The Lion King is a Disney version of Shakespeare's most famous play, Hamlet. It was going to be the first Disney animated feature film based on an original concept – no source material. Hamlet's famous “to be or not to be” soliloquy rings with existential absurdity, and his morbid brooding reflects a sense of meaninglessness. The existential question of being permeates both play and film. The Lion King transfers Hamlet's contemplative question about life and (...) death to not one but two delightful characters, perfect for manufacture and distribution as stuffed animals, plastic action figures, plates, cups, stickers, one names it. After he leaves the Pride Lands, Simba runs into Timon the meerkat and Pumbaa the warthog who offer him an answer to Hamlet's question. The Lion King ends with song and the celebration of Simba's own son – the circle of life continues. (shrink)

Disney’s animated villains have recently changed to show less conventionally villainous traits: They look and express themselves more like sympathetic characters, and they are usually only outed as villains late in the plot. This shift has prompted much academic com­mentary on the psychological and cultural significance of Disney’s new villains. We add to the existing literature on Disney’s new villains in two ways. First, we analyze shifts in the vocalizations of villains between the 1990s and 2010s. (...) Second, we integrate this analysis in a biocultural account of Disney’s shifting overall representations of villains. We argue that while Disney has long employed evolutionarily explicable cues to villainy, such as a foreign accent and an unappealing exterior, the company is now reacting to challenges to norms of social representation that proscribe the linking of such overt traits with immorality. Con­sequently, recent Disney films do not employ socially stigmatizing cues. However, Disney continues to employ nonstigmatizing cues, such as evil laughter and abiding anger, because these cues foster antipathy in audiences at no sociomoral risk. (shrink)

This article explores what cinema can contribute to recent philosophical engagements with animality and what the work of contemporary French filmmaker Arnaud des Pallières in particular can bring to debates around the zoomorphic or ‘creaturely’ dimensions of film. Examining two works by des Pallières — the documentary Is Dead and the feature-length film Adieu — and drawing principally on the work of Jacques Derrida, the article attends to cinematic, historically-framed configurations of a shared vulnerability between the human (...) and the animal. Such instances of commonality are shown here to unravel hierarchical taxonomies of being, in a rethinking of the ethics and politics of responsibility. These nonanthropocentric modes of cinematic inquiry also engage with issues of minerality and technicity, animating correspondences between forms of life and nonlife, philosophically broadening a consideration of relations between the human and the nonhuman. (shrink)

Inside Out takes people on a journey into terrain not often explored in animated films – the inner workings of the developing 11‐year‐old self. Inside Out takes a girl's emotional development as important, primary, and worthy of attention. Along the way, audiences come to appreciate that even though emotions often feel singular, solitary, and intense, some aspects of emotions are universal and cut across age, gender, and culture. The movie also highlights the social dimension of emotional expressiveness. The directors (...) were originally going to include many more emotions than the five core emotions they depict: joy, sadness, anger, disgust, and fear. The choice to focus on five primary emotions allows people to better appreciate how emotions are central to selfhood and how one's emotions influence his/her memories and self‐understanding. (shrink)

Considering that much of human society is structured through its interaction with non-human animals, and since human society relies heavily on the exploitation of animals to serve human needs, human-animal studies has become a rapidly expanding field of research, featuring a number of distinct positions, perspectives, and theories that require nuanced explanation and contextualization. The first book to provide a full overview of human-animal studies, this volume focuses on the conceptual construction of animals in American culture and the way in (...) which it reinforces and perpetuates hierarchical human relationships rooted in racism, sexism, and class privilege. Margo DeMello considers interactions between humans and animals within the family, the law, the religious and political system, and other major social institutions, and she unpacks the different identities humans fashion for themselves and for others through animals. Essays also cover speciesism and evolutionary continuities; the role and preservation of animals in the wild; the debate over zoos and the use of animals in sports; domestication; agricultural practices such as factory farming; vivisection; animal cruelty; animal activism; the representation of animals in literature and film; and animal ethics. Sidebars highlight contemporary controversies and issues, with recommendations for additional reading, educational films, and related websites. DeMello concludes with an analysis of major philosophical positions on human social policy and the future of human-animal relations. (shrink)

