Week 5: Social and Political comment in animation. Representation in animation.

Politics and Persuasion in Entertainment

Hidden Political Messages in Films

Films and other forms of media often contain subliminal or overt political messages, shaping societal perspectives and influencing behaviour.

1.0 Subliminal Advertising

Subliminal advertising is a marketing technique that uses hidden images, sounds, or messages to influence consumer behaviour without conscious awareness. The aim is to tap into the subconscious mind, where decision-making primarily occurs.

Example:
In 1957, James Vicary famously claimed to have flashed the phrases “Drink Coca-Cola” and “Eat popcorn” during a movie, too fast for conscious perception. He asserted that this resulted in increased sales of these products. However, his claims were later debunked.
(Source: BBC News – Does subliminal advertising actually work?)

TfL bosses ban advert for new West End play because it features a two-tier Victoria sponge that ‘promotes’ obesity

1.1 How Do Politics Shape Media Production?

Political ideologies and cultural narratives significantly influence the creation and content of media. Decisions about what stories are told and how they are presented often reflect prevailing political and social climates.

1.2 Politics in Pop Culture

The Worldwide Privacy Tour is a satirical take on Prince Harry and Meghan Markle’s decision to “step back as senior members of the Royal Family” and their subsequent rebranding. The episode humorously portrays the “Prince of Canada” and his wife visiting South Park, claiming they are in search of privacy and seclusion. However, their actions create chaos in the town and bring them into conflict with fourth-grader Kyle Broflovski.

Popular animated series frequently address political themes, using satire and humour to critique society:

Family Guy – Parodies absurd political situations and offers critiques of both right- and left-wing ideologies.
The Simpsons – Tackles issues such as corruption, environmental concerns, and corporate greed, with characters like Mayor Quimby representing real-world political archetypes.
South Park – Known for its timely and provocative political commentary, addressing topics like elections, social justice movements, and political correctness.
BoJack Horseman – Explores the intersection of politics with celebrity culture, media influence, and personal scandal.
American Dad! – A satirical look at right-wing ideologies through the lens of conservative CIA agent Stan Smith.
Futurama – Uses its futuristic setting to comment humorously on modern political issues such as climate change and government control.
Rick and Morty – Occasionally incorporates political themes, exploring issues like government control and existential questions of authority and freedom.

1.3 Animation as Political Commentary

Animation has been a powerful medium for political and social critique:

Norman McLaren: Neighbours (1952)

A stop-motion film that uses a simple conflict—neighbours fighting over a flower on their border—to critique war and human violence.
Despite winning an Academy Award, the film was banned in some places due to its portrayal of cruelty, including scenes involving babies.

Joanna Quinn: Britannia

A biting critique of British Imperialism, highlighting its rise and fall through satirical and brutal imagery.

Winsor McCay: The Sinking of the Lusitania (1918)

An animated propaganda film depicting the sinking of a passenger ship during World War I, emphasizing the tragedy of civilian casualties.

1.4 Animated Documentaries

Animated documentaries combine factual storytelling with creative animation to communicate complex ideas or personal narratives.

Defining Characteristics:

Created frame by frame.
Represents the real world rather than an entirely imagined one.
Presented as a documentary by its producers or perceived as such by audiences.
Often clarifies phenomena, educates viewers, or explains abstract concepts.

1.5 Examples of Animated Documentaries

Walking (1968): Directed by Ryan Larkin, this Canadian short film showcases vignettes of how different people walk, offering an observational and artistic take on human movement.
Abductees (1995): Paul Vester’s documentary is based on interviews with individuals who claim alien abduction experiences. Animation is used to depict their surreal, emotional, and often unsettling accounts.

Representation in Animation

Disney’s Dominance and Its Global Influence

Disney has long been the central force shaping global animation culture, presenting an American-centric perspective that dominates popular appreciation of the medium.

