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Chapter 2 Literature Review CHAPTER 2 LITERATURE REVIEW The literature review provides details about the previous studies relevant to this research and the synopsis of the films Khan Kluay I and II. 2.1 Previous studies For decades, there have been many studies conducted about nationalism and racism in movies. Many of these studies focused on Walt Disney’s animations, especially his famous cartoon characters. As example, Rami Yashruti analyzed the filmic version of The Jungle Book (1967), and concluded that the racist undertones in the film are often exaggerated and overstated. King Louie’s speech “I Wanna Be Like You” has often been seen as highly racist. The jive accent of King Louie with the song and dance can be viewed as a mockery of African-American culture. The film seeks to show that they strive to be white, but they always appear like “monkeys”. Louie thinks that if he has the secret of fire, he will be human, but in truth he will always be a monkey. Another interesting point made in this study is about the voice of Baloo the Bear in The Jungle Book, who seems to represent immigrants. His characterization and New Jersey working class accent are suggestive of racist views of immigrants. Of note is that all the authority figures in the film have British noble accents, while the slang, jive, and working-class accents are reserved for vultures who speak in a working-class 7 Liverpool accents, and uneducated kingpins represented by King Louie and his monkey delinquents. At the same time, Bagheera, Col. Hardy, Shere Khan, and the wolf pack, all speak in distinguished British accents. Aside from the difference in power relations as reflected by the difference in accents, there are subtle imperialist overtones as well. For example, although the wolves are not the most “noble” animals, they hold a council and have their own democracy. The nature of a British colonel can be seen in this animation when Col. Hardy the elephant and his troops constantly patrolling and marching across the Indian jungle (Yashruti, “The Jungle Book: Colonial Propaganda or Wholesome Family Fun”). Moreover, Kathi Maio analyzed racism portrayed in cartoons movies which include those with racial stereotyping such as Aladdin (1992) and the Lion King (1994). In Aladdin, one of the evil characters, Jafar, looks very Arabic and we see “bad” Arabs with thick foreign accents while Jasmine and Aladdin, the hero and heroine, speak in standard Americanized English. Aladdin looks and sounds like a fresh-faced American boy. He introduced himself with American name, “Call me Al”. Some of the lyrics in the movie convey racist overtones: “I come from a land…where they cut off your ears if they don’t like your face. It’s barbaric, but hey, it’s home”. Maio also analyzed, The Lion King, which shows that the hyenas clearly speak in a kind of street, inner city African American dialect. They are considered the bad guys. Despite the African locale, the young hero, Zimba, is voiced by American white actors, Jonathan Taylor Thomas and Matthew Broderick while the hyenas are given street jive dialogue and voice by Whoopi Goldberg, an African American, actress and Cheech Marin, a Mexican American comedian (Maio, “Disney’s Dolls”). Another common stereotype noted in cartoon movies is that of the Native Americans in Pocahontas (1995). A study by Cornel Pewewardy shows that the term 8 savages just perpetuates the idea that Native Americans are not civilized, normal, and educated people. The fact that the “Indians” in the movie sing the song that is offensive to them appears paradoxical. In addition, the “savages” also refer to the English settlers with offensive words like demon and paleface as if to make such less aggressive towards both parties. The following lyrics, which is from the movie, emphasizes the brutality and savagery of Native Americans: ….What can you expect From filthy little heathens? Their whole disgusting race is like a curse Their skin's a hellish red They're only good when dead They're vermin, as I said And worse. They're savages! Savages! Barely even human. Savages! Savages! Drive them from our shore! They're not like you and me Which means they must be evil. We must sound the drums of war!.... From the lyrics, Pewewardy pointed out that the most obvious element of racism in Pocahontas is language such as "savages," "heathens," "pagans," "devils," "primitive," and "civilized." These terms connote something wild, primitive, and inferior. They imply a judgment of white superiority. The term we and they were used in this animation to separate British People and Native American. In contrast, this animation references to the central role that such factors as greed, deceit, racism and 9 genocide played in the historical contacts between the Indians and Jamestown settlers. (Pewewardy, “The Pochahontas Paradox: A Cautionary Tale for