Morton Film Response: "Simba's Revolution: Revisiting History and Class in The Lion King"

In the midst of writing my own summary and response essay, I have a newfound appreciation for John Morton and  his ability to generate a thought provoking academic "conversation" in his summary and response essay, "Simba's Revolution: Revisiting History and Class in The Lion King." Most broadly, Morton's essay is a direct response to Robert Gooding-Williams' essay, "Disney in Africa and the Inner City: on Race and Space in The Lion King." In his original piece, Gooding-Williams made several argumentative points, including the notion that Disney's Africa in the Lion King is without history until Scar's revolution as well as the claim that the inclusion of the hyenas in the film signifies social inequality.

In my opinion, Morton successfully takes these questionable claims and not only qualifies but expands upon them, as a summary and response essay is supposed to do. By including a mixture of agreeing and then expanding and also disagreeing with Gooding-Williams throughout his essay, Morton establishes a balanced tone that is effective at preventing the reading from feeling lost or overwhelmed by bias.

In direct response to Gooding-Williams' claim that Disney's version of Africa, with its "Circle of Life" anthem, is completely lacking history, Morton points out the fact that even after Scar's revolution, Africa still remains a place that lacks history. Instead of being an oasis, Pride Rock transforms into a wasteland, or in other words a place living in "The Circle of Death."

I especially enjoyed Morton's point that instead of analyzing the struggle between Simba and Scar/the Hyenas in racial terms,  he suggests that the struggle may just represent the eternal power struggle between classic symbols of good and evil. Overall, I thoroughly enjoyed Morton's writing that expanded upon many of Gooding-Williams' arguments in respectful but effective ways, and ultimately adds many good points to the ongoing literary academic conversation.

The Lion King Film Response

I knew that it was coming. I'd seen it so many times that I could literally close my eyes and picture the scene, but when I watched Mufasa die while watching The Lion King this past weekend, I couldn't help but feel a huge lump in my throat once again. There's just something about the scene that is so powerful and human that it's impossible not to feel emotionally ravaged. In many ways, I feel like the emotional depth of that one scene encompasses the film as a whole which arguably plays with the viewer's emotions more than any other Disney film.

Despite the cruel tragedy of Mufasa's death, The Lion King is undoubtedly one of my favorite non-Pixar Disney films out there. Unlike other stereotypical Disney "love story blah blah blah" films, The Lion King took a more unique coming of age bildungsroman approach that results in an epic overarching storyline that follows Simba's growth in a true lion king. While the film certainly has its flaws as we discussed in class that send negative messages regarding a stratified social hierarchy. While I understand that Disney may very well have intended to promote a rigid class hierarchy. In addition, racism is peppered throughout the film with the hyena's voiced by Whoopi Goldberg and Cheech Marin. Despite these apparent shady aspects in the film, I can openly admit that a mixture of nostalgia and legitimate appreciation for the film makes me more than slightly biased when it comes to The Lion King.

Me holding an actual baby lion like Simba is one of my life's defining moments

What makes the film truly special to me is that despite there being no actually human characters, the plot feels more human than any other Disney film. While other films have a somewhat superficial aspect to them with a forced and overly formulaic love story, The Lion King puts its love story as a secondary plot element to Simba's evolution and story arc, something that I've always loved. Moreover, The Lion King is an incredible film that I could write about for way more than I should, so I'm just gonna end my blog with the intro to the film that plays "The Circle of Life", one of my top 3 favorite songs.

The Little Mermaid Film Response

I truly wish I could’ve made another live blog response for Disney’s The Little Mermaid like I did for Snow White and the Seven Dwarves, I just flat out forgot to live record my view experience. Despite my forgetfulness, I’m excited by the fact that I’ve had time to brood over and analyze the overt as well as clandestine messages hidden within The Little Mermaid. Before I get to the spicy stuff, I just wanted to put it out there that animation-wise, I was somewhat shocked by how minimally the animation changed between Snow White and The Little Mermaid. Don’t get me wrong, the animation style in The Little Mermaid isn’t poorly done or bad in the least, it’s just that I was surprised by how on par the animation of the two films were. Even the animation in water in The Little Mermaid holds very little over the water effects in Snow White, which I’m now starting to realize must have been truly revolutionary for the time period in which the movie was released, but I digress.

