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
> Catena Ex Situ
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A Bug's Life, Cars, ex situ, Monsters Inc., morality, philosophy, Ratatouille, Robin Hood, Tarzan, The Incredibles, The Jungle Book, The Lion King, The Rescuers, Toy Story, Toy Story 2, Toy Story 3, Up, WALL-E | Tagged: Pixar | 
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3 Comments | homosexuality, knock-offery, Mini-Analyzations, SpongeBob SquarePants, The Boondocks, The Lorax, Toy Story, Toy Story 2, villains | Tagged: Buzz Lightyear, Squidward, Woody | Permalink
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[Editor's Note: I found this Ex Situ via the indispensable The Disney Blog.]
Mr. Michial Farmer at Ladder on Wheels has written an excellent two-parter about themes of darkness and anxiety in Disney and Pixar movies (including Up). It’s practically a survey of disturbing things in Disney and Pixar movies. The first part is all about how dark the early Disney features were, and how they lost some of that darkness after (roughly) World War II:
…All of the early Disney features—for our purposes, let’s define “early” as prewar, which would allow us to work with Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Dumbo, and Bambi—are shiny and beautifully drawn, but all of their prettiness only serves to hide the deep, existential dread at their cores.
While Mr. Farmer has a good point, I do think he neglects some of the darker imagery of The Rescuers, The Black Cauldron, The Lion King, or even Lilo & Stitch. Though the darkness in these films isn’t quite as fundamental or thematic as most of the pre-WWII examples he gives.
His second part is all about how Pixar’s stories are successful partly because they have embraced those mature themes which have been largely absent from the post-war Disney films. Here’s part of his discussion of Finding Nemo:
Finding Nemo, on the other hand, begins with a reference to and amplification of the central terror in Bambi. Here Marlin’s wife dies a terrible death just as they’re planning their life together, and the Barrucuda who eats her also goes ahead and takes out all but one of her eggs. Marlin—understandably, although the film doesn’t seem to acknowledge that!—becomes a picture of anxiety, protecting his disabled son (a nod to Dumbo, though Nemo doesn’t get the brutal mocking that his elephantine counterpart does) from the world that took his wife with little to no warning.
It’s very true that Pixar does not shy away from including more sophisticated and mature themes. It’s certainly part of the reason why Pixar movies resonate strongly with both kids and adults. Pixar also does not make the mistake (common among the filmgoing public) of mistaking “dark/edgy” for “dark/mature.” A lot of cartoon and comic fans seem to think it validates their love of the artform if disturbing stuff is haphazardly included, whether or not it actually adds anything symbolically or thematically. Pixar probably learned its lesson after that first disastrous “edgy” draft of Toy Story.
Deep in the Big Black Heart of the Sunshine State
Part 1 >Catena Ex Situ
Part 2 >Catena Ex Situ
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1 Comment | A Bug's Life, Atlantis, Bambi, Bolt, Brother Bear, Cars, Chicken Little, Cinderella, death, Dumbo, ex situ, Fantasia, Finding Nemo, Home on the Range, Lady and the Tramp, Lilo and Stitch, Meet the Robinsons, Monsters Inc., morality, philosophy, Pinocchio, Snow White and the Seven Dwarves, Song of the South, The Black Cauldron, The Hunchback of Notre Dame, The Incredibles, The Lion King, The Little Mermaid, The Princess and the Frog, The Rescuers, Toy Story, Toy Story 2, Toy Story 3, Up, villains, violence, WALL-E | Tagged: angst, existential dread, ontological, The Island, World War II | Permalink
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Back in March of 2000, The Humanist magazine published an article by Lucia K. B. Hall entitled “Toy Stories for Humanists?” This interesting article presents thematic elements in both Toy Story and Toy Story 2 from a humanistic perspective. The author is convinced that each movie contains “a carefully thought-out and detailed humanist message.” Here’s an excerpt:
Seen as such an allegory, Toy Story becomes a carefully wrought description of two opposing world views: naturalism and supernaturalism. Woody and the other toys in the playroom represent the naturalistic world view. They are mechanisms–material objects that have a material source, a real-world history and origin (Mattel or Playskool or such), and no function other than to be just what they are. Woody embodies basic American Pragmatism. He’s a toy, a mechanism, a material being; he knows it and is content with it.
The article itself is hosted at The Free Library, and is linked below.
Leave a Comment » | death, ex situ, Toy Story, Toy Story 2 | Tagged: Buzz, humanist, pragmatism, Woody | Permalink
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