“Look Out New World, Here We Come”?

  title={“Look Out New World, Here We Come”?},
  author={Carmen R. Lugo-Lugo and Mary K. Bloodsworth-Lugo},
  journal={Cultural Studies ↔ Critical Methodologies},
  pages={166 - 178}
In this essay, the authors argue that, as suggested by Giroux, animated films offer children intricate teachings about race and sexuality, guiding children through the complexities of highly racialized and sexualized scenarios. Moreover, the authors explain how animated films for children teach children how to maneuver within the general terrain of “race” and “sexuality,” and they highlight quite specific differences. Thus, in their role as agents of socialization and “portable professors… 

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Cradle to Crave: The Commodification of the Environment in Family Films

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How Body, Heterosexuality and Patriarchal Entanglements Mark Non-Human Characters as Male in CGI-Animated Children's Films

The lead characters in the CGI-animated children's films produced by Pixar and DreamWorks Animation are overwhelming male, and more often than not, they are not human. This simultaneously reflects a

The Paradox of Post-racialism: Black Hollywood’s Voice in Post-racial Discourse

Banjo’s chapter discusses the ways in which contemporary African-American or Black-centered movies treat race relations. On the one hand, non-Black characters (mostly White) are made visible by

Into the unknown [Amas Mu Vuordá]? Listening to Indigenous voices on the meanings of Disney’s Frozen 2 [Jikŋon 2]

ABSTRACT In 2019, Disney released the animated film Frozen 2 and included depictions of Indigenous Sámi peoples, landscapes, and lifeways. Communication scholars have critiqued relationships between

Postfeminist Fatherhood in the Animated Feature Films Chicken Little and Cloudy with a Chance of Meatballs

Drawing on Hannah Hamad's concept of postfeminist masculinity, this article analyzes how the animated films Chicken Little (Disney, 2005) and Cloudy with a Chance of Meatballs (Sony, 2009) construct

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The essence of Disney magic has taken flight on the wings of magic carpets and broom sticks, and has been able to spread their influence upon the whole of society and its youth. With something as

The Portrayal of Gender and Race in Cars Trilogy

As the most commercially successful animated film, Cars trilogy, produced by Pixar Animation Studios, are opted to be analysed due to its impact on formulating perception of gender and race.

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The twentieth century witnessed a strengthening of the bond between the discursive (re)production – literally, the perpetuation through language (writing, conversation …) – of specific national

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This essay reads the film Monsters, Inc. (Pixar Studios, 2001), as an allegory for the humanities in the age of global capitalism. Using the film's ending and Citibank advertisements as examples,

Groovin’to ancient Peru

Disney animated movies have received abundant critical attention over the past 30 years as a quintessentially American manifestation of popular culture and as an expression of corporate and hegemonic

From Mouse to Mermaid: The Politics of Film, Gender, and Culture

Acknowledgments Introduction: WaltOs in the MoviesNElizabeth Bell, Lynda Haas, and Laura Sells Section I: Sanitizations/Disney Film as Cultural Pedagogy Breaking the Disney SpellNJack Zipes Memory

The Disneyization of society

This article proposes the idea of Disneyization as a complementary notion to McDonaldization. Disneyization is depicted as a process by which the principles of the Disney theme parks dominate more

The Mouse That Roared: Disney and the End of Innocence

The Mouse That Roared: Disney and the End of Innocence

The Emperor's New Groove.

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Spirit [Motion picture]. United States: DreamWorks Animation

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