Racial Stereotyping and Selective Positioning in Contemporary British Animation Charles C. H. daCosta A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2007 The University of Brighton in collaboration with University College for the Creative Arts at Canterbury, Epsom, Farnham, Maidstone and Rochester Racial Stereotyping and Selective Positioning in Contemporary British Animation Charles Christian Henry daCosta A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy March 2007 The University of Brighton in collaboration with the University College for the Creative Arts at Canterbury, Epsom, Farnham, Maidstone and Rochester Abstract This thesis examines the characterization of blacks in contemporary British- made animated films exploring racial stereotyping and locating significant absences. Recent work produced within Britain has largely been destined for television. This thesis argues that Britain’s multiculturality has not been adequately represented in popular modes of television animation. This is particularly evident in the work of Aardman, Britain’s premier animation studio. The research involves two components: theory and practice. The first seeks to investigate issues relating to representation, stereotyping, ‘race’ and British multiculturalism. Through selected case studies I show how these concepts operate. I begin by sampling televised popular children’s animation, whose characterization and storylines are subjected to scrutiny. Next I focus on a selection of work from the Aardman studio - whose productions are not specifically aimed at children – to extend my analysis. The second component involves the production of a Claymation film designed specifically to demonstrate how it is possible to counter some of the gaps and problems embedded in black representation. In Britain there have been several studies within the fields of film and television - and other media forms like photography - that examine representation, stereotyping, ‘race’ and multiculturalism. Again similar work has been done in the US. However there has not been a concerted effort, and a systematic study, that addresses those issues within the framework of televised animation in Britain. Furthermore there are no animation-inspired studies involving practical dimensions that [currently] exist to facilitate the examination of the issues at the centre of my discussion. I show that contextually informed textual analysis and animated filmmaking can be combined to produce an accessible and powerful model for countering negative stereotyping. The results of this study – with an integrated practice element - suggest that a fresh research approach can be offered through Animation Studies. 2 Table of Contents Page Abstract 2 Table of Contents 3 List of Illustrations and Accompanying Materials 4 Acknowledgments 5 Author’s Declaration 6 Introduction 7-8 Chapter One: Black Representation and Racial Stereotyping in Animation 9-24 Chapter Two: Methodological Issues and Key Concepts 25-58 Chapter Three: Black Spotting: Character Mapping and Tracking in Popular Animation on British Terrestrial Television since 1993 59-77 Chapter Four: Framing Invisibility: Selective Positioning of Blacks in the Aardman Studio’s Work 78-106 Illustrations for Chapters 2-4 107-117 Chapter Five: School Dinners: Giving Colour to an Aesthetic of Invisibility 118-138 Chapter Six: Conclusion 139-144 Bibliography 145-162 Appendices 163-205 3 4 List of Illustrations and Accompanying Materials Figures: Page: 1-7 Sample of character types in popular British 111-112 Animation 8 British ethnic group classifications 112 9-16 Park-esque characters 113 17-19 Thematizing: singing and dancing on the screen in 114 Aardman’s Creature Comforts 20-30 Marginal characterization in Aardman’s Babylon 115-116 31-39 Problem context: white ordinariness and black 117 emasculation in Aardman’s On Probation 40-45 An intimate confessional: Aardman’s Going 118 Equipped 46-47 Nostalgic marques in Aardman 119 48 Problem context in Aardman’s Creature Comforts 119 49-54 Entertainment context: thematizing exotic black 120 females in Aardman’s Limoland and My Baby Just Cares for Me 55-56 Performance / entertainment context in Aardman’s 120 My Baby Just Cares for Me 57 The ‘African’ Queen 121 DVD: School Dinners – Movie and Pictures See inside back cover 4 Acknowledgments Arriving at this junction has neither been easy nor straight-forward. I have had to stop several times to re-fuel, ask directions or simply take a break. I would like to say a big thank you to Dr. Andrew Darley, my principal supervisor, and Mr. Roger Noake my technical supervisor for all their wisdom, guidance and patience. I would also like to express my gratitude to my wife Miriam and friends Joe Dougan and Chris Owens. There have been countless others whose insight and input made this journey a bit more pleasant; and less muddy and rough. So as I turn round and look back I would like to say, ’YOU are the best’, to each and everyone who has been so instrumental in this project. God bless you. 5 Declaration I declare that the research contained in this thesis, unless otherwise indicated within the text, is the original work of the author. The thesis has not been previously submitted to this or any other university for a degree, and does not incorporate any material already submitted for a degree. ___________________________________ Signed Charles Christian Henry daCosta ___________________________________ Dated 6 Introduction The purpose of this thesis is to investigate the racial stereotyping of blacks that is endemic in British animation. By blacks I am primarily referring to those genotypes whose ancestry can be traced directly to the African continent. In Britain they are commonly allocated the descriptor African-Caribbean. However this term does not fully encapsulate the racial mix of those linked to Africa and its diasporas; but this is not the remit of this study. While racial stereotyping is not always obvious, close examination reveals that several forces are at work to ensure that a certain state of affairs is maintained. Worse still this ‘condition’ ensures that blacks simply do not appear in the right contexts – remaining outside normality. It would appear therefore that the absence of black ordinariness signals a subconscious desire for black non- existence. In Britain, animation is a multimillion industry; the quality and popularity of whose productions cannot be disputed. Therefore it is not surprising that this field has followed ‘normal’ representational practice and has largely excluded ordinary blacks from its storylines. Countering such traditions with the creative practice of Plasticine animation [Claymation] is an integral part of this study. The practical element of my inquiry is demonstrated through the production of a short film titled School Dinners. A copy of this production can be found on the included DVD. Other production material such as the script, storyboards and budget are included as appendices. I devote my first chapter to a review of the current writing from the corpus of Animation Studies, on representational issues. I undertake a decade by decade review of writing, on animation, that examine social issues. Beginning with texts from the 1960s, and working through to the current, I discuss the absences and gaps that exist in some of these important texts. I reveal that there has been increased race-related scholarship in recent decades. The second chapter involves an examination of key concepts - pertinent to my research work. Here I discuss methodology and approaches adopted by leading scholars dealing with issues raised in this study. Gleaned from the work of Hall 7 Althusser and others, I begin to develop ideas that form the bedrock for conducting analyses in subsequent chapters. As an example I develop from the work of Cerniglia a taxonomy which is subsequently employed to facilitate discourse on character types. This becomes particularly useful when I visit work from the Aardman studio. In chapter three I employ the concepts explored earlier; utilizing them as filters through which a selection of popular productions are analyzed. I then suggest that black characterization is becoming more sophisticated. The fourth chapter is dedicated to a close study of work from Britain’s most prominent animation studio, Aardman. I argue that the studio’s portrayals of Britishness are not only incomplete, but also deeply problematic. I point out that the work of its most prominent director, Park, has indeed promoted an aesthetic that comfortably accommodates black exclusion, through its promotion of nostalgia. Chapter five is a reflective report on School Dinners. I begin the section by posing some rhetorical questions which help to put the film into perspective. I then go on to describe the methods employed for its production. This demonstrates the link between the theoretical and practical components of my thesis; reiterating the fact that these two elements are clearly designed to work together. In the sixth chapter I discuss my findings broadly, suggesting that incidences of black representation have increased somewhat. I point out that all these developments highlight the need for further innovative research involving multi- ethnic teams. Their varied contributions may produce more rounded analyses. 8 Chapter 1 Black Representation and Racial Stereotyping in Animation