It's always a happily ever after!

And just when you think a Disney movie finally doesn’t have death in it.. you are proven wrong! Not all Disney/cartoons have the theme of death in it but its definitely the one that strikes the most; at least when you are older (I’ve probably already mentioned this). But I dare anyone to watch one and not have your heart broken, otherwise I would say something is deeply wrong with you ahah.

However, I’m not going to discuss this depressing theme, but I’ve recently wanted to review a Disney cartoon and have recently written an exhausting essay upon multiculturalism, I thought I could try and explore it in relation to one of Disney’s latest and ‘innovative’ animations The Princess and the Frog (2009). Well, is not that recent however in terms of it being ‘innovative’ it is one of the very first cartoons to portray a black princess (even though to be correct, an African-America princess) but also she embodies such a determined and strong female character, not the usual type of princess. Taking in consideration Cinderella or Snow White, for example, we see that they in a way are the victims of cruel step parents, more precisely step mothers, who do not come from a ‘poor’ background, even though represented in such. As for Tiana, our African-American princess, her poor and rural background are definitely not missed; although it is a pleasant little area where folks come together while enjoying a nice meal of jambalaya (actually sound tasty).

Disney becomes a ‘melting pot’ of cultures, mmh that’s you would probably think. There are different discourses that various theorists or simply ‘ordinary’ people have taken into account when referring to this film: race, class and gender. I will analyze these concepts in relation to specific articles/posts I have read. 

I’ve read some pretty interesting facts regarding this animation, firstly the image of a post-modern princess, represented by this hard-working, independent and ambitious woman. From my recent analysis there are not many issues concerning the matter of race, in portraying a typical princess as an African-American, even within the film it is not emphasized in particular ways: we see the strong friendship between Tiana and Charlotte which contra poses the image of master and servant.  However there are certain statements which do imply or remind Tiana who and where she is from. Additionally some pin-point the fact that the characters, Tiana and Naveen, are through the story mainly appearing as frogs; which to some extent raises the question of whether this was on purpose. But personally, maybe I’m being naive, I don’t think that there is much of a second scope.

“ […] Which is why a little woman of your background…”

-          Fenner Brothers

There is obviously a distinction between both Tiana and Charlotte in matters of race, the former having to work hard to achieve her goals while the other just simply asks for what she wants; but this matter is not emphasized in a negative way due [as mentioned] by the fact that the two share this strong relationship. However, Charlotte’s character seems to embody simply a spoilt princess, stereotype of the usual princess-like-blonde who simply believes that wishing upon a start will bring her fairy tales to life. Well, in the end it is a fairy tale. This may concern alternatively matters regarding gender, from which I will draw upon in a post which connects in particular Tiana’s figure to the theories of the notable Laura Mulvey. It is actually an insightful piece of work and I will point out the main associates made between the cartoon and Mulvey’s notions.

The first aspects which catch our attention is this obsessive idea that men can feel threaten by woman (fear of castration – like seriously guys get a grip ahah), which within the film is solved by the fact that Tiana is initially introduced as a child and also not taken very seriously when wanting to open her own restaurant: “Tiana's determination and passion for work and her restaurant are treated as a silly hobby, as though she were still a child with a foolish dream”. Alternatively, there is the consideration of Tiana being passive. This is a main concept within Mulvey’s work, she state that Hollywood films tend to portray a certain male gaze to which male characters appear to be active while women are simply a passive objectification  for the pleasure of men (every time I read or write such things I kinda feel degraded).  The fact that Tiana is mocked by other in following what seem absurd dreams and hard work, as if she can try as much as she wants but will not get it, her mother also insists she wants grandchildren (although she is then supportive), etc.

In conclusion, I wanted to briefly draw upon the relation between Tiana and prince Naveen, within the post it is argued that the arrival of Naveen who “takes hold of the reigns”, as if Tiana was some kind of horse. Once ‘prince Charming’ has made his appearance, we know look at Tiana through his eyes, sifting from the initial perspective we had of Tiana’s point-of-view. To some extent it may be true but on the other side it also reminded me of the buck stereotype, used within Hollywood films: the attractive, sexual crazy black character (although Naveen is per se Spanish).

However we construct or analyze the hidden messages, doesn’t change the fact that it was a good Disney movie, something everyone would enjoy!

“Meet my friends from the other side.”

-          Dr. Facilier

AG

 (Apologies - late, last time!)

Readings

http://www.thefword.org.uk/reviews/2012/03/princess_and_frog

http://selfproclaimedmegalomaniac.wordpress.com/2011/08/02/the-princess-and-the-frog-the-tale-of-the-postmodern-princess/

Emotional Monsters

“The idea of science and short film-making is a similar vein”.

