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Enviro-Toons: Green Themes in Animated Cinema and Television, by Deidre M. Pike
Download Enviro-Toons: Green Themes in Animated Cinema and Television, by Deidre M. Pike
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This book takes an ecrocritical approach to analytical readings of animated feature films, short subjects and television shows. Beginning with the "simply subversive" environmental messages in the Felix the Cat cartoons of the 1920s, the author examines "green" themes in such popular animated film efforts as Bambi (1942), The Simpsons Movie (2007), Wall-E (2008) and Happy Feet (2008), as well as James Cameron's live action/animation blockbuster Avatar (2009). The discussion extends beyond American films to include the works of Japanese animator Hayao Miyazaki, including the Oscar-winning Spirited Away (2002). Also evaluated for their pro-ecological content are the television cartoon series South Park and Futurama. The appendix provides a list of film and television titles honored with the Environmental Media Award for Animation.
- Sales Rank: #5145547 in Books
- Brand: Brand: McFarland
- Published on: 2012-05-11
- Original language: English
- Number of items: 1
- Dimensions: 8.90" h x .60" w x 5.90" l, .70 pounds
- Binding: Paperback
- 203 pages
- Used Book in Good Condition
About the Author
Deidre M. Pike is an assistant professor of convergent journalism in the School of Communications at the University of Hawai'i at Manoa. As a writer and editor for the Reno News & Review and other publications, she has won several Nevada Press Association awards for news, business and entertainment reporting.
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1 of 1 people found the following review helpful.
How Cartoons Promote Environmental Activism
By herb lady
How are people motivated to environmental activism? What makes them care? And beyond that, what makes them act? As a former academic and an environmental activist, I found Deidre M. Pike's Enviro-Toons: Green Themes in Animated Cinema and Television helpful in thinking about these questions.
Using an eco-critical approach, Pike analyzes the pro-ecological content of Bambi (1942), The Simpsons Movie (2007), Wall-E (2008) and Happy Feet (2008), and Avatar (2009), and the work of Japanese animator Hayao Miyazaki, as well as the TV cartoon series South Park and Futurama. In her preface, Pike reviews the grim ecological news and responses to the apocalyptic visions by trying to imagine how people can and should respond. She says, "I know that my students, friends, family members, neighbors, and co-workers want a place to stand. We want to change the things we can change and impact the systems that control what we can't change, and we crave the wisdom to know the difference." How do people do this "not out of guilt but out of a sense of responsibility"?
"It's difficult to discern exactly what kind of discourse sparks guiltless activism," Pike asserts. Her book explores the discourse of cartoons to assess their value and effectiveness at moving us. Pike employs multiple theoretical tools in analyzing cartoons without getting bogged down in arcane academic language. Her style is approachable, with no loss in depth or detail.
Relying on ecological, media, and literary critics, such as Bakhtin, Mcluhan, Joseph Meeker, and Scott Slovic, Pike develops a continuum for analyzing discourse modes--monologic/dialogic, hot/cool, tragic/comic, epic/novel. She prefers cool/dialogic/comic/novel cartoons, which provide viewers with multiple perspectives and a means of engaging in the creation of a story with minimal artistic details, exemplified by The Simpsons Movie and South Park. More detailed and vivid message- oriented films like Bambi and Avatar, she asserts, leave little room for viewers to participate in the film.
Pike's analysis of each cartoon provides insight into both how the medium itself operates on our emotional response and how the message of the film is communicated to us, whether through a single narrative view point or one that offers a multi-voiced perspective of the issue. Pike's detailed descriptions of what works on us in film recognizes the complexity of the work of cartoons. She offers Wall-E as a film that complicates the binaries of tragic/comic and monologic/dialogic, by refusing to idealize the past and providing a pluralistic message.
Pike recognizes --with Scott Slovic--the ability of popular films like Bambi, Happy Feet and Avatar "to weave rhapsodic appreciation for nature with a warning about the impact of man's actions on his exterior environment." Nonetheless, she admits that her analysis favors the cartoons that offer realistic views of the environment, with opportunities for free, democratic dialogue, rather than propagandistic cartoons that cut off reality, discussion, and thought.
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