Audience, Implicit Racial Bias, and Cinematic Twists in Zootopia

IF 1 2区 艺术学 0 ART JOURNAL OF AESTHETICS AND ART CRITICISM Pub Date : 2019-10-30 DOI:10.1111/jaac.12672
DAN FLORY
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引用次数: 1

Abstract

This article argues that Zootopia, while positively exploring implicit racial bias, nonetheless leaves aside a huge swath of nonwhite viewers. By using the vehicle of fear that prey animals have for predators as a metaphor for race, its story primarily caters to white audiences and encourages them to consider what sorts of implications biased presumptions and predispositions might have on one's fellow creatures. Through the use of different epistemological and thematic twists, this movie drives home its point of showing the negative impacts that implicit racial biases may have, even as it sidelines many of its potential viewers.

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《疯狂动物城》中的观众、隐性种族偏见和电影转折
本文认为,《疯狂动物城》虽然积极地探索了隐性的种族偏见,但却忽略了大量的非白人观众。通过使用被捕食动物对捕食者的恐惧作为种族的隐喻,它的故事主要迎合了白人观众,并鼓励他们考虑有偏见的假设和倾向可能对自己的同伴产生什么样的影响。通过运用不同的认识论和主题转折,这部电影充分展示了隐性种族偏见可能产生的负面影响,即使它让许多潜在的观众边缘化。
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来源期刊
CiteScore
1.50
自引率
25.00%
发文量
54
期刊介绍: The Journal of Aesthetics and Art Criticism publishes current research articles, symposia, special issues, and timely book reviews in aesthetics and the arts. The term aesthetics, in this connection, is understood to include all studies of the arts and related types of experience from a philosophic, scientific, or other theoretical standpoint. The arts are taken to include not only the traditional forms such as music, literature, landscape architecture, dance, painting, architecture, sculpture, and other visual arts, but also more recent additions such as photography, film, earthworks, performance and conceptual art, the crafts and decorative arts, contemporary digital innovations, and other cultural practices, including work and activities in the field of popular culture.
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