The article proposes a re-examination of the role and position of the so-called “Disney villains” within the narrative framework of animated films and popular culture as a whole. In the first part, the historical evolution in the representation of these villains will be explored according to the practice of “queer coding,” which involves attributing stereotypically queer traits to them without explicitly stating their gender and sexual identity. It will be observed how their non-conforming gender and sexuality, used to (...) mark their moral deviance, challenge and defy dominant gender and narrative norms. It is precisely through their queer performance and camp aesthetic that “evil stepmothers,” “sissy-villains,” and “drag-queen-like” sea witches can emancipate themselves from their traditional roles as antagonists (narrative level) and as social outcasts (discursive level) to seize the spotlight through the screen (manifest surface). This study combines tools of Greimasian text analysis, including the canonical narrative schema and the generative trajectory of meaning, with Lotman’s theory and notion of “semiosphere,” to investigate the centrality and criticality of these “quillains” within the heteronormative narrative framework and the broader cultural context. To capture (or being captured by) the queer aspect of these characters and their stories, the invitation is to look at their visage not as a coded symbol of an underlying identity and truth, but as an image that exceeds any defined meaning thanks to its iconic power. (shrink)

Through the analysis of facial feature extraction technology, this paper designs a lightweight convolutional neural network. The LW-CNN model adopts a separable convolution structure, which can propose more accurate features with fewer parameters and can extract 3D feature points of a human face. In order to enhance the accuracy of feature extraction, a face detection method based on the inverted triangle structure is used to detect the face frame of the images in the training set before the (...) model extracts the features. Aiming at the problem that the feature extraction algorithm based on the difference criterion cannot effectively extract the discriminative information, the Generalized Multiple Maximum Dispersion Difference Criterion and the corresponding feature extraction algorithm are proposed. The algorithm uses the difference criterion instead of the entropy criterion to avoid the “small sample” problem, and the use of QR decomposition can extract more effective discriminative features for facial recognition, while also reducing the computational complexity of feature extraction. Compared with traditional feature extraction methods, GMMSD avoids the problem of “small samples” and does not require preprocessing steps on the samples; it uses QR decomposition to extract features from the original samples and retains the distribution characteristics of the original samples. According to different change matrices, GMMSD can evolve into different feature extraction algorithms, which shows the generalized characteristics of GMMSD. Experiments show that GMMSD can effectively extract facial identification features and improve the accuracy of facial recognition. (shrink)

This fascinating study explores the difficulties faced by modern Westerners in their search for a meaningful life. It sheds light on this enduring cultural dilemma through a close reading of four popular film and television narratives: Pixar's animated feature film, Toy Story; Christopher Nolan's Batman Begins and The Dark Knight; the television romantic comedy, Sex and the City; and, finally, the mobster drama, The Sopranos. The readings are guided by a number of inter-related questions. First, in (...) what ways do these popular stories speak to the modern West's meaning dilemma? What do they have to say about contemporary culture, and its capacity to illuminate the fundamental human? What are the core problems faced by the central characters and how are they resolved? Finally, and perhaps most importantly, do the four stories that come into focus suggest hope or despair in the modern West's search for meaning? (shrink)

Since the advent and standardization of the theatrical feature length film, the audio-visual short has been more or less marginalized in the discussions on cinematic experience. Historically stretching from the ‘early cinema’ of the vaudeville, to the now obsolete ‘little films’ of YouTube and beyond, the audio-visual short traverses a wide variety of media platforms, practices and technologies, including animation, video installation art, video clips and TV commercials, as well as animated GIFs, machinima and DIY movies, made (...) to measure for handheld devices. The widespread usage of the format suggests that short audio-visual artefacts are not an anomaly or rarity on the periphery of cinema, but rather should be put at the centre of our discussions when rethinking cinematic experience and the moving image today. Such is the request we have made to the contributors to this volume: to write a short essay on short film experience. (shrink)

