Subculture in Animation

        The links between subculture and animation are not particularly obvious, but they do exist, mainly in the form of parodies in satirical animations such as Southpark and The Simpsons for comic effect.

        There are also animated characters that may appeal to a subculture for their attitudes and personalities, for example Daria's acerbic sarcasm and disdain for shallow high schoolers may appeal to Goths. However, Daria herself is not part of a distinct subculture, and neither is her appeal limited to a single subculture.

        Similarly, while Tim Burton's style of animation is ostensibly gothic, but enjoys a broad fanbase fro multiple cliques and subcultures. Furthermore, in these films it is not just a few characters, but the entire animated world which share this style. Therefore no one is an outsider; gothic is the norm. A possible exception is Vincent, in which the eponymous character feels isolated and different from his wholesome american family, preferring art, poetry and reanimation to playing outside. Yet Vincent doesn't meet any like minded individuals with whom he could form a subculture.

        Perhaps to create an animation solely aimed at or featuring a particular subculture would be to limit its appeal. Or maybe as the divides between subcultures are no longer as defined as they once were, it would not be pertinent to target one group, as viewers can recognise and identify with something deeper than the fashions of their favourite animated characters.

        

Lecture 3: Subculture & Style

        Although this lecture and the Don Letts' film Subculture were both interesting, it was more difficult to see how the subject related to animation than last weeks lecture on the Gaze.

The Gaze in Animation

        Our lecture on The Gaze & Media didn't really touch upon how this concept fits into animation, but it definitely applies.

        One of the twelve principles of animation is exaggeration, of movement or appearance. Often this can be used for comic effect or communication, with bold gestures and distorted expressions portraying extreme emotions. However, exaggeration can also be seen in how female (and to a lesser extent some male) characters are portrayed. Many have unrealistic body shapes, which are overtly sexual and objectifying, even in family friendly films. A prime example is Jessica Rabbit. 

        Reminiscent of Manet's Olympia and Titian's Venus of Urbino, Jessica both invites and challenges the gaze that falls upon her, being neither entirely defiant or passive. Animated 'to the very edge of decency' (in the words of Empire magazine) she is the ultimate femme fatale, aware of the power (if this is the right word) her appearance grants her as the eyes of men, women and cartoon characters are uncontrollably drawn to her.

        Similarly, in Ruth Lingford's The Pleasures of War, a woman uses her appearance and sexuality to wreak revenge on the warlord who destroyed her city (based on the Biblical story of Judith and Holofernes). Playing to the preconception of the harmless woman, the female character passes easily through armed guards to infiltrate the warlord's tent before seducing and beheading him. It could be argued that such a depiction (especially by a female animator) of a single woman succeeding where an army of men failed is empowering. However, in my opinion this animation does not escape the prevalent objectification of women; during the graphic sexual encounter she is clearly drawn, allowing the viewer to gaze uninterrupted upon her. Her victim, on the other hand, is reduced to sketchy lines which merely suggest his presence. Yet this could be intentional, to reflect the way in which the warlord views her; as a sexual object rather than any kind of threat.

        Perhaps even more questionable in its representation of women is Michele Cournoyer's The Hat which shows the abuse of a young girl by a man in a hat, and her subsequent sexual experiences and career as a stripper. The fluid animation style allows what we see to constantly shift and transform into a new and equally harrowing scenario; the titular hat providing an anchor, becoming in turn her breasts, her lips, a dress and eventually a penis. The animation is intensely uncomfortable to watch and it's message is ambiguous. The ever-present man in the hat suggests the terrible impact he has had upon the girls life and her inability to escape his influence, yet the girl's body is often shown without her face allowing the viewer to more easily share in her objectification.

        Once again though, this may be a representation of how the male characters (particularly the man in the hat) view this woman. The crude, raw lines used in the animation suggest anger and frustration, while one scene in which the girl's body is consumed by eyes and hands which then rush to her groin makes a pertinent comment on how women can be shown to have only one purpose.

        Within these two animations the animators have used graphic imagery to subvert the depiction of women as passive objects of the male gaze, and provoke the viewer into questioning the everyday sexualisation of women. Why can't the Judith character murder her victim without seducing him? Is sexuality a woman's only weapon? Does it grant her power or strength?  

