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oa Litnet Akademies : 'n Joernaal vir die Geesteswetenskappe, Natuurwetenskappe, Regte en Godsdienswetenskappe - Gay- en queer-kodes in geanimeerde films

 

Abstract

Vroeë Hollywood-films het van bepaalde kodes en betekenare gebruik gemaak om sekere aspekte wat ná die Groot Depressie deur sensuurrade verbied is, te impliseer. Deur dié kodes en betekenare te gebruik was dit vir filmmakers moontlik om in die geheim meer te sê as wat hulle aanvanklik toegelaat was om te sê. Soms het hierdie kodes en betekenare ongesiens by filmgehore verby gegaan en ander kere het ingeligte filmgangers die storie agter die storie besef. Dieselfde geld vir moderne geanimeerde films. Daar word geargumenteer dat animeerders van soortgelyke kodes en betekenare aan dié wat in vroeë Hollywood-films aanwesig was, gebruik maak om te impliseer dat bepaalde geanimeerde karakters en is. Ter ondersteuning van dié argument word die -trilogie deur 'n sogenaamde bril gelees om sodoende die en -kodes daarin uit te wys.

Early Hollywood films made use of certain codes and signifiers to imply aspects that were banned by boards of censors after the Great Depression. By using these codes filmmakers were able to say secretly much more than they were allowed to say. Sometimes these signifiers went unnoticed by audiences and sometimes informed audience members could immediately read between the lines. The same can be said for modern-day animated films. The point of argument is that makers of children's animated films make use of the same type of signifiers and codes which were used in early Hollywood films to imply that certain characters are or . To demonstrate the point of argument, the trilogy will be read through so-called lenses to point out these and codes.

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/content/litnet/7/1/EJC62245
2010-03-01
2016-12-06
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