Cinematic “Pigness”: A Discourse Analysis of Pigs in Motion Pictures By Mark von Schlemmer Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Catherine Preston ____________________________ Chairperson Chuck Berg ______________________________ Tamara Falicov ______________________________ Kevin Willmott ______________________________ Barbara Barnett ______________________________ Date defended: July 2, 2010 Acceptance Page This Dissertation Committee for Mark von Schlemmer certifies that this is the approved version of the following dissertation: Cinematic “Pigness”: A Discourse Analysis of Pigs in Motion Pictures Catherine Preston ____________________________ Chairperson Chuck Berg ______________________________ Tamara Falicov ______________________________ Kevin Willmott ______________________________ Barbara Barnett ______________________________ Date Approved: July 28, 2010 ii Abstract The representations of “others” in film have been contentious since filmmaking began. Fraught with misrepresentations, cinema has been held responsible, and occasionally credited, for influencing cultural practices and helping to shape discourses in American society. This study suggests that the media representations of nonhuman animals also have a profound effect on how Americans think about animals and that these representations warrant examination to uncover the naturalized messages and assumptions that are presented about animals. Explored here are the extent to which these images depict animal-ness – moments of authentic nonhuman behavior or experience that are not simply a reflection of humanity but have meaning for the animals themselves. This study highlights the case of “food animals” – specifically pigs. The disjunction between how we represent them – the narratological roles they fill in animal films – and the way that actual pigs are used in American society is vast and disturbing. One hundred million pigs are raised away from the light of day in factory farms and then slaughtered in each year in the United States, but they are continually presented as intelligent and charismatic characters in our stories. Using critical theory and a discourse analysis methodology, this study is a close textual analysis of the feature films Babe and Charlotte’s Web, along with incidental appearances of pigs on television and feature films. It explores how these works invite spectators to construct nonhuman beings as persons and how they present nonhuman perspectives, and then it interrogates the accuracy of the pigness of the characters iii depicted. The study confirms that these representations portray many characteristics of actual pigs and that certain films present genuine challenges to viewers to examine the contradictions between treating these intelligent and personable animals as both friends and meat. ~ ~ ~ ~ ~ ~ ~ iv Acknowledgements There are many people I would like to thank for their help and support of me throughout my studies but do not have room to mention them all. My sincere gratitude goes out to my committee chair, Dr. Catherine Preston, for her help in designing and honing this study. Her support and enthusiasm for the spirit of this project was essential to it being accepted. Likewise, the input and convivial encouragement from each of my committee members – Kevin Willmott, Dr. Chuck Berg, Dr. Barbara Barnett, and Dr. Tamara Falicov – was immensely beneficial. Thanks to Dr. Edward Small who was my initial mentor at the University of Kansas and who was important in the development of my scholarly studies. The help of my tutor/editor/confidant Rebecca Barrett-Fox cannot be overstated. My commas would not be in place, my thoughts not in alignment, and, in many circumstances, my will to go on be realized without her weekly grammatical, theoretical, and morale boosts. The support of the Applied English Center and Dr. Christine Jensen was also most helpful. The problems I encountered were mostly related to the same challenges that almost all “gradual” students face: knowing what to focus on and when to focus; finding time to teach, time to read (lots!), and time and places to write while still paying all the bills. I was challenged in many personal ways that do not need to be explained here, and I was fortunate to have had the chance to pay some of my bills while working on some exciting and rewarding film projects that were professionally fulfilling but did nothing to further this specific research or multiply the number of hours in each day. I am very grateful for the support and encouragement of my colleagues, Mary Beth Woodson, Manuel Pérez Tejada, Fernando Arenas, JaeYoon Park, Michael Graves, Jason Cole, Novotny Lawrence, Dr. Bruce Frey, Dr. Bonnie Johnson, Dr. Pete Porter, my band mates and many others. I am grateful for the support and love from my family through the trying times we experienced together that coincided with my graduate work. Finally, I would be remiss, especially in a Human-Animal Studies related project, if I did not acknowledge the unspoken but soulful support of my nonhuman friends: Kong and Howie for leading me on the path, Jordan for his big heart, Candy and Bailey who did not get to see me finish, and Thurber, Roo, Willie, Jasper, and Penny who woof and purr with me still. ~ ~ ~ ~ ~ ~ ~ v Table of Contents "% ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ $%#%+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ !( %$+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++' !%!&% &$++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++' "%#/- %#!&%! +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++/ #!& #!++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ 4 "%##!( +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++// "%#0* %#%&#'( %!!!)+++++++++++++++++++++++++++++++++++++++++++++++++++++++++/4 %#%&#'(+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++/4 !!&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& +0 ! &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& +3 !" &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& ,+ ! &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& ,, !!%!%! &&&&&&&&&&&&&&&&&&&&& ,. #% " &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& -* %!!!)+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++13 !%)!$) !%) ! &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& -/ !%&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& -/ " % &&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&&& -1 "%#1*#!%%,$ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++26 #!& +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++27 ) !"$$ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++3. 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