation with his boss, Sykes, a puffer fish. Oscar tries to connect with Sykes by performing a complicated “fin shake,” but Sykes is unable to follow the steps. ” For children who are learning the intricacies of race (as a social signifier) and race relations, labeling Sykes as a “white fish” (and therefore Oscar as a “black fish”) validates other societal messages. Children learn that our culture is strictly raced and racialized, since even fish can be black or white.

In its wake, almost every film in the genre has been rendered digitally. More recently, studios producing animated films have played a leading role in globalization. Eager to cut costs, they have looked to outsourcing (Sreedhar 2009). As the means of producing animated films have changed, so too have the ways audiences consume them. To begin, audiences have multiplied. Once almost exclusively drawn for domestic consumers, animated films are now produced for decidedly global audiences (Artz 2002).

As a consequence, in the making of Pocahontas, for instance, Disney ignored Powhatan advisors, who stressed the historical realities of EuroAmerican conquest and the inappropriateness of transforming the prepubescent Pocahontas into a nubile princess in an effort to craft an entertaining and profitable story. In the process, they created a film, according to Robert Eaglestaff, a Native American educator and principal in Seattle, that would unsettle creators and consumers alike if they saw it like many indigenous people did: it is “like trying to teach about the Holocaust and putting in a nice story about Anne Frank falling in love with a German officer” (quoted in Kilpatrick 1999, 151).

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