Educators”). The studies discussed above largely focus on racist views in a number of Disney animated movies, the following study by Kristján Birnir Ívansson, however, pays attention to the link between nationalism and racist assumptions in American movies and animations produced during the second world war. Ívansson’s study points out that at that time the studios were not only the very heart of the animation business throughout the 20th century, but they were also amongst the biggest ideological supporters of the Unites States government and army during World War II. They produced many animations for war propaganda as well as instructional films for the Army and the Navy. Such animations featured often well-known cartoon characters such as Bugs Bunny, Superman, Donald Duck and Daffy Duck, all of whom fought against the Axis power. Out of the many animation produced during World War II, twelve were selected and analyzed in this thesis in connection with topic of American nationalism (39-41). According to Ívansson, the five short Donald Duck movies: The Vanishing Private (1942), Sky Trooper (1942), Fall out-Fall in (1943), The Old Army Game (1943) and Commando Duck (1994) were all an example that showed what a soldier is supposed to do and what he is not allowed to do in service. However, in the three movies, Donald´s Decision (1942), The New Spirit (1942) and The Spirit of ´43 (1943), encouraged audience to buy a war bond in order to protect the national symbols, democracy and liberty. The academy award winner movie, Der Fuehrer Face (1943), which was also examined in this study, had also a reference to the national symbols. The movie was supposed to show, how good it is to live in the United States. Firstly, in Der Fuehrer Face, it is shown how difficult life is in Germany for example there was 10 48 hours shift at the assembly line. However, when Donald Duck wakes up in his bed in America and realized that the whole thing was just a dream, his top priority was to hug a miniature of the statue of liberty which is a reference to the national symbol (39-40). Another movie analyzed in this study, Reason and Emotions (1943), conveys the message that people have to stick together and keep their composure to be able to defeat the enemy. The film also plays on the strong emotion that freedom is important to every free man. The last film discussed in this study, Education for Death: The Making of Nazi (1943), is the darkest Disney animated short ever made because of the anti-Nazi subject matter . The use of the animation makes everything come together in a dramatic way. Hans, the protagonist, is brainwashed to become a property of Nazi party. The film encourages the audience to have sympathy for Hans but at the same time the film expresses the horror of Nazism. The film shows how far Nazism is from freedom and democracy, and how difficult life was in Germany under the Hitler regime (40). Another study by Megan Rector investigates the attempt to incorporate nationalist ideology in an animation film. The study examines the animated film Animaniacs and concludes that this film imparts a world view that promotes the interests of the United States over other nations and justifies American ethnocentrism. The ideological messages in the show are especially important because the show is a cartoon broadcast on TV. People are more susceptible to ideological messages in television programs because their guard is down when they watch television because viewers who perceive cartoons as children’s programming will have their guard down. The cartoon format of Animaniacs contributes to its position as a powerful ideological medium. Cartoons also function of the powerful outlets for advancing ideology since the messages in cartoons are bound by the imaginations of their creators only. In other words, there is no limit to the ideological messages that television shows could carry. 11 According to Rector, the portrayal of the United States in the cartoon promotes an idealized view of American society in order encourage a positive view of the nation and send the message to Americans that the United States is still the most powerful country of the world in terms of its technology, economy, foreign relations and culture. This type of ideology promoted in media texts is dangerous because it frames the viewers that the American way is the right way and supports the promotion of American interests even if those interests might be harmful to other countries (110-111). In Thailand, Chajabhol Choopen also investigates Thai nationalism as reflected through period movies produced after the economic crisis of 1997 by analyzing nationalistic issues through the different components of representative films such as scripts, characters, symbols, and Thai social events used for nationalistic purposes before, during, and after the films took place.
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