Saturday, 28 September 2019

4/ Continued Research


This UCLA Hollywood Report blatantly shows the issues that exist in society in regards to diversity and media. Pages 14
-24 consistently show that roles for people from minority communities always sits below white people by about 60%,
regardless of the genre (eg. Broadcast reality, theatrical films etc.) spanning 2011- 2016. It also confirms that the
representation we see , from highest to lowest, is White, Black, Latino, Asian, Mixed, Native, all of which have more
male film actor counts than female (2016). 
My research continued and my notes and the quotes that I found most relevant to my essay are below. 
Book: The Idea of Nature in Disney Animation from Snow White to Wall-E by David Whitley..
It looks at the Jungle Book, my favourite quote of my research so far has
got to be Robin Allan’s sausage analogy

 Disney's treatment of the Kipling story in the JB "as being akin to taking a sausage, throwing away all the contents 
except the skin and filling the skin with their own ideas very far away from the original substance" p.99

It suggests that the colours in the Jungle Book are reminiscent of Gaugin and Le Douanier Rousseau; although this
may not have been intentional it has got me thinking that the concept art in my practical work could be stylistically
influenced by artist’s who  targeted issues of culture and racism too. 
Next I read ‘Diversity in Disney Films’ which critically analysed the errors in racial representation that Disney has
made in the past, focussing on Black and Asian imagery for my essay. I found the chapter ‘Siamese Cats and the
Orientalist’ particularly interesting. It touches on why these negative characters existed: supposed guilt over the
atomic bombings of Hiroshima and fear of immigrants, or the ‘yellow peril’. It was the first time I had heard that
the ‘orient’ was a construct, which led to further research into ethnicity and identity. Below are the notes that I
found particularly useful:









-The book ‘Undoing Culture': Globalization, Postmodernism and Identity by Mike Featherstone discusses how 
technology can unify people’s experiences. So although a person may be from an area which is not racially 
diverse, you can still reach people through TV and film in the comfort of the own homes to show them 
dynamic and diverse parts of other people’s culture. This may start to dismantle prejudices that form from a 
lack of exposure to other people’s cultures, predjudice teaching, or may allow people to form their own 
readjusted opinion of minority groups. If all people see in media is that one race is criminal, and they never
 meet the true people in that group, a person’s belief will continue to be the former. 
- I did some reading on Visual Development to help assist my practical - Beginners Guide to digital painting in Photoshop, and Principles of Character Design by Terry Whitlach.
- I read Racial stereotyping and selective positioning in contemporary British animation by Charles daCosta as it 
discussed the logistics of multi cultural society and actually suggest that “the melting pot generates 
dissatisfaction because of the absence of individuality” which I disagree with because that assumes that
everyone assimilates into one ‘culture’. I believe that you can embrace differences whilst being unified, so 
long as you rule out fear.

-‘Understanding Popular Culture'... I don’t think John Fiske and I would get on too well, but in fairness this book 
was first published in 1998 which may explain the outdated and defeatist attitude in the text.

Friday, 20 September 2019

3/ New Line of Thinking & Moana

With the research up to point, I tried to round up my line of thinking for the essay:

