Animating Difference: Race, Gender, and Sexuality in - download pdf or read online

Animating Difference: Race, Gender, and Sexuality in - download pdf or read online

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 best way race, ethnicity, sexuality, and gender are portrayed in fresh lively motion pictures from 1990 in the course of the current. starting from Aladdin to Toy tale to Up, those renowned motion pictures are key media in which teenagers (and adults) know about the realm and the way to act. whereas racial and gender stereotypes will not be as seen as they might were in motion pictures of many years earlier, they typically proceed to express troubling messages and stereotypes in refined and striking methods.

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Extra resources for Animating Difference: Race, Gender, and Sexuality in Contemporary Films for Children (Perspectives on a Multiracial America)

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With the Indian maiden’s kiss, in Peter Pan, Peter turns a bright red color. This blush (which reveals embarrassment and/or sexual anticipation) then offers a reply to the question of “the red man’s redness”—an answer that 17 CHAPTER 2 acts to sexualize indigeneity itself. Further, these two films demonstrate a stubborn continuity in the process of socialization, where race, gender, and sexuality operate as important signifiers in the production of animated films. ANIMATED FILMS IN CONTEXT As a consequence, in the fifty years since Disney released Peter Pan, animated films have undergone profound transformations that make them extremely important cultural texts.

This ethnicization is accomplished through his juxtaposition to Ernie and Bernie, with whom he interacts. ” In this way, Oscar is reinscribed as black, but this reinscription is promoted through contrasting Oscar, as black American, with Ernie and Bernie, as black Jamaican (where to be Jamaican means to be accepted by Rastafarian jellyfish). In addition, Sykes is actually finally able to perform the fin shake, once Oscar becomes a celebrity and Sykes becomes his manager. ” In Shark Tale, furthermore, we witness ethnicization in “white,” for Lino is not only racialized as white, he is ethnicized as Italian by way of very specific signifiers.

Race, sex, and gender congeal in particular sociohistorical conjunctures as a system—a way of seeing and a way of being in the world. Feagin (2006, 25–28; 2009) stresses the fundamental importance of what he calls “the white racial frame” to the contours and controls of this system, which as noted above is strikingly distinct from and painfully similar to the United States today. This frame goes beyond mere ideology, according to Feagin (2009), because it weaves together cognitive, interpretive, emotional, and practical elements as well as sights, sensations, sounds, 27 CHAPTER 2 and even smells, imprinting individuals with a shared lens through which they organize and act upon the world around them through stereotypes, metaphors, images, emotions, and inclinations.

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