Ex Situ: The Hidden Message in Pixar’s Films

May 23, 2011

What if I told you they were preparing us for the future? What if I told you Pixar’s films will affect how we define the rights of millions, perhaps billions, in the coming century? Only by analyzing the collection as a whole can we see the subliminal concept being drilled into our collective mind. I have uncovered the skeleton key deciphering the hidden message contained within the Pixar canon. Let’s unlock it.

The Hidden Message in Pixar’s Films
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Catena Ex Situ


Ex Situ: Masculinity in Disney Films

August 12, 2008

Found via The Disney Blog, here is a  video essay on YouTube™ entitled Sexism, Strength and Dominance: Masculinity in Disney Films. Some brief comments afterward.

I found the essay to be short-sighted and reductionist. He seemed to cherry-pick the characters which fit his thesis (mostly from Beauty and the Beast, which is often used as a dead horse for essays of this nature). For every shallow example he brings up, a counterexample could surely be found. Off the top of my head: characters in Tarzan, The Rescuers, The Fox and the Hound. The topic of the representations of masculinity and femininity in Disney movies is worthy and interesting, and deserves better. For a much more thoughtful and insightful discussion (without the crutch of video clips or lame This American Life-esque background music), see the very excellent over-analyzation Mulan: A Modern Rescripting of the Classic Romance.


Mini-Analyzations

May 2, 2008

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  • “I don’t know if Disney has a house rule about which animals can speak and which cannot, but guidelines seem to be emerging. The rule is, if you are a predatory carnivore, you don’t talk, but if you are a pacifist, a vegetarian or cute, you do. In Tarzan, the apes spoke, but the leopards didn’t. In Dinosaur, all of the creatures speak, except for the vicious carnotaurs. A Faustian bargain seems to be at work: If you are an animal in a Disney picture, you can speak, but only if you are willing to sacrifice your essential nature.”
    -Quoted from Roger Ebert’s review of Dinosaur >Catena Ex Situ
  • A black & white Betty Boop in Who Framed Roger Rabbit was employed a cigarette girl at the Ink & Paint Club circa 1947. She bemoaned how “work’s been kind of slow since cartoons went to color”. Perhaps Miss Boop forgot about her starring role in the 1934 Fleischer Color Classic “Poor Cinderella.”
    -Contributed by Brendan S.
  • In Ratatouille, whether Remy walks on all-fours or on two feet depends on his mood:
    “If he feels exuberant, he tends to be more upright, and his hands pulled back. Later on, when he feels shame in front of his father, and [his dreams] have all turned into disaster, he folds back in again. It’s not just a mannerism. It’s a thing that helps tell the story.”
    -Quoted from an L.A. Times interview with Brad Bird >Catena Ex Situ

De-humanization and Anti-anthropomorphism of Undesirables in Tarzan, Antz, and others

February 2, 2008

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This submission is an old one, but was never added to the site.

Contributed by Miguel L.

a70-531.jpgAs recently as Tarzan we see Disney’s new target of ridicule. The baboon tribe was seen instantly as vicious, heartless monsters who attack the helpless in overwhelming swarms. Strangely enough the baboons weren’t even the villains of the movie and showed a steep contrast to the anthropomorphic peace-loving gorillas (which was the founding reason for this whole movie- gotta have some animal, vegtable, or mineral that talks). One would suggest they represent the individuals who’ve left society and banded together to punish those that are civilized. In the end they help the good guys because that’s often the cause for the intellectual- to rile the ignorant masses to do their job- it sums up quite a bit of human history.

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