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Northumbria Research Link Northumbria Research Link Citation: Stanton, Rebecca Rose (2019) Representations of animal harm and objectification in the works of Walt Disney Animation Studios’ films: 1937- 2016. Doctoral thesis, Northumbria University. This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/44089/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/pol i cies.html Representations of animal harm and objectification in the works of Walt Disney Animation Studios’ films: 1937- 2016 R. R. Stanton PhD 2019 Representations of animal harm and objectification in the works of Walt Disney Animation Studios’ films: 1937- 2016 Ms Rebecca Rose Stanton, MA, BA A thesis submitted in partial fulfilment of the requirements of the University of Northumbria at Newcastle for the degree of Doctor of Philosophy Research undertaken in the Faculty of Arts, Design & Social Sciences October 2019 Representations of animal harm and objectification in the works of Walt Disney Animation Studios’ films: 1937-2016 This PhD thesis critically examines how Walt Disney Animation Studios (WDAS) has depicted – and sometimes failed to depict – different forms of harming and objectifying animals (1937–2016). This is an interdisciplinary project that contributes new research into Disney studies and critical animal studies. As such, this project will utilize past research in critical animal studies, particularly speciesism, throughout. Each chapter of this thesis focusses on a different form of harm or objectification that animals can experience: Chapter 1: Animal Food Farming, Chapter 2: Hunting and Fishing, Chapter 3: Clothing, Chapter 4: Pets and Working Animals, and Chapter 5: Entertainment. Each chapter begins by outlining the history, relevant scholarly literature, and other relevant cultural depictions of that form of harm. Then, each chapter presents the data that demonstrates how many times these types of harm or objectification have been depicted in WDAS films. Next, each chapter offers a broad exploration of how the chapter’s topic(s) has been depicted in WDAS films and (where appropriate) across the wider Disney brand. Finally, each chapter includes case studies relevant to that chapter’s topic. For example, Chapter 1: Animal Food Farming includes a close-reading of Home on the Range (2004), a WDAS film set on a dairy farm. As well as studying WDAS films, this project will also explore other elements of the Disney brand such as the theme parks and merchandise in order to understand Disney’s depictions of animals and animal harm more broadly. The thesis concludes by arguing that since 1937 WDAS representations of animals and animal harm have been shaped by speciesist attitudes. Throughout WDAS’s history, higher-order, heavily-anthropomorphised, neotenized, pro-social, and individualized animal characters have been depicted as un-deserving of the harm or objectification that their species commonly experience. In contrast, lower-order, non-anthropomorphised species have been depicted as little more than objects. Additionally, it is evident that WDAS has only challenged animal harm that has become socially unacceptable, such as the production of fur. Animal harm that is socially-acceptable or involves lower- order species (such as the production of leather) has been minimized, attenuated, or depicted romantically. Additionally, some forms of animal harm that are very common in reality, such as medical testing, have never been depicted, or even acknowledged, in WDAS films. Representations of animal harm and objectification in the works of Walt Disney Animation Studios’ films: 1937-2016 List of Contents • Introduction……………………………………………………………………...1 • Literature Review ▪ Section 1: Disney…………………………………………………….. 12 ▪ Section 2: Critical Animal Studies………..……………………........ 23 ▪ Section 3: Animals in Cultural Representations…………………… 31 • Chapter 1: “Little Patch of Heaven” WDAS’s Problematic Portrayal of Food Farming….…….......................43 • Chapter 2: “Bigger Fish to Fry” Hunting and Fishing in WDAS Films….………………………………….. 68 • Chapter 3: “All Fur Coat and No Knickers” Clothing and Other Objects Made from Animals………………………… 95 • Chapter 4: “Man’s Best Friend” Pets and Working Animals in WDAS Films………….……………………124 • Chapter 5: “The Greatest Show on Earth” Animal “Entertainers” in WDAS Films and the Wider Disney Brand….. 154 • Concluding Remarks…………………………………………………………..189 • Appendixes………...…………………………………………………………… 202 • List of References ▪ Main Bibliography………………………………………………………217 ▪ Film Bibliography ………………………………………………….......275 ▪ Images Bibliography …………………………………………………..280 Acknowledgements This project would not have been possible without the help and support of the following people and organizations: • Dr Steve Jones: Obviously my biggest and most grateful thanks go to you. You definitely have gone above and beyond what I ever expected of a PhD supervisor. This strength of this thesis really has come from your feedback and support. I hope that this is not the end, and that we can work together again in the future. • Northumbria University: the workshops, training, resources provided by Northumbria have truly exceeded my expectations. The university really did make the whole PhD process as simple and stress-free as possible. • Dr Sarah Ralph: Thank you so much for all your support and comments over the years. • Oxford Animal Ethics: This group has provided such an invaluable support network for animal scholars such as myself. I would especially like to thank Clair and Andrew, both of whom have both been incredibly supportive and helpful over the past three years. • The Society for Animation Studies: Thank you for all your support, knowledge, and encouragement throughout this process. • Thank you to everyone who gave me feedback on the final thesis. Every comment, and criticism, was useful and has helped to make this project what it is today. • And, of course, thank you to everyone that is referenced in this project and its bibliography. This project would not have been possible without the excellent research of others. • My final, albeit morbid, thanks go to the three billion animals that are killed every day to serve the interests of humans. This thesis would not have materialized without your lives and deaths. You do not get the attention or respect you deserve, but I hope that this thesis can be a small step towards changing that. Declaration I declare that the work contained in this thesis has not been submitted for any other award and that it is all my own work. I also confirm that this work fully acknowledges opinions, ideas and contributions from the work of others. Any ethical clearance for the research presented in this thesis has been approved. Approval has been sought and granted by the University Ethics Committee / external committee on 31st July, 2017 (reference number: 952). I declare that the word count of this thesis is 84, 979 Name: Signature: Date: 1 Representations of animal harm and objectification in the works of Walt Disney Animation Studios’ films: 1937-2016 As far as realism is concerned, you can find dirt anyplace you look for it. I’m one of those optimists. There’s always a rainbow. The great masses like happy endings. If you can pull a tear out of them, they’ll remember your picture. That little bit of pathos was Chaplin’s secret. Some directors in Hollywood are embarrassed by sentimentality. As for me, I like a good cry. - Walt Disney (in: Barrier, 2007: 284) This thesis explores how animal harm and objectification are depicted in the fifty-six Walt Disney Animation Studios (hereafter: WDAS) films from 1937-2016, beginning with Snow White and ending with Moana. Since 1937, the treatment of non-human animals (hereafter: animals) in the Anglo-American world has changed for both the better and the worse. By August 2016, there were more laws and charities than ever before to protect animals from harm, yet there were also record numbers of animals being routinely mistreated and killed for the production of food. Some of the routine harm and objectification that animals commonly experience are depicted in WDAS films, but other forms are not. This thesis will demonstrate that whether or not animal harm and objectification are depicted in WDAS films depends upon four factors: the social acceptance of the harm or objectification, the species affected, the number of animals involved, and how visible the harm is to humans (in both film and reality). As this thesis will demonstrate, animals populate every WDAS film, and their roles vary greatly. They have been depicted as protagonists, pets, best friends, background characters, and much more. They also commonly appear in objectified forms: as meat, leather, and so forth. 1 Their characterization
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