- Tim Burton

 I’ve done a few school projects where I had to build and create an ancient house or primitive village and always found it was fun getting my hands dirty. Although mine weren’t the typical science project for the science fair, the secret in doing these works of art is being creative; I guess most would agree or just automatically assume such approach. Director Tim Burton, he himself considers science and art something similar and has always tried to treat them as such. His latest film Frankenweenie (2012), remake of his original short (1984 – wow I really feel I haven’t been around that long) revolves around Victor’s lost and his scientific skills: the whole process is creative, like building his machine with a bike, Christmas reindeers, his mum’s waffle maker and so on. I interpret it as a process of creation, both for art and science [as in Victor’s chase], although the aims/purposes may be different; I would tend to favour art as I don’t see it as a limited performance while science seemed to be bound to certain boundaries. However, throughout time even science has proven to cross unknown horizons. Burton’s films tend to mix fantasy and horror to create something similar but different from mainstream Disney, regarding in particular his stop motion animation films; I consider The Nightmare before Christmas (1993) a classical such as The Lion King (1994) or Snow White and the Seven Dwarfs (1937 – ’37, what the...). I would imagine Burton’s prince charming as Jack Skellington on a dead horse with falling pieces... or Johnny Deep. 

 Even before he could walk and talk, Burton watched and devoured monster movies; that’s what his parents told him. I mainly got, stop day-dreaming. Since he was a kid his passion for monster movies was profound and developed a sense of devotion to the most human of them all: the monsters. People do tend to look at you differently when you grow into liking certain things but it worked out fine for Timothy (so cute); most people would kill to work with Disney but let’s say the relationship between the two... is complicated and peculiar. Burton stands out for his unique style, although he tends not to fixate himself to a particular style/image; when you see a Tim Burton film you know it’s his due to a gloomy, dark atmosphere with unusual characters but that is how I perceive his talent: it’s innovative, unique and creative. 

Let’s draw upon his latest film Frankenweenie and detect his monster influences [probably containing some *SPOLIERS*]. The story is taken from Burton’s original short made in 1984, which at the time didn’t attract Disney, and traces the story of Victor Frankenstein who unexpectedly loses his dog Sparky and incited by his science teacher, tries to bring his dog back to life; which eventually entices his class mate’s attention. The film invokes the black and white movie monster Frankenstein, as Victor brings his dog back to life by sewing pieces together and using lighting; Sparky embodies “the monster”, while Victor the mad scientist and there is also Frankenstein’s bride, Elsa’s dog. Other than the names and characters, also scenes are inspired from the old black and white monster movies: like the ending part where action takes place in the town’s windmill which is burning to the ground, with the angry mob outside (Frankenstein, 1931); Shelly the giant turtle which threatens the town reminds me of Godzilla (1954), a giant monster which roams the streets while screaming people flee; the sea monkeys reminisce the monster from the black lagoon. Burton himself affirms that he considers many monsters as horror icons, such as Boris Karloff [Frankenstein] and Japanese movies: “I was never scared by monster films because I felt the monsters were the most emotional characters – at least in those old films”. 

Timothy reveals that he “find[s] black and white very beautiful. It gives a real sense of emotion”. I personally think black and white films are a bit more dramatic, there is no colour and so you perceive the story and characters differently; “when you take out the colour out of something, sometimes you start looking at other things, such as textures and characters”, can't disagree with Burton. I know you’re not here to really listen to my opinions but I can’t help but say what’s on my mind. I just love film in general and whether it’s silent, black and white or with special effects, if the plot and characters are exceptional and genuine I would watch anything. Tim Burton’s films are different and I like his gloomy characters and settings, also fascinated by stop motion. I produce a stop motion last year for digital media, simply tell a story with pictures, but I always have to complicate my life: I decided I wanted to create an animated stop motion and funny enough I took inspiration from old movie monsters revived by an episode of Supernatural (also in black and white)! The scene I really wished to recreate was Dracula, I just loved the lighting on his face; if you haven’t seen the episode do so [see clip]. 

 “I always felt confident it [Frankenweenie] was a traditional Disney film”. Burton claims that his work is similar to that of Disney, which saw his films as too dark for their line of work but in the end one particular theme coincides with both: the issue of death. He recalls films like The Lion King and Bambi (1942) which both deal with such aspect. In many other films and even TV programmes people have tried to explain death and what happens after but I guess as kids you still don’t grasp the concept that much... until you grow older and re-watch Bambi realizing your eyes have swollen and that you are running out of tears. 

AG 

Clips 
http://youtu.be/ki2CtwigsDY   Tim Burton – interview (29min)

http://youtu.be/BW5t9e8wemU  Frankenweenie (2012) – Science Teacher speech 

http://youtu.be/SoL6a37d1Rg   Frankenstein (1931) – Windmill burning 

http://youtu.be/FQitxcxiZbc  Supernatural, Monster Movie, Season 4 ep. 5 (2008)