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A Case Study of Kung Fu Panda

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A Case Study of Kung Fu Panda Journal of Content, Community & Communication Amity School of Communication Vol. 6 Year 3, June - 2017 [ISSN: 2395-7514 (Print)] Amity University, Madhya Pradesh [ISSN: 2456-9011 (Online)] The Western Gaze in Animation: A Case Study of Kung Fu Panda Chenjun Wang* ABSTRACT Orientalists think western popular media extends cultural imperialism in the American Century. The increasing interest on producing diverse cultural perspectives in Hollywood raises the question of whether there is an “othering” process in its media representation, subordinating or distorting the image of non- Westerners. Consequently and consequentially, the naturalised ‘reality’ of Orientals and the Orient would be further reinforced to the global audience. Kung Fu Panda series (2008, 2011 and 2016) is one of the most popular Hollywood animations in recent years. In order to find out whether the animation is yet another Orientalism project based on occidentalist knowledge, this article will examine the Hollywood representation of characters, voice and miseen scène in Kung Fu Panda. Employing a combination of framing analysis and discourse analysis, this essay will examine visual images (the appearance and posture of main characters, landmarks, architectural features), depictions (the narratives of the stories), metaphors (cast members’ voices, words and deeds of characters), as well as cast members, movie posters, producers. The essay concludes that although Kung Fu Panda has remained within a traditional orientalist framework, it seems to have integrated different metaphors - depending on production settings and audiences. Keywords:Orientalism; Media representation; Othering; Hollywood animation; Cultural imperialism; Kung Fu Panda. INTRODUCTION (Said, 1978). Hollywood representation of “the otherness” has framed a certain environment of The movie Kung Fu Panda is a story about a images and narratives to shape a postcolonial clumsy cuddly panda that was unable to achieve hegemonic flow of knowledge from the West to his kung fu dream until he was recognised as the the East (Said, 1994). Globalised culture has been Dragon Warrior by Master Oogway. He was then consumed across the man-made sovereign trained by Shifu, defeated enemies, took borders by both the West and by the “others” responsibility for protecting the Valley of Peace (Orgad, 2012). The study of Orientalism focused and finally became a hero and the kung fu master on originally on the Near East and Middle East, who saved China. This is a movie that presents a expanding to India and then the Far East - China, comprehensive collection of aspects of Chinese Japan and Korea. In today’s hyper globalising traditional culture and many spot-on cultural world, the orientalist mindset reinforces references ranging from character appearance, occidentalist knowledge, naturalising the martial arts, architecture, landmarks, costumes, “reality” of differencing otherness, thereby custom (ancient and modern), history, language, empowering the West (Hall, 1991a). Hollywood, music, religion, ideology and philosophy. as the dominant American film industry in the Globally, the movie grossed 631 million USD (Box global market, with its cutting-edge technology, Office, 2011). With a packaging of Chinese has endeavoured to produce film animations, tradition, the star, a globalised Panda, ironically across the cultural spectrum, such as Aladdin represents western values - bringing, to the Valley (1992), The Lion King (1994) and Mulan (1998). of Peace and China, western heroism (Sparks, With its potential global influence, the way 1996), individualism (Schindler, 1996) and Hollywood represents and re-presents cultural liberalism. Hollywood movies offer entertainment diversity could serve an educational end. as well as education (Giroux, 1999), and have over Whether or not “Kung Fu Panda” is a the decades conveyed much occidental manifestation of structural themes of orientalism, knowledge of “the other” (Hall, 1992). post colonialism or globalization, or a mixture of these will be examined by analysing reflections of *Researcher,Department of Modern History, these values in the film’s rhetorical structures. It is Politics and International Relations, believed that the Kung Fu Panda series exemplifies Macquarie University, Balaclava Road, North a new tendency of Hollywood animation to both Ryde, NSW, 2109, Australia engage in “integration” and “distinction” of otherness (Hall, 1991b). Following this Orientalism takes the view that through western introduction, this article will (1) briefly review texts the “Orient”, as opposed to the “Occident”, is portrayed as weak, inferior and subordinates literature on Chinese stereotypes in Hollywood 3 cinema; (2) identify