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 experiences the way in which race, ethnicity, sexuality, and gender are portrayed in contemporary lively motion pictures from 1990 during the current. starting from Aladdin to Toy tale to Up, those renowned movies are key media by which little ones (and adults) find out about the area and the way to act. whereas racial and gender stereotypes is probably not as visible as they could were in movies of a long time earlier, they generally proceed to show troubling messages and stereotypes in sophisticated and awesome 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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Extra resources for Animating Difference: Race, Gender, and Sexuality in Contemporary Films for Children (Perspectives on a Multiracial America)
At root, because animated “movies manufacture the way we see, think of, feel, and act towards others” (Kellner 1995, 1), we have cultivated ways of “seeing” that read against the grain, refuse the accepted ways of looking, and prize techniques of reframing race, gender, and sexuality (see Denzin 2002). Thus, unlike many previous studies of this domain of popular culture, we do not emphasize stereotypes, favor one axis of difference, or concentrate on a single film. Instead, as we watched these movies, we looked for symbolic patterns, repetitions, intersections, silences, and gaps central to the creation of meaningful differences within and across movies.
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. When Lino sees Lenny dressed in this getup, he asks of Lenny, “What are you wearing? What is that? ” it is precisely Oscar who has subtly rejected Lenny at an earlier point in the film, stating the number one rule for friendship as “none of that snuggly buggly stuff.
Needless] Heterosexuality in Dinosaur In the film Dinosaur, the main character, Aladar, becomes orphaned when a bird picks up his egg and drops it far from Aladar’s home. Aladar (a dinosaur) is subsequently adopted and raised by a clan of lemurs. While this unusual situation could, and perhaps does, offer lessons about “alternative families” or “families of choice,” this message is fundamentally undermined given its repositioning within a framework of normative heterosexuality. This framework renders procreation the only legitimate reason for sexual activity and the nuclear family as sexuality’s only “natural” outcome.