Disney's computer‐animated musical film, Moana tells the tale of Moana, the daughter of Tui, the chief of a Polynesian island, Motunui. Bound by the legendary tradition of her ancestors, Moana is expected to follow her lineage and take over as chief when she grows up. As the authors dig beneath the surface level of the story, they find a metaphorical and philosophical level to Moana's journey. The story of Moana has layers. First, it is literally a tale (...) of Moana's voyage outside beyond the reef so that she can restore the heart of Te Fiti and save the people of Motunui. She closes this tale with a happy ending as she simultaneously lives the life that she freely chooses, becomes the leader of her people (by saving them) as her parents wanted, and honors her tradition insofar as she restores her ancestors' tradition of wayfinding. (shrink)

This review considers three recent films that focus on the lives of captive exotic animals and the people who keep them: Water for Elephants , a fictional Hollywood feature, and the documentaries One Lucky Elephant and The Elephant in the Living Room . Despite their different motivations and target audiences, all three productions tell the stories of well-meaning people who take wild animals captive—most prominently elephants and lions—believing that only they can keep the animals safe and fulfilled. In each (...) context, these people have profound, if self-interested, emotional attachments to their nonhuman captives. These three films, then, offer captive wild animals as ambivalent figures and cinematic loci for stories of human hubris and redemption. (shrink)

The article presents an analysis and interpretation of the features of two animated works of French animation created at the turn of the XX-XXI centuries. "Kirikou and the Sorceress", a cartoon released in 1998, is one of the most interesting works of the famous French animated film director Michel Oselo. The "Trio from Belleville", a work that appeared on screens in 2003, gained popularity not only in France, but also glorified the name of its creator Sylvain Chaume (...) in the world of animation. The aim of the study is to develop theoretical knowledge about the world's oldest animation school by analyzing these works as the most representative in French animated cinema at the turn of the XX-XXI centuries. The methodology of the research is based primarily on the use of formal stylistic, iconological and cultural-historical methods, which makes it possible to describe and analyze the artistic forms of works of artistic animation in France, to determine the meanings contained in them in the context of the culture that gave rise to them. The novelty of the research is primarily connected with the introduction into the circulation of Russian science of previously unexplored works of modern French animation and their interpretation in the context of the development of French animated cinema. The author analyzes the plot features, character systems, reveals the metaphors and meanings that fill the cartoons in question, as well as the means of artistic expression used by French directors. The analysis of these works shows that the animated works of the turn of the XX-XXI centuries reflect a significant stage in the development of modern French animated cinema. This development takes place not by referring to foreign experience, but by forming national specifics in the creation of animated works. French directors manage to successfully improve their own original handwriting, while transferring the meanings and values of national culture to the screen. (shrink)

Animals populate our artistic and philosophical discourses in critical ways. From Jacques Derrida's or Karen Barad's cat, to Donna Haraway's dog, to the fish in Lucien Castaing-Taylor and Véréna Paravel's Leviathan, these animals feature heavily in discussions regarding limits – the limits of the human and thus its relation with non-humans, but also the limits of knowledge itself. Cute or dangerous, real or fantasised, dead or alive: in this article, I juxtapose the various ways that such animals confront us (...) with what Jacques Derrida describes as “the point of view of the absolute other”. Similarly, recent texts stage encounters with animals – thus distributing agency towards a larger variety of beings, carving out space for a previously excluded non-human other. Yet these encounters are mediated in profoundly different ways. In researching how encounters with the animal are differentially inflected and “defracted” respective to the medium in which they are staged, this article invokes questions of form and style within the critical dialogue that attempts to centre non-human animals. Highlighting how formal decisions are not accidental, but rather integral, to the praxis of the philosophy of animality, this article aims to draw attention to how specific forms and styles allow for a moment of contact with a non-human other. To this end, this article examines three oft-cited encounters: Derrida's encounter with his cat, an intense stare with a fish in Leviathan, and Barad's inflection of Schrödinger's cat. This juxtaposition gives insight into the limits of certain styles of producing thought and critically reflects on these works in their discussion of non-human life and agency. (shrink)

