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 fresh lively motion pictures from 1990 in the course of the current. starting from Aladdin to Toy tale to Up, those well known movies are key media during which young children (and adults) know about the area and the way to act. whereas racial and gender stereotypes is probably not as seen as they might were in movies of a long time previous, they generally proceed to show troubling messages and stereotypes in sophisticated and magnificent methods.
Read Online or Download Animating Difference: Race, Gender, and Sexuality in Contemporary Films for Children (Perspectives on a Multiracial America) PDF
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Additional info for Animating Difference: Race, Gender, and Sexuality in Contemporary Films for Children (Perspectives on a Multiracial America)
Whatever one prefers to call it, what is crucial to take away is that an organized set of dispositions, interpretations, codes, and emotions, anchored in a specific context, shape the projection of difference onto the screen. As such simply moving from a negative to a positive image of women, Latinos, children, vegetarianism, single fatherhood, or Native Americans, in and of itself, is insufficient, reflecting how the frame, in response to social pressures and moral panic, filters and focuses upon, emphasizes or erases, certain elements of the other.
While the issue of Lenny’s sexuality is left open in Shark Tale, parallels between stereotypical representations of gay men and 44 “L OOK OUT NEW WORLD, HERE WE COME”? characteristics displayed by Lenny are played upon throughout the film. Not only does Lenny “come out” to Oscar (as a vegetarian), he also dresses both as a cowboy and as a dolphin at one point in the film (“Sebastian, the Whale-Washing Dolphin”). This “dress up” evokes both the fondness for uniformed men within gay male culture (the most famous example being the array of figures represented by the Village People) as well as the more general relationship between gay men and drag.
This was a case, some gay men and lesbians argued, of homophobia run rampant. However, it seems undeniable that cartoon characters—especially in Disney, Pixar, and DreamWorks productions—certainly do have sexualities, which is to say, they have heterosexualities. Despite a tenuous relevance, or an outright irrelevance, to the story lines, “heterosexuality” (in the form of heterosexual relationships, or heterosexually oriented banter) pervades most films for children. ” 42 “L OOK OUT NEW WORLD, HERE WE COME”?