It's good, but not that much better than Snow White

Overall, The Little Mermaid is a drastically huge improvement over Snow White and the Seven Dwarves for several different reasons, the main reason being it’s focus on plot. Although Snow White dazzles viewers with its technologically advanced animation effects, I think it’s fair to say that the story is about is one-dimensional and predictable as it gets. The Little Mermaid, on the other hand, is noticeably more layered, starting with the protagonist, Ariel. Unlike Snow White, who is both weak-willed and uninspiring, Ariel is far more complex with a vast array of emotions and motivations that drive the story in various directions. While many make valid criticisms of Ariel’s assumption of many gender role stereotypes, I think that the film still does a good job of using Ariel as a portrayal of the feminine ability to rebel from a patriarchal figure, such as Triton. Also, I think that Eric is a vastly better prince than the creepster from Snow White. While he also has his flaws and superficial tendencies, I think that Eric is also an underhandedly multifaceted character that experiences an internal struggle between doing what people expect from him as a prince and what pursuing what he personally desires. Finally, I have to touch on Ursula. Although in my opinion Ursula is a slightly more annoying villain than the Wicked Queen in Snow White, I do think that Ursula is a more effective villain, due to her dastardly plan of using Ariel as a means to take power away from Triton. The Wicken Queen is motivated by largely superficial reasons, whereas Ursula is driven by her dogged chase for power. While she is undoubtedly flawed, I personally find a complex villain vastly more effective. Take the Joker for example, he has so many layers that he might as well be an onion (gotta love the Shrek references).

While The Little Mermaid certainly has its imperfections, it is undeniably entertaining and asserts itself as a huge improvement for the evolution of Disney films in terms of plot and character development.

Disney, "The Evil Corporation", Strikes Again

While we primarily study the actual themes and ideas put forth in Disney's movies/shows, I always enjoy reading about up-to-date information about Disney itself as a corporation. As of today, October 4, Disney is  significantly raising its prices on Disneyland tickets. In the article attached at the end of this paper there is an explanation that "the latest price increase specifically targets Disneyland’s annual passholders, a core base that many unofficial Disney blog sites estimate at 1 million. Some have speculated the recent ticket increases are a much-needed way to reduce the large crowds that occurs at Disneyland during some weekends and high-demand seasons."It's hard not to laugh at the ridiculousness of this statement by Disney. The company has legitimately become so unbelievably successful that they can afford to raise the price of their Disneyland tickets so that they can reduce the number of people that come to visit their amusement park. If there's one thing that Wasko got right, it's that Disney as a company is truly an empire that shows no sign of slowing down.

The Disney Empire Strikes Back

http://m.ocregister.com/articles/disney-686033-pass-disneyland.html

Trites Reading Response: "The Little Mermaid"

To say that Roberta Trites' piece was just an interesting read would be a gross understatement. Never before would I have pictured myself reading scholarly articles that equate Triton's trident to a phallic symbol of power or Urusula's cleavage to a suffocating perversion of the female body. While it would be easy to just write Trites off as another writer who is just reaching too far in her arguments (which she definitely does at times), I actually found this article not only entertaining but also highly engaging.


In her article, Trites makes the point that Disney changes many aspects of Hans Christian Anderson’s original mermaid tale, thus making the story more sexist (whether intentionally or unintentionally). One of the points that she provides to reinforce her argument is that in the original story, the mermaid is seeking out a soul. “She decides she will risk everything ‘to win him and an immortal soul’” and as a consequence, the mermaid thinks the two go hand in hand. Conversely, Disney’s Ariel is fighting for a man rather than a soul.  Because of this, Trites argues that Disney sends the message that women, in order to become independent of their fathers, must become dependent on another man instead. While Trites goes a little too far with her analysis of Ursula as the representation of Satan who takes advantage of Ariel's dependence, Trite make the important point that Usula is an accurate depiction of the way by which Disney depicts women as objects who don't need to use their voice or personality, but rather their body to get what they want.

Additionally, I found that Trites' point about the superficiality of her obsession with humans to be provocative. I thought it was interesting that she mentions how Ariel has very little idea of how humans actually are, so her obsession with humans becomes increasingly materialistic, as demonstrated by her singing about the "neat stuff" that she assumes represents humankind.

Moreover, while Trites definitely overextends herself in some areas of her agument in the most hilarious ways possible, her piece really does make some valid points about the impact of Disney's influence on Hans Christian Andersen's original tale in making the story sexist and even ridiculous at times.