the research question and dominant groups and minorities cannot be method; (3) present findings; (4) engage in a mutually exclusive, Hollywood has sought discussion; and (5) provide a conclusion. multiculturalization and regional collaboration in order to succeed in varied markets across the LITERATURE REVIEW OF CHINESE IN globe (Ibbi, 2013). Postcolonial scholars argue that HOLLYWOOD CINEMA globalisation is the new key to reinforce western There are three Chinese stereotypes discernible in hegemony and capitalism and amounts to neo- Hollywood movies: The first image is of a vicious cultural-imperialism (Croteau&Wiliam, 2003). demon. During the first half of the 20th century, Cultural theorist Stuart Hall (1997) explains that Fu ManChu, a fictional character created by a the globalisation context has generated cultural British novelist, had a “crafty yellow face twisted hybridisation in representation, through an by a thin-lipped grin” (Frayling, 2014) and “English Eye” and more broadly a western gaze threatened all of white society. This was the first when viewing the “other”. While the “otherness” Chinese representation popularised with Western of a character may be seen merely in a precise audiences. The representations of Fu appeared in depiction of appearance, there seems to have been several movies in the 1920s, which strengthened hardly any change in the “American soul” in the the negative and even violent image of Chinese in construction of Hollywood Asian narratives. the US. The second was of a martial arts (Kung METHOD Fu) master. Representative Hollywood movies with Chinese martial arts include The Way of the This research proposes that contemporary Dragon (1972), Enter the Dragon (1973), The Last animated films on Chinese themes are not shaped Dragon (1985), Police Story (1985), Dragon: The exclusively by orientalist, postcolonial or Bruce Lee Story (1993), Rush Hour (1998), globalism values but reflect features from all of andCrouching Tiger, Hidden Dragon (2000). The these because of the dominance of globalization. Kung Fu actors and actresses have been A hybridity is discernible. The research question frequently presented in western popular media that will be addressed is whether frames of the and have been greatly welcomed since 1970s. Chinese in Kung Fu Panda carry stereotypes and Bruce Lee and Jackie Chan achieved great values from orientalism and/or postcolonial popularity in the West. The third representation is and/or globalization perspectives. Frames have more evident in modern Hollywood movies: been defined as ‘schemata of interpretation’ Orientals are depicted as weak, inferior, (Goffman, 1974). Framing is a social science subordinate, and non-masculine to westerners approach to analysis of media (as well as of other (Said, 1993). Such marginalised framing of Asians texts) that is situated between discourse analysis can also be found in American or British prime- and content analysis (Pan &Kosicki, 1993). time series, such as Ugly Betty and Entourage. For Discourse analysis emphasizes the notion of instance, in Two Broken Girls (2011-2017), an Asian political hierarchy while content analysis merely restaurant owner is portrayed as a flamboyant, examines features in messages present at the time greedy, undesirable, asexual, nerdish, diminutive of the research without basing these on historical man-child. political relationships such as between the West and the East. Frames can capture political Animating Asian cartoon characters is new in hierarchies and can be viewed as political Hollywood and emerged after attention was “devices embedded in political discourse” given to the Asian regional theme in the wake of (Kinder & Sanders, 1990). Zhongdang Pan and globalisation. Mulan in 1998, while based on Gerald Kosicki’s (1993) method, though it is Chinese folklore, has characters elaborated from a aimed at the analysis of news discourse, may be western point of view as “the other” - exotic and modified to identify frames in films. Pan and interesting. In some cases, an animation’s surface Kosicki recommend the identification and treatment would be altered by the underlying analysis of syntactical, script, thematic and storyline, or there would be important western rhetorical structures, the latter being revealed in references. For example the Lion King (1994) “metaphors, exemplars, and catchphrases. depicting a lion ruling an African animal Depictions and visual images” (Pan &Kosicki kingdom, has resonances with William 1993). For the purpose of identifying and Shakespeare's ‘Hamlet - Prince of Denmark’ analysing film it would be suitable to focus on (McElveen&Rohlfs, 1998). Hollywood animations thematic analysis - of larger structures that shape are no different to other western media, in style, structures identifiable with globalization,
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