‘I am thinking of exploring how cultural representation in animation effects children’s psyche, continuing into
adulthood and consequently the effect it can have on how society interacts as a whole. I’m hoping to discuss how
animation must understand it’s influence on bigger socio-cultural topics, maybe including other examples of
animation in propaganda eg. Disney in WWII or the recent Greenpeace animation *, or other effects on our psyche
eg. Colour perception and biophillia to support how effective animation can be in portraying a message through
visuals. Might also go into racial diversity behind the scenes in the industry and how this affects the stories that get
told etc. 
My plan to make it relevant to my practice (Vis Dev, I think) would be to retell/world build/create a body of portfolio
design work focussing on a culturally rich story, telling it correctly with positive representations or retelling one
which often gets told incorrectly.'
- Mike said that it was either one huge subject that was too big for the size of this essay,
or that there were three smaller routes that I could go down. So my essay will now focus on: 
Cultural representation in animation, the effects on children’s psyche continuing into childhood and consequently the
effect on how society interacts as a whole.
-I continued research into cultural representation in animation and came across the discussion surrounding Moana.
After reading a few articles on the topic and comparing the differing views, it has brought a new issue of tourism to 
light for me, as well as providing the stark contrast in viewpoint from creator to audience. 
This was the first article that Iread discussing Moana
 https://www.vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia,
 and previously I had watched behind the scenes video that praised the studios efforts, with the main cast having roots 
in the Pacific Islands and my impression film as a whole was positive. This Vanity Fair article will also have you believing
 that the film is a great feat, “for a studio that has been dogged by accusations of cultural insensitivity” by expressing the
 lengths that John Musker and Ron Clements apparently went to to ensure this was a culturally sensitive telling of the 
demi god, Maui. Those unfamiliar with Pacific Island culture, like myself, may not be aware of the issues in the film. 
The film even had the Oceanic Trust involved in its making, giving advice on the appropriate portrayal of Maui and his
 stature, traditional dress, customs and behaviours, Clements says “But five years and countless trips to the islands later,
 Disney has found is way”. So how did Disney, with all this help and hope to improve, still mess up?
The film took early controversy by the release of a children’s costume of Maui, a grass skirt and necklace (not so bad) 
with brown tattooed skin (it does not take a Pacific Island researcher to understand the problem in this). How could
 this
 blunder get through processing, is it a matter of needing more people of colour in these top positions to be able to 
spot these issues that maybe a White Gaze may not? With obvious accusations of brown facing, the costume was
 retracted. However it goes even deeper, according to https://www.bbc.co.uk/news/world-europe-37430268  
“Tattoos are deeply meaningful to Pacific people. Like a fingerprint” and so it is remarkably insulting “to wear
 the markings of  people or place that you are not spiritually or physically connected to”. 
https://nypost.com/2016/11/30/why-moana-is-drawing-criticism-in-the-south-pacific/ also drew criticism... 
The designers originally designed Maui having a big build and bald but after being told his power is kept in his hair,
 and that his stature wasn’t offensive in that Polynesia has some of the highest obesity rates, it was changed. But
 people still aren’t happy with how their respected demi god, a hero in the tales is portrayed, as enormous and 
egotistical. There are plenty of muscular male protagonists in Disney which could’ve given the same respect to 
Maui, and this only perpetuated the stereotype of Pacific Island men as being huge, “perhaps because the main 
exposure to them seemed to be through activities like NFL football”. This could have been a really good opportunity 
to deconstruct a stereotype and show more dynamics to the people. Although Pacific people have been told different
 stories “He was a trickster but not a buffoon”.  
The next couple of sources made me question whether you could ever respectful tell a another cultures story without 
it being turned into the capatilist money making machine. In ‘Disney’s Moana, the Colonial Screenplay, and the 
Indigenous Labor Extraction in Hollywood Fantasy Films, Ida Yoshinaga” it’s stated that by expropriation (the 
action by an authority of taking property from its owner for public use or benefit) it takes a Native story “which
 hybridizes them into Western or “modern” colonial genre forms, homogenizes them further for optimal moetization”.
 Is this simply a by product of the exposure of a story  that can’t be helped, is it better not to tell the story at all? Can
  you avoid this if no holes can be picked in the cultural representation, and the profits go to the relevant community
 in question, does that sincerity avoid scrutiny of being in the capitalist game.
https://www.theguardian.com/film/2017/jan/13/moana-might-be-great-for-representation-but-its-not-all-heartwarming-for-hawaii   
This article continues in the same vein, but focussing on how Moana is an advert for Hawaii’s tourism. This 
completely opposes the morals of Moana “a young girl who cares fiercely for her people and her island- both of which 
face the threat of ecological destruction”, a real life threat from the “carbon intensive global tourism empire but also 
fuels a mass market of plastic merchandise2, the very thing that is ruining our ecosystems. Previous articles in my
research have said that ‘diversity points’ get you money, so is this cultural representation or a clever marketing 
scheme, catapulted globally? I recognise every business aims to make money, but could the criticisms be undercut if 
part of Moana’s profits had gone towards strengthening Hawaii and it’s natural landscapes?


