Extra Credit #4 - Louai Hamdan

docx

School

St. John's University *

*We aren’t endorsed by this school

Course

120

Subject

Anthropology

Date

Feb 20, 2024

Type

docx

Pages

Uploaded by louaihamdan42

Louai Hamdan ANT 120 Extra Credit In the film "The Emperor's New Groove”, they get their inspiration from various cultural elements, that includes Andean art. However, it is worth noting that the film's portrayal of Andean culture is fictionalized and just an interpretation of style rather than an accurate representation. The rich aesthetics frequently found in Andean art serve as inspiration for the film's art motives and depictions. Character designs, clothing, and the film's general look all reflect this influence. The animation recalls images of Andean creative traditions due to its use of vivid colors, geometric patterns, and precise details. Intricate designs and vivid colors are trademarks of Andean textiles, which are similar textile patterns and designs that are used in clothing and other decorative elements in "The Emperor's New Groove," providing an Andean touch to the film's visual storytelling. The film incorporates elements inspired by Andean culture, but it doesn’t directly relate to the ancient Andes of the Inca Empire in terms of historical accuracy or specific cultural references. It's important to note that the setting and some of the visual elements of the movie somewhat resemble the Andean terrain and look. “This pairing of sunken plaza and terraced platform is an architectural unit that “dominates the civic-

ceremonial core of Tiwanaku and that of its satellite cities”” (Moore, pg. 795). The film's depiction of Kuzcotopia has stepped buildings that mirror the terraced hillsides of earlier Andean civilizations like the Inca Empire. Llamas, a native of the Andes, are also depicted in the film. I believe that Silverman’s critiques are valid in the sense that Disney should have understood the severity of their actions although their primary motive was to make an animation film that would interest children and make profits for their company. The issue I have with this conflict is that Disney is facing allegations of being insensitive about the issue and how they are basically trying to create their own perspective of the Inca Peru, and I don’t necessarily believe that is the case. “Dorfman and Mattelart’s decolonizing treatise recognizes and deconstructs an economic and cultural imperialist ideology in Disney’s seemingly innocuous comic book characters” (Silverman, pg. 299). We can’t lose sight that this was a children’s film and should not look further than that fact because then we become political with the film, and that should never be the case for a Disney movie for children. Nonetheless, Disney should have been upfront with how they were going to depict the Inca Peru in this film so that they could have received advice on how to go about it, instead of facing criticism and backlash as they are now. I don’t necessarily have a new respect for Andean art, but I do believe that it deserves its respect in the fact that its story should be told by those who experienced and created it. We should not have Disney film directors trying to display Andean art from their own perception without learning and experiencing Inca Peru beforehand so that they a good level of respect for it, so that they can create a correct depiction of it in their film.

Bibliography Moore, Jerry D. “The Archaeology of Plazas and the Proxemics of Ritual: Three Andean Traditions.” American Anthropologist , vol. 98, no. 4, 1996, pp. 789–802, https://doi.org/10.1525/aa.1996.98.4.02a00090 . Silverman, Helaine. “Groovin’ to Ancient Peru:” Telling Children About the Past , pp. 103–124, https://doi.org/10.2307/j.ctv8bt3cc.10 .

Your preview ends here

Eager to read complete document? Join bartleby learn and gain access to the full version

Access to all documents
Unlimited textbook solutions
24/7 expert homework help

Extra Credit #4 - Louai Hamdan

Related Documents