Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie

Abstract

This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquire such negative emotions as fear and anxiety, and behaviors like retaliation and passivity. The possibility of these adverse effects is even of greater concern in Africa and similar contexts which are at the receiving end of cultural products such as films that emanate from the West. The findings suggest that the negative portrayal of ‘people of color’ or other characters that represent them, by American film producers and directors seems to be a reoccurring phenomenon. Significantly, from an African perspective, this study corroborates scholars’ position that Disney has continued to portray ‘people of color’ negatively over the years.

Semiotics and audiovisual narrative in animated series and films. A systematic review of the literature between 2012 and 2022

“…No obstante, bajo una perspectiva contraria a la anterior, dos de los artículos señalan que los dibujos animados dirigidos hacia niños y sin regulación de contenido resultan perjudiciales, tal como menciona Ononiwu [63], en su análisis a la película animada en stop-motion Frankenweenie, algunas películas animadas retratan a cierto grupo de personas de manera negativa y esto puede hacer que la percepción de los niños se altere a dicho grupo de personas en la vida real, tomando estos mensajes como verdaderos y, por ende, reforzando estereotipos. De la misma manera, Dweich et al [64], en su artículo enfocado a un capítulo referencial de Tom y Jerry, resaltan la violencia escondida bajo matices cómicos como un aspecto negativo en los dibujos animados infantiles, pues es difícil que los niños disciernan entre lo positivo y negativo a esa edad.…”

“…[58], pudiendo ser guiadas en diferentes etapas y matices a través de las melodías, tonalidades, velocidades [60] y demás atributos sonoros de los temas musicales utilizados en las producciones audiovisuales animadas. Como sexta y última instancia, referida a la animación basada en el público infantil, se aclara, de manera preventiva, que la narrativa y las técnicas de interactividad pueden ayudar a que dicho público aproveche el producto presentado en pantalla de manera positiva bajo matices educativos [62], o bien de manera negativa al mostrar contenido poco o nada regulado con interpretación ambigua que pueda influenciar en hábitos negativos a la audiencia pueril [63]. Cabe mencionar que los artículos seleccionados en esta categoría han sido incluidos por su enfoque analítico en la narrativa audiovisual, al contrario de los artículos similares excluidos por su especificidad en temas netamente pedagógicos.…”

When Silence Becomes Overstretched: Exploring the Loud Silence in Women's Struggle for Liberation in Contemporary Nollywood

“…One of the potent means through which Nigerian women fight against the forces of male domination and oppression is film (Emwinromwankhoe, 2021a;2021b). As is the case with other societies and cultures, films afford people -filmmakers in this regard -the ample opportunity to influence culture, correct stereotypes and negative perceptions, mediate gender equity as well as change notions (Uzuegbunam & Ononiwu, 2018;Kurfi & Dahiru, 2020). With the instrumentality of films, wrong ideologies can be contested just as accurate ones are projected.…”

Portrayal of Women in Contemporary Nollywood Films: Isoken and King of Boys in Focus

“…A film not only plays a role in the education and indoctrination of citizens in a country, but also helps in the formation of ideas, attitudes as well as the representation of religions, cultures and ideologies (Perkins, 2000;Ibrahim, 2013;Uzuegbunam & Ononiwu, 2018).…”

“…As Ibrahim (2013) rightly notes, the film is a potent medium through which pertinent ideas, norms and values are relayed to people across various parts of the globe. Arguing in this line, Uzuegbunam & Ononiwu (2018) observe that a film can harbour ideologies, empathy, misconceptions, beliefs and stereotypes which can be uncovered with critical eyes. In films, men and women are usually portrayed in different ways, depending on the mindset, ideology and goal of the person telling the story.…”