EDIT* Sources that didn't make it into the final essay where I wanted to discuss Capitalism and Moana because I was over
word count already.


 

Tuesday, 17 September 2019

2/ Cultural Representation Research

Key Cultural Representation Research:

  • One of my favourite reads so far has been discussing racial representation in children’s books as it is a similar medium to animation and draws many parallels. “Race Representations in Children’s Picture Books and Its Impact on the Development of Racial Identity and Attitudes” by Jenna Wilson has been integral to the direction of my essay, by addressing the extent at which children can be influenced about race, and at such a young age. It comments on when a child’s own personal identity forms and when they can start recognising that of others, and the Colourblind theory. 

     I had a look into what is currently on offer to children and families in regards to books that are tackling race and culture, there is a list here: https://www.nytimes.com/interactive/2016/09/22/books/23racebooks.html

  • Wilson mentions White Gaze, saying that questionable multi cultural texts could only be seen positively with a White Gaze, and that people of colour would not see a text so positively. The White Gaze portrays another race to be full of differences which are not to be embraced. This leads on to the Assimilation Theory which is the concept that for multi racial people to fit in, they must forgo their native culture, and that to be British or American, is it to be white. It also speaks about how the publishing industry is predominantly white which is why the stories that are told are mostly white dominated, this is paralleled to the white dominated industry of animation. This article https://www.vice.com/en_us/article/xwjeaq/black-women-in-animation-careers discusses black women in animation, a striking quote being “women and people of colour do not have an equal creative voice” under former chief creative officer John Lasseter. I hope to explore how and if studios are progressing with the times in regards to diversity. For example, PixarShorts have released Purl, a commentary on women in the male dominated animation industry. This is a part of the studios increase in diversity behind the scenes. 

     

     

    • Other sources read this week:

     

    https://deadline.com/2016/12/women-animation-guild-23-percent-of-union-jobs-1201876154/,

 https://www.npr.org/2019/04/17/709644139/pixars-sparkshorts-set-out-to-ignite-more-diversity-in-animation?t=1566943360078,

 https://www.npr.org/2019/08/25/754160144/hair-love-uses-animation-to-bring-a-story-of-natural-hair-in-black-families-to-l,

 http://theconversation.com/why-its-so-important-for-kids-to-see-diverse-tv-and-movie-characters-92576

https://www.vice.com/en_us/article/zmwq3x/why-diversity-on-screen-is-important-black-panther .

https://www.latimes.com/entertainment/movies/la-ca-mn-coco-latino-culture-20180222-story.html



  • https://www.elle.com/culture/movies-tv/news/a41509/female-animators-diversity-industry/  To discuss cultural representation in animation without getting the insight from the people potentially making it, or a part of it in some way. In the previous npr article it said that ‘diversity points’ will make you money... has putting diversity into the spotlight made it a money making novelty, a racial quota to fill, or is there sincere action for change?
  • Whilst recognising progress its important to understand what one is trying to improve on, http://scalar.usc.edu/works/birthofanindustry/race-and-ethnicity-in-animation and https://www.ferris.edu/HTMLS/news/jimcrow/links/essays/vcu.htm  discuss the harmful racial stereotypes in animation. I felt it was really important to educate myself on some of the history of this huge problem, and the longevity of it. The fact that the Race Relations Act only came in in the 1960s astounds me. It's important to understand differences in black racial stereotyping through history, from the Sambo to the Mammy because it allows you to recognise the fact that they have existed in such recent animation films from big pocketed studios.
  •  Then you can understand how hard it is to dismantle this inherent racism.  This article https://www.cracked.com/article_15677_the-9-most-racist-disney-characters.html helps disect some examples of racist characters that were used in Disney films. This ranges from the more obviously stereotyped ‘black’ Crows from Dumbo, to the subtle white washing of Alladin, in comparison to the brown skinned, ‘ethnic looking’ villain Jafar. 
  • Pocahontas is a good example of a cultural story that has been taken and twisted from a traged into something more digestible for children’s eyes. As Bodenner says “European conquest of the Americas is not children’s entertainment.” I think this highlights that although it is important to tell cultural stories, it is doing a disservice if the only way you can do that is by removing all of the stories heart and integrity- in which case, find a story that is suitable for children. Bodenner, C (2015) ‘Does Disney’s Pocahontas do more harm than good? Your Thoughts’, The Atlantic, Available at: https://www.theatlantic.com/entertainment/archive/2015/06/pocahontas-feminism/397190/ 
  • I am keen to explore in my essay the idea that hate, and racism are learnt. The book The First R discusses the position parenting has in race dynamics and contrasting opinions on when we become aware of race.


