Turning Points

October 11, 2010 § 7 Comments


There are many turning points in people’s lives.  These are points where you take a step back and reassess the situation and decide how you want to live the rest of your life.  But which turning point counts as “coming of age”?  Each change feels as if you are coming of age, but I have come to believe you only come of age once despite undergoing multiple changes in the process.   Coming of age entails when you finally know who you are and how you want to act and be.  In real life, almost no one ever comes of age, but in literature and movies….well that’s a whole other story. « Read the rest of this entry »



October 7, 2010 § 3 Comments

i·ro·ny n \ˈī-rə-nē\

The incongruity between the actual result of a sequence of events and the normal or expected result (Merriam Webster)

Used in a Sentence:
The man in the red sweater ironically states, “Be a good dog and all’ll go well and the goose hang high. Be a bad dog, and I’ll whale the stuffin’ outa you” (9), right after Buck “accepted the rope with quiet dignity” (5) and was choked.

There is much irony in Buck’s trusting, childish nature leading him to be a sled dog and forced to grow up. (Then again don’t all our childish actions lead to us learning and growing up?)

Viskovitz (as a dog) and Buck are both domesticated, which ironically results in the dogs being too trusting and being hurt by humans and having to revert to their wild state.

It’s not ironic that someone would think the man in the red sweater is a bitch; one would expect another to think that.

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Deer Ecology…is hunting good in Bambi?

September 29, 2010 § Leave a comment

Bambi definitely scarred us children as suggested “Is it due to Bambi that I refuse to hunt?” and the fact the only thing most people remember  is the death of Bambi’s mother which you don’t even see.  The question really is how has/how much has Bambi scarred us?

Ralph H. Lutts discusses Disney’s Bambi and its effect on “the American view of nature” .  Lutts notes that Bambi portrays nature and man’s relationship as one where man hunts and cruelly takes innocent, beautiful, animal lives.  In Lutts’s opinion, this led to many hunting regulations to be passed and to people being more generally opposed to the killing of creatures especially deer. While Lutts’s actual argument isn’t that interesting, his acknowledgements of how Disney can be seen as pro and con hunting and evidence for how Disney went about causing the audience to empathize is.

Lutts explains predation is never shown in Bambi’s forest; all animals even ones that would in the real world eat each other, talk to one another and make merry conversation.  Predation obviously happens in the forest as it is a forest, but Disney choose not to portray it in Bambi in order to not distract human hunting from dominating the viewer’s mind.  “The Bambi Factor” elaborates on the idea of Disney unfairly projecting the animals in the forest to create more empathy for the creatures.

WTF...Owls eat rodents

On the other hand, Disney actually “presents a strong argument in favor of using hunting as a tool to manage deer herds.” Disney goes to great lengths (like bringing in two live fawns) in order to make sure nature is being depicted as accurately as possible.  Yet both Faline and Bambi have no brothers or sisters even though does usually give birth to twins.  Thus it is reasonable to assume there is something causing the does to only give birth to one child.  The does could be stressed out  in this case by the hunters in the meadow or lack of food and/or malnourished due to deer exceeding their carrying capacity.  The audience views the tremendous amount of deer in the meadow and then the lack of bark to go around in the winter.  The harsh winter along with hunters probably helped keep deer population down and thus made deer stress levels lower.  “The evidence? As the film ended Faline gave birth to twins.”

While Lotts does make an argument for how the hunters actually may help the deer in Bambi, I find it interesting that in the predation segment he choose not to include the fact that we could being preying on animals for the same reason animals prey on other animals; human survival.  We need to eat, and one of the best nutritious forms of food is meat.  The argument that man is actually helping deer is pretty weak, yet Lutts choose to include that information and not the basic idea of human’s needing food.  This is done either because Lutts didn’t think human survival was an interesting enough point or because Lutts isn’t attempting to actually note the pros of hunting.  In reality, it probably is some combination of both.

Bambi portrayed hunting in overall negative light and thus helped shape a culture of American-nature-loving-deer-hugging-against-hunters.  Something both Lutts and I can agree upon is the biggest question we now face is, “can humans make peace with the deer?”

Is it due to Bambi that I refuse to hunt?

September 19, 2010 § 1 Comment

Bambi, A Life in the Woods was written in 1923 by Felix Salten, intended for an adult audience, and one of the first environmental novels published.

After reading part of Disney’s biography, it’s understandable why Disney would create an animated film that was based on an adult novel.  He believed in capturing youth and bringing it to adults and youth alike.

But the other four feature-length films previously produced by Disney, Snow White, Pinocchio, Fantasia, and Dumbo, involve happy interaction with nature but don’t seem as environmentally charged as Bambi so there lies my question with Disney, is it due to Bambi that I refuse to hunt?

David Whitley seems to think so.  He believes Disney “films have taught us variously about having a fundamental respect for nature” where Bambi has been “the most influential.”  Well, at least I’m not totally crazy.

When I think of Bambi, my initial reaction is to picture the little cute fawn called Bambi and then it quickly switches and stays on the image of the forest burning with the island in the foreground.

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Alice’s Wonderland

September 15, 2010 § Leave a comment

White enlightens the reader about Disney’s first connections to Lewis Carroll’s Alice, which began in 1923 with the animated short Alice’s Wonderland. The substance and length made me question why White chose to include this more or less useless piece thus I decided to research the short and discover it’s relevancy in Walt Disney’s life.

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