Feeling Animated

Art by: Joel Calfee

There is an urge to return to the comforts of our childhood amidst social distancing, and Joel Calfee discusses the importance in enjoying the animated works that remind us of our youth. While watching a cartoon show or Pixar film might feel like an inactive and lazy way to spend all this “free” time, these comforting works have plenty to offer in the form of progressive messages and innovative storytelling.

One of the most immediate effects of the quarantine caused by coronavirus is that everyone has turned to sources of comfort. Students are returning to their childhood homes as places of safety, families are binge-watching reruns of their favorite TV shows, and people are picking up old hobbies in an effort to try to distract themselves during this frightening and unpredictable time.

When my last semester of college was brought to a screeching halt and I returned home to finish my undergraduate career, I felt hopeless. For weeks, it took all I could muster just to drag myself out of bed and write a blog post