This paper explores the thesis that the concept of cultural techniques should be strictly limited to symbolic technologies that allow for self-referential recursions. Writing enables one to write about writing itself; painting itself can be depicted in painting; films may feature other films. In other words, cultural techniques are defined by their ability to thematize themselves; they are second-order techniques as opposed to first-order techniques like cooking or tilling a field. To illustrate his thesis, Macho discusses a sequence of (...) historical examples, from body signs and death masks to digital code and ID papers. These examples serve to reiterate another basic proposal that is already announced in the paper’s title. The recursive, self-observing qualities of cultural techniques make them a ‘technology of the self’ and thus render them indispensable for the generation, repetition and maintenance of identity. (shrink)

Despite the fact that cinema and animation have common features, one of the fundamental differences between them is that animation uses metaphors much more freely. This current study explores this feature of animation and analyzes how the use of metaphors affects the narrative and plot structure of full- and short-length animation. The study is based on the narrative analysis of eight films made by Pixar Animation Studio, as a successful company that produces both full- and short-length animated films. (...) The concept of monomyth, which was formulated by Joseph Campbell, in 1949, and had a significant impact on the contemporary film industry, allows me to describe the structure of each of the selected examples. Such a formal approach to describing the plot structure, in turn, makes it possible to trace the impact of the extended metaphor on these plots. As a result, this study reveals and describes three main types of creative metaphors in the context of storytelling: supportive, action-forming and destructive. It appears that the supportive metaphor is used in all of the examined films, while action-forming and destructive metaphors relate to short-length animation only. The individual features of using these types of metaphors in full- and short-length animation are revealed in the concluding parts of the research. (shrink)

This study aimed at finding students? perspectives on integrating feature films on digital versatile discs (DVDs) in oral communication classes of advanced English as foreign language (EFL) learners. A total of 29 students being trained as teachers of English participated in the study. Data were collected through a survey questionnaire. All participants unanimously agreed that through films they had the opportunity to learn about how people initiate and sustain a conversational exchange, and how they negotiate meaning; types of exclamation (...) and filling expressions; colloquial English in real?life contexts, and non?verbal communication. Participants also acknowledged that viewing feature films exposed them not only to a wide range of native speakers, each with their own slang, accents and dialects, but also to a wealth of contextualised vocabulary expressions and authentic cross?cultural information. The study suggests that it is possible to exploit feature films in foreign language classes with a wide array of pedagogical options. (shrink)

Focusing on a recent wave of international art cinema, Animal Worldsoffers the first sustained analysis of the relations between cinematic time and animal life. Through an aesthetic of extended duration, films such as Bestiaire(2010), The Turin Horse(2011) and A Cow's Life(2012) attend to animal worlds of sentience and perception, while registering the governing of life through biopolitical regimes. Bringing together Gilles Deleuze's writings on cinema and on animals - while drawing on Jacques Derrida, Jean-Christophe Bailly, Nicole Shukin and others - (...) the book argues that these films question the biopolitical reduction of animal life to forms of capital, opening up realms of virtuality, becoming and alternative political futures. (shrink)

This article employs the animated feature film WALL-E to examine a contemporary incarnation of paternal authority, the anal father of enjoyment. Slavoj Zizek coined the expression “anal father of enjoyment” to identify a metaphorical father who operates counter to Sigmund Freud’s oedipal. Unlike the oedipal father, the anal father does not command the subject to sacrifice enjoyment as a price for entry into the social order. Rather, the anal father directs the subject to enjoy excessively. This article (...) reasons that the anal father figuration is a result of global capitalism. While a post-apocalyptic event, such as climate change, may destroy the planet, it does not end capitalism. Yet, WALL-E suggests that with the demise of the anal father, capitalism can be replaced with an alternative economic system. (shrink)