The Gaze & Disney Princesses

        Thinking about the idea discussed in the lecture on Gaze & Media, I couldn't help but notice that the idea of women as ornaments in film while men drive the plot is particularly pertinent to a number of early Disney animations.

        Perhaps the epitome of the passive woman is Princess Aurora in Sleeping Beauty, who despite being the eponymous character (she doesn't exactly qualify as a heroine) spends most of the film asleep, and does little to move the plot along. Although more active in their own stories, Snow White and Cinderella are similarly ineffective in defining their own outcomes, each relying on the handsome prince to protect and or rescue them.

Without Philip, Aurora would never be released from her trance.

        Yet Prince Philip himself is hardly a strong male figure, continually being tricked and imprisoned by evil fairy Maleficent, and guided in his quest by the three good fairies. Without the help and assistance it is uncertain whether he'd be successful in rescuing the helpless Princess. The questionable message conveyed is that for a woman to be strong and self reliant is ultimately wicked and undesirable, while what is desirable and 'good' is to be a subservient 'damsel in distress'.

        The situation had seemingly improved by the time of The Little Mermaid. Ariel is more proactive; she doesn't automatically obey her father, she dreams of forging her own future, is adventurous, and even takes on the role of the rescuer when Prince Eric is in peril. Yet once she falls in love, some of the old inequalities rear their heads; she is willing to give up her home, family and intrinsically change who she is in order to be with the prince. And while she is a better developed character than her earlier counterparts, she arguably pales into the background against the vivacious and imposing Ursula, who in her villainy is so powerful and intelligent she is able to usurp the almighty Triton.

        Although it does seem that the situation has improved over time, with Pixar recently creating their first female lead with the fiery and independent Merida in Brave (whose story revolves around her relationship with her mother rather than a prince), it seems that sexism in the media is stubbornly hanging on, as the below email to ITV demonstrates.

Lecture 2: The Gaze & The Media

Having previously referred to a number of the images referenced in this lecture in my A Level Art essay, I was familiar with some of themes discussed. However, this lecture went into greater depth, linking these images not only to 'traditional' gender stereotypes perpetuated by art and film, but how these continue to shape outdated views shared through social media.

Hans Memling Vanity c.1485

Alexandre Cabanel Birth of Venus 1863

YSL Opium, Sophie Dahl 2000

Titian Venus of Urbino 1538

Edouard Manet Olympia 1863

Jean Auguste Dominique Ingres La Grande Odalisque 1814

Guerrilla Girls 1989

Edouard Manet A Bar at the Folies Bergeres 1882

Jeff Wall Picture for Women 1979

Eva Herzigova, Wonderbra 1994

Dolce & Gabbana 2007

Seven Year Itch 1955, Marilyn Monroe

Artemisia Gentileschi Judith Beheading Holofernes c.1614-1620

Cindy Sherman Untitled Film Still # 6 1977

Barbara Kruger Your Gaze Hits the Side of My Face 1981

Sarah Lucas Eating a Banana 1990

Caroline Lucas MP 2013

At the end of the lecture, we were shown a video i which a female journalist subjects male members of the public to some of the examples reported to the Everyday Sexism Project.

 

What shocked me more than the instances of sexism shown (I have witnessed many similar scenarios) was the number of abusive comments aimed towards the journalist. The responses ranged from accusing women of over reacting to sexual 'banter', commending the male subjects for reacting positively to the comments made towards them, and even being 'outraged' or 'offended' by her behaviour; seemingly missing the point that women find this kind of behavior offensive too.

I found a number of similar comments beneath a Guardian article highlighting sexist behaviour on display at Universities during freshers week. Some of the examples mentioned included drinking games involving finishing the sentence 'it's only rape if...', and several misogynistic chants. The comments work to belittle the girls who complain by branding them as 'boring' or lacking a sense of humour, a tactic which effectively silences victims and allows such behaviour to continue and become normal.

Lecture 1: Introduction & Overview

    

The first Context of Practice lecture of the year provided not just an overview of the lecture programme for this year, but also an insight into how this year should help to prepare us for our final year, when we will be required to write a dissertation. By telling us this at the beginning, we should have ample time to consider the subject we wish to write about, in time for the end of this year, when we will have to submit a statement of intent.