Reading: Issues of representation - Maureen Furniss

In a brief chapter on the analysis of animation, Furniss dicusses issues of representation within animated film and television. 'Issues concerning representation and cultural diversity are many and varied' (232). She briefly discusses culture and racial representation, but mainly focusses in-depth on female representation and women's issues. This perhaps is because as a woman she feels qualified to speak at length on the subject, or has a vested interest in it; 'recognisiton of one's own values, or the values being employed in writing the study, is impervative' (233)
She speaks mainly from the point of view of not just theorists of animation as an art form, but analysts of the animation industry as a whole. The chapter talks extensively about the industry standards that influenced representation, and marketing practices that coloured the reasons by which animation was historically produced. She shows how privilege and power lead to poor or lack of representation of marginalised groups: 'sometmes, depictions reflect specific agendas' (232).

When talking specifically about lack of representation of women in animation, we learn from her about employment practices in the American animation industry in the early to mis 20th century.Unfortunately, 'in the field of animation ... historically the women had no voice at all' (234) and so could not offer their own points of view or representation. This lack of women animators is problematic, as 'male animation creators and directors usually do not design female characters who have substance and provide strong, positive role models' (240) and either create secondary, objectified and stereotyped characters, or else leave them out all together.

Today the animation industry is 'a system that remains male dominated' (241), but fortunately, especially recently, the role of women has become more important within it and more women are being employed and represented. 'The voice of women in animation has become stronger during the past several years' (234). 'One area of concern for today's animation producers is the way in which women and girls are represented in their productions' (238); this issue has increased by a rise in women demanding fair treatment; an increase in women animators; and an increase in feminist sensibilities amongst male ones.Maany female animators have used the form in recent years to subvert the traditional representations and standards, and some have gona as far as to say that 'animation as a form offers such potential to explore women's issues in a way that simply isn't possible in live-action' (243)

Many of my own favourite animators, and inspirations to me, are female artists. Especially in popular televeision through networks such as Nickelodeon, cartoon Network and Cartoon Hangover, women animators have become much more prominent, and I ahve noticed shows which feature impressive women characters, even ss produced by men. For example, Natasha Allegri has her own show on Cartoon Hangover called Bee and Puppycat which not only is female-produced, but it's main character is a girl.

Bee from Bee and Puppycat

In my favourite animated TV show, Adventure Time, many strong females are depicted and they are an intrinsic part fot hey show. They were created by Pen Ward, who chose to give time and effort to representing women in a positive and contemporary way.

Princess Bubblegum from Adventure Time

Reference:
Furniss, M. (1998). Issues of representation. In: M. Furniss, ed., Art in Motion: Animation Aesthetics, 1st ed. Sydney: John Libbey, pp.231-246.