Expecting Saving Mr. Banks to be a jolly jaunt about the creative development of the movie Mary Poppins (1964), I found myself waiting endlessly for the “jolliness” to begin—it never did. In fact, rather than joy, there was an ever-present sensation of tension as I watched the film. Having moved house myself in recent days (during a Queensland heat wave), the scenes of the Goff family leaving their home and trekking across hot, dusty Queensland were very emotional. However, seeing (...) the family patriarch Travers Goff (played by Colin Farrell) swig from an alcohol flask in a desperate manner told me that his was no “routine” family move. And, certainly, arriving at their destination—a dilapidated ranch home—shed even more light on the Goff family’s predicament: alcoholism and the cycle of employment and unemployment. Further, it is the downstream consequences of the family predicament that fuel the identity and behaviour of Mary Poppins—a fictional character created by Travers’ daughter, a. (shrink)

Der Artikel zeigt, dass der Einsatz von Spielfilmen in der Lehre sinnvoll sein kann, um Studierende an komplexe bioethische Themen heranzuführen und moralische Dilemmata zu diskutieren. Zunächst werden Funktion und Bedeutung des audiovisuellen Mediums (Spiel-)Film als Mittel zur ethischen Urteilsbildung reflektiert. Anhand von zwei Sequenzanalysen des Films GATTACA, in denen die gesellschaftlichen Konsequenzen gen- und reproduktionstechnologischer Entwicklungen in Bezug auf Zeugung und Familienplanung sowie veränderte Verwandtschafts- und Freundschaftsbeziehungen dargestellt sind, wird exemplarisch gezeigt, welche ethischen Fragen in welcher Art und (...) Weise hier thematisiert werden. Unter Bezugnahme auf das Ethische Reflexionsmodell von Marianne Rabe wird abschließend veranschaulicht, wie sich filmische Fälle praktisch in die Ethiklehre integrieren lassen. (shrink)

Based on our experience in teaching ethics, we have developed, tested, and presented in this article a program of instruction that rests on four pillars: popular feature films, a six-stage ethical decision-making process, the principles necessary to address ethical situations, and the classroom instructor. Taken separately, there is nothing new or unique in these pillars. Taken together, however, and to our knowledge, these four pillars, including the requirement that each student is expected to prepare a written abstract of the (...) film prior to the classroom discussion of that film in which the student is expected to demonstrate a practical application of ethical principles to actual and concrete moral situations, constitute a new, unique, and tested way to teach ethics to undergraduate students of management and economics. (shrink)

This article presents three studies examining the importance of identification with characters in research on media entertainment. In Study 1 it was found that identification with characters was associated with spectators' degree of enjoyment of feature films of different genres. Study 2 showed that identification with characters predicts the affective impact of a dramatic film and, also, it was associated with greater cognitive elaboration and a more complex reflexive process during the viewing of the dramatic film. In (...) Study 3 it was observed that identification with characters predicted the incidental impact of a full length fictional film on attitudes and beliefs. These results support the centrality of the construct of identification with characters in narrative persuasion research. (shrink)

Three studies are presented to validate the Spanish version of Oliver and Raney’s eudaimonic and hedonic motivations scale. In Study 1, 132 university students watched a dramatic film, filling out the scales to evaluate motivations regarding cinema consumption and reception processes. Eudaimonic motivation was associated with deeper cognitive processes during the reception and stronger identification with the protagonist. Study 2 evaluated the test-retest reliability of the eudaimonic and hedonic motivations scale. In Study 3, statistically significant age differences were observed (...) in hedonic and eudaimonic motivations. Furthermore, convergent correlations were detected between hedonic and eudaimonic motivations and preferences of different film genres. These results allow us to conclude that the Spanish version of the hedonic and eudaimonic motivations scale presents adequate psychometric properties, thus being convergent with those obtained by Oliver and Raney. (shrink)

