نوع مقاله : مقاله پژوهشی
موضوعات
عنوان مقاله English
نویسندگان English
Introduction: In recent years, companies such as Disney have adopted a “diversity” strategy in their productions, whereby protagonists are selected from different races, cultures, and countries. This strategy emphasizes creating a sense of belonging among global audiences and seeks to represent the lived experiences of diverse communities through plural characters and narratives. However, despite this seemingly inclusive approach-and while the Western world portrays itself as faithful to history, claiming that the colonial era has ended and that every nation now possesses its independence, unity, identity, and territorial integrity-the themes, content, and imagery of these animations reveal a postcolonial orientation. Through novel imagery and narratives within attractive and diverse storyworlds, they align themselves with the neo-colonial policies of Western countries, led by the United States. In reality, the notion that “the West dominates the East” remains the prevailing image in Western media productions, with animation being one of its most influential forms.
The importance of postcolonial studies in contemporary animation lies in the fact that the audiences of these works encompass a wide range of cultures and nationalities. On one hand, different ethnic groups observe representations of their identities in Western narratives and reinterpret them through the appealing aesthetic and storytelling format of animation. On the other hand, children and adolescents-who are particularly impressionable-consume these productions extensively through modern media platforms and social networks, thereby absorbing their implicit meanings.
Method: Adopting a postcolonial approach, this research analyzes eight major cinematic animations: Big Hero 6, Inside Out, Zootopia, Soul, Coco, Encanto, Turning Red, and Elemental. Using thematic analysis, the study examines how postcolonial perspectives are embedded in these works. In the first stage, the animations were viewed in full, and the unit of analysis was composite: the entire film was observed, and “sequences,” “scenes,” and “relevant dialogues” were coded as initial data. In the second stage, significant themes within the initial codes were identified and organized into coherent categories. In the third stage, overarching categories were extracted from these key themes using postcolonial theories, particularly Edward Said’s theory of Orientalism.
Findings: Among the eight animations analyzed, the main characters in five of them are women or adolescent girls. Their vulnerabilities, decision-making processes, agency, and eventual transformation into heroes are all redefined within a postcolonial framework. Female gender, race, and minority status are depicted in ways that reproduce Western notions of dominance over the East, transmitted to the younger generation.
A considerable portion of these animations narrates the migration of minorities, framed within contexts such as war, colonialism, or natural disasters. Seven postcolonial categories emerged from the analysis: migration, hybrid identity, dominance, othering, resistance, role modeling, and race, minority, and gender. Among these, dominance (power) was identified as the central theme across all animations studied.
Conclusion: The representation of the East by the West in these animations is shaped through postcolonial themes and contains two hidden dimensions:
1. Naturalization of generational conflict in Eastern cultures: In these portrayals, Eastern adolescents are compelled to move beyond family, tradition, and ethnic values in order to achieve their dreams, individuality, and a sense of “being enough.” Characters such as Miguel (Coco), Mirabel (Encanto), and Mei Lee (Turning Red) become heroes only by breaking free from familial authority and adopting hybrid identities. This process reflects the Western construction of progress and autonomy in the East.
2. Music as a symbol of the new Eastern generation’s resistance: In Soul, Coco, and Turning Red, music functions as a metaphor for resistance against family traditions and as a tool for redefining personal identity. Protagonists who initially appear weak, overlooked, or powerless transform into active agents and story heroes through music.
In sum, the analysis of global media companies’ animations demonstrates that the ostensibly humanitarian goals of these productions-claiming to represent racial and cultural diversity-remain rooted in Western postcolonial perspectives toward the East. What is marketed as “cultural diversity” ultimately constitutes a reproduction of cultural colonialism, repackaged in new forms and disseminated through media platforms.
کلیدواژهها English
