By Annalee R. Ward
"Through the worldview point of view, this publication involves grips with the incongruous moralities in Disney. It allows either mom and dad and educators to realize a serious knowing of Disney content material with no being judgmental or promotional for the incorrect reasons...Mouse Morality is a excitement to learn and talk about in itself, yet indicates the pathway to media feedback of the 1st order." Nfrom the Foreword young children worldwide love Disney lively movies, and lots of in their mom and dad belief the Disney company to supply healthy, ethical leisure for his or her kids. but widespread protests or even boycotts of Disney items and practices demonstrate a frequent unease with the occasionally combined and inconsistent ethical values espoused in Disney movies because the corporation makes an attempt to entice the biggest attainable viewers. during this booklet, Annalee R. Ward makes use of various analytical instruments dependent in rhetorical feedback to ascertain the ethical messages taught in 5 contemporary Disney lively filmsNThe Lion King, Pocahontas, The Hunchback of Notre Dame, Hercules, and Mulan. Taking the flicks all alone phrases, she uncovers the various combined messages they purvey: for instance, women could be leadersNbut male management must be the norm; stereotyping is wrongNbut black potential evil; ancient fact is valuedNbut in simple terms inform what you can actually promote, and so forth. including those messages jointly, Ward increases vital questions about the ethical ambiguity of DisneyOs total worldview and demonstrates the necessity for folks to be discerning in letting their teenagers research ethical values and lifestyles classes from Disney movies.
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Additional resources for Mouse Morality: The Rhetoric of Disney Animated Film
That “proper” actions are easily identifiable has long been a characteristic of Disney. For example, in an analysis of Disney as a morality play (particularly Disneyland), Real interviewed l92 Disneyland visitors and discovered a unanimity about perceptions of what Disney considered virtues and vices (“Disney Universe”). Smoodin observes that even today the Disney “company works diligently to control the manner in which . . films can be interpreted by modern audiences” (Animating 189). Because Disney’s audience is primarily children, the company uses these THE LION KING: MYTH, ARCHETYPE, AND RITUAL 02-T2211 8/3/02 3:57 PM Page 26 26 didactic means to clarify and reinforce its lessons.
And the consequences are that it is the beginning of the downfall of nature’s operating in harmony and the inauguration of the reign of evil, for, unknown to Mufasa and Simba, Scar has hatched a plan with his evil cohorts, the hyenas, scavengers of the shadow land who periodically prey on Pride Land animals. They intend to kill both Mufasa and Simba, thus allowing Scar to ascend to the throne. Their plot succeeds in that Mufasa is killed saving Simba from a wildebeest stampede. Scar manages to convince Simba that he is guilty of causing his father’s death and tells him he must leave Pride Land and never return; Simba is in essence banished from the beautiful Garden of Eden.
Myth, Archetype, and Ritual: Rhetorical Tools Roderick Hart argues that “all rhetoric depends on myth” (318), which he defines as “master stories describing exceptional people doing exceptional things that serve as moral guides to proper action” (315). The Lion King draws its rhetorical strength from the use of biblical myths, archetypes, and rituals. That “proper” actions are easily identifiable has long been a characteristic of Disney. For example, in an analysis of Disney as a morality play (particularly Disneyland), Real interviewed l92 Disneyland visitors and discovered a unanimity about perceptions of what Disney considered virtues and vices (“Disney Universe”).
Mouse Morality: The Rhetoric of Disney Animated Film by Annalee R. Ward