Research on metaphor has over the past decades increasingly been extended to its visual and multimodal varieties. While analysts of verbal metaphors are helped by the fact that languages have grammars and vocabularies, researchers of visual and multimodal metaphors need to rely on other methods for identification and interpretation. One approach that claims to have developed a robust method for analyzing metaphor in moving images is FILMIP, which has hitherto focused on the specific genre of commercials. In this paper it (...) is argued that there are serious problems with FILMIP. First, the theoretical basis of FILMIP and two empirical studies drawing on it are discussed. Subsequently, its limited use for analyzing metaphors in the genre of feature films is demonstrated on the basis of four case studies. The paper ends with sketching some general advice pertaining to researching metaphor in film, and provides a cautious alternative to FILMIP. (shrink)

Introduction -- Tales of dominion -- The plow and the gun -- Picturing the West, 1883-1893 -- American idol, 1898 -- The end of nature -- African romance -- The dark continent -- When cowboys go to heaven -- Transplanting Africa -- Of ape-men, sex, and cannibal kings -- Adventures in monkeyland -- Nature, the film -- The world scrubbed clean.

The Disney movie Frozen is the fifth highest grossing movie of all time. In order to better understand this phenomenon and to hypothesize as to why the movie resonated so strongly with audiences, we have interpreted the movie using psychodynamic theory. We pay particular attention to the themes of puberty, adolescence and sibling relationships and discuss examples of ego defenses that are employed by the lead character in relation to these concepts.

Disney's animated film canon offers two contrasting visions of marriage and parenthood, which correspond to two rival portrayals of family life. The first vision of the family is what people can call the Irrational Matriarchy and Patriarchy (IMP) model. The second is what they can call the Family Unity Model. Disney's IMP families often recapitulate an old debate in political philosophy – that between Robert Filmer and John Locke. According to Locke, the most promising argument for (...) the patriarchist position is that parents give their children life and therefore have a power over their lives. In contrast with the Lockean vision of marriage, the author considers the marriage vows between Pongo and Perdita. In the Family Unity Model, having and rearing children is not to be feared as a threat to one's liberty, success, and happiness. Indeed, The Incredibles turns Beauvoir's critique of the family on its head in several ways. (shrink)

Im Zentrum steht der Begriff des Experiments, der mit Kants Begriff der Lebendigkeit als zentralem Topos der ästhetischen Erfahrung auf die 〉Animation〈 im Film bezogen wird, insoweit beide einen lebenswissenschaftlichen Kern haben. Insbesondere in einer Auseinandersetzung mit Eisensteins Poetik des 〉Plasmatischen〈 wird die experimentelle Übertragung einer lebenswissenschaftlichen Metapher in eine Ästhetik des Films diskutiert, die von der Animation ausgeht. The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos (...) of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation. (shrink)

The paper discusses the notion of »experiment« and relates it – via Kant's concept of liveliness, which is a central topos of aesthetic experience – to »animation« in film, insofar as both essentially refer to »life sciences.« Drawing upon the example of Eisenstein's poetics of the »plasmic,« the paper discusses the transferal of a metaphor from life sciences to an aesthetics of cinema based on animation.

Image schemas are mental constructs central to human cognitive psychology. The neurobiological grounding of these structures has been suggested by experimental research both in non-human primates and lower animals . However, their applicability as concrete cognitive products has not been explored yet in zoosemiotics. This study shows that image schemas are highly instrumental to making sense of the impersonations of two animals featured in biology research studies and wildlife documentary films: the mimic octopus and the Gibb’s sea spider crab . (...) In analysing the movements and postures of these animals, it is argued that image schemas underlie recurring patterns of animal bodily experience and response, which ties image-schematic structures to non-human intersubjectivity. In line with the pluralistic view of zoosemiotics , this paper takes an intermediary position in the continuity–discontinuity debate regarding communication in humans and animals. In this regard, the complexity of the creative behavioural models of the animals examined leaves the door open for the existence of sophisticated mental life in non-human species. (shrink)