In the early 20th century, as animation industrialized, international animators strove to develop unique styles. However, the sheer volume of content produced in America led many to adopt American techniques and aesthetics. Examples include:

Japan’s Tiny Chibisuke’s Big Adventure (1935), which reflects the influence of earlier American works like Jumping Beans (1922).
Egypt’s Mish Mish el Shater (1939), produced by the Frenkel brothers, which mimicked American techniques to appeal to local audiences.

Christian Thomasson emphasizes that early animation embraced a cartoonist, exaggerated approach, creating visual experiences beyond live-action’s capabilities. Ironically, while many early animators celebrated stylization, Disney shifted toward a more realistic and aspirational visual style.

Hollywood and “The Other”

The Concept of “The Other” in Media

“The Other” refers to characters who deviate from societal ideals—norms often defined as white, cisgender, heterosexual, non-disabled males. These norms are societal constructs maintained by power structures that marginalize diverse identities.

During Hollywood’s “studio era,” many films used monsters as metaphors for “the Other,” dehumanizing those outside the societal norm.

The Celluloid Closet (1995) critiques the dominance of heterosexual and heteronormative portrayals in cinema.
I Am Not Your Negro explores the negative, dehumanizing representation of Black, Indigenous, and other ethnic minorities in mainstream media.

Disney’s Evolving Representation

A Shift Towards Inclusivity

Recent Disney productions show progress in representing diverse genders, ethnicities, and cultures. However, this inclusivity often remains superficial.

Moana (2016) authentically depicts Polynesian culture with a largely non-white voice cast, yet its creative direction was led by four white men.
The authors of From Mouse to Mermaid: The Politics of Film, Gender, and Culture argue that animation serves as a platform for exploring identity and cultural expression, beyond mere entertainment.

Nicholas Sammond highlights that animation’s theatrical roots included problematic practices like blackface, visible in early cartoon characters such as Felix the Cat and Mickey Mouse.

Racial Stereotypes in Early Animation

Examples of Racial Bias

Animation has reflected the racial biases of its time, perpetuating harmful stereotypes:

Fleischer Studios’ I’ll Be Glad When You’re Dead, You Rascal You (1932): Intended to celebrate Louis Armstrong’s music, it caricatured him as an “African cannibal.”
Warner Bros.’ Coal Black and de Sebben Dwarfs (1943): Part of the “Censored Eleven,” it featured extreme racial caricatures and was later withheld from circulation.
Disney’s Trader Mickey (1932) and Mickey Steps Out (1931) perpetuated racial stereotypes, as did live-action films like The Jazz Singer (1927), infamous for their blackface performances.

These portrayals exaggerated traits associated with marginalized groups, reinforcing stereotypes under the guise of humour and simplicity.

Live-Action Parallels

Stereotypes in Live-Action Films

Donald Bogle’s Toms, Coons, Mulattoes, Mammies, and Bucks (1973) outlines restrictive archetypes for African American characters in live-action films, such as:

The “Mammy” figure (e.g., Gone with the Wind).
The “Coon” stereotype, portrays Black characters as comedic and subservient.

These roles starkly contrasted with the wide-ranging, complex narratives afforded to white characters, reinforcing racial hierarchies in storytelling.

Responses to Past Representation

Avoidance vs. Authenticity

In response to criticisms, studios often avoided addressing racial stereotypes directly, opting instead to exclude non-white characters. For instance:

Chuck Jones replaced Tom and Jerry’s original “Mammy” character with a white Irish maid in the 1960s.

More recently, efforts have shifted toward authentic representation, empowering diverse creators to share their perspectives. Examples include:

The Proud Family
Bébé’s Kids
The Boondocks

These works centre on Black characters and themes, created and produced by Black writers and animators, enabling more meaningful storytelling rooted in lived experiences.

Countering Stereotypes in Animation

Some animators push back against historical stereotypes by creating counter-images that challenge past narratives, while others advocate for nuanced portrayals that reflect the complexities of human experience.