Friday, 13 September 2019

1 / Brainstorming and Initial Research

Fig 1

I started to brain storm my interests and potential ideas for the essay.
I did some brief primary research [fig.1] by asking friends and family what animations have stood out to them over time and why, in order to get an understanding of what attracts other people to animation and looking for more prospects for potential ideas. Story, emotion, colour vibrancy and design seem to be king. After narrowing down some ideas for the essay, I explored each of these further to see whether I thought it would be a topic that I could really delve into.




  Fig 2

I looked into colour: http://www.peachpit.com/articles/article.aspx?p=2461896  http://people.psych.cornell.edu/~jec7/pubs/ColoringKate.pdf , visual development: https://www.youtube.com/watch?v=fF43pMRZamw , https://blog.animationmentor.com/what-is-visual-development-in-animation/ , and landscapes, and what it means to be a good artist in these particular areas of art by watching videos by the amazing artists Aaron Blaise and Laura Price. [notes] 
I briefly explored what discussions were being had in regards to children’s psyche and media: https://allpsych.com/journal/violentmedia/, https://www.verywellmind.com/what-is-child-psychology-2795067, which led onto other concepts about what our minds perceive and how. http://vanseodesign.com/web-design/biophilia-effect/ speaks about the calming effects of biophillia, and https://www.smashingmagazine.com/2010/02/applying-mathematics-to-web-design/ about maths and symmetry being pleasing to the eye. This is relevant because it shows how there are things we process in a way that we aren't even conscious of.
https://www.winmentalhealth.com/childrens_movies_media_effects.php 25.8.19 and https://allpsych.com/journal/violentmedia/ discusses how watching violence manifests, this and although it won’t be a focus on my essay it strengthens the idea that we need to understand the huge impact that media can have on developing brains. 
I found this article https://venngage.com/blog/marketing-psychology/ about visuals in marketing and what will increase your reach to an audience greater or less so. Although it’s not exactly relevant to animation, it shows how people are so susceptible to imagery and that it will strengthen whatever agenda that you have, seeing as 65% of people are visual learners and our brain processes visuals 60000 times faster than text, according to this article.

I was choosing between these for a title idea: Discussing colour scripts in visual development and the importance of colour in film OR Discussing how cultural representation in animation can affect a child’s psyche.
Althought colour seems more relevant to my visual development practice, I chose the latter because I knew I could practice my colour theory in the visual development whilst also exploring racial representation, which has personally been very important to me growing up and I feel it’s an important discussion to have in order to progress the quality of the animation industry, something that is currently in the spotlight in the industry. However I did find some really helpful mentions of the importance of children’s films as tools to learn whilst researching colour in this journal http://people.psych.cornell.edu/~jec7/pubs/ColoringKate.pdf which expresses the fact that “children’s films can serve as an important medium for conveying both artistic and educational information” which supports my direction that children’s animations can be used to stem racial prejudice at a young age.