EM Forster’s short story “The Machine Stops” from 1909 is widely reread and discussed again for some ten years as it portrays a science-fiction world resting on similar technological advancements as today in the digital era. Also management literature reviewed the short story with regard to centralized decision making, rationality and totalitarianism. I argue instead, that the main theme of the short story is – in Forster’s own words – the closing of a civilization in times of transition and facing (...) major challenges. I built the argument by original quotes from Forster and by portraying the years 1906–9, when Forster developed the short story. This era before the Great War starting in 1914 was characterized by euphoric ‘futurism’ based on groundbreaking innovations like ‘long distance messaging’, ‘penny post’, ‘animated films’, Ford’s assembly line, ‘Olivetti typewriter’, ‘feature film’, ‘large ships’ and ‘air transportation’ – the ingredients of the short story as I argue. At the same time these acquitted years were characterized by increasing disintegration, instability, rebellions and a financial crisis with bailout programs. Based on the analogy and as part of speculative philosophy I reconstruct the current great challenges with Forster’ shadow of fatalism and arrive at the urgency to put more effort in addressing and researching pathways out of the crisis and towards stabilization of business and society. (shrink)

Walt Disney’s animation film Bambi is transparently liberal, and in the post-1968 era could even be seen as post-modern and deep-ecological. The reading offered here, however, makes three counter-moves to this prevailing interpretation: First it follows in both broad technique and ultimate conclusion Žižek’s critique of The Sound of Music wherein he unmasks a fascist ideology encoded in this ostensibly liberal musical. Second, it introduces a gender lens via Silvia Plath’s autobiographical poem, “Daddy,” and third, it employs Lacan's (...) Mirror Stage as key to this construction of a gendered identity and hierarchy. These three moves combine to show that, far from a simple coming-of-age cartoon about a cute little deer, the perennial classic Bambi can be read decidedly other-wise. (shrink)

Walt Disney’s movie, The Pagemaster (1994) begins on a dark and stormy night, with a young boy stumbling into an immense, gothic-styled library for refuge from the rain. Once inside, he is soon carried away by a tumultuous river of coloured paints, transformed into an animated characterization of himself, and thrust into an animated world of literature, where he battles Captain Hook, flees Moby Dick, and participates in other classic tales of adventure, horror, and fantasy. -/- Adults (...) might understand the film as a fanciful description of how they feel when reading a lively book. Although they would probably not imagine themselves tagging along with the animated characters like a 4th musketeer, they might very well claim that they enter a fiction through the viewpoint of one or more of the characters, experiencing, imaginatively, mental images of the sights, sounds, smells, and movements that the character would experience. Under this description, the reader would be forming multi- modal images that would correspond directly to what the literary characters are doing, thinking, and experiencing. When a fictional hero whips out his sword and slashes a rope in half, the reader might form a visual image of the hero’s determined face, an auditory image of the sound of the whizzing sword, and a motor image of an extended arm movement. I call such an imitative participation, by use of mental images in any modality, a simulation. -/- I suggest that this imitative experiencing of a fiction through the production of multi-modal imagery - a simulation - is not the only way in which readers might engage a literary text. In this paper I explore the hypothesis that readers might use their own bodily processes - those of the somato-viscero-motor system (SVM) for a non-imitative activity that I call a reinterpretation and that the reinterpretation might make a distinctive contribution to the reading process. As an example of a simulation and a reinterpretation, take the SVM experience of the reader’s breathing. A simulation would occur if the text describes a character who is taking deep breaths of air and the reader creates a mental image representing the experience of breathing. In this case, the reader’s mental image of breathing would stand for a property of the literary work - the fictional experience of breathing. -/- By contrast to the simulation, a reinterpretation would occur if the text describes a character who is gazing at long, wispy clouds that extend outward from a horizon and the reader uses his own experience of breathing to stand for the visual sense of looking at a long, continuous expanse of filmy white: the reader’s actual breathing would stand for a property of the literary work - the fictional experience of seeing. Breathing is not the same as seeing. This should help clarify the following definition. -/- I hypothesize that a reinterpretation occurs when the reader becomes aware of some component of the SVM system and reinterprets it as a property of the literary work that is not the same as that particular SVM process. The SVM experience is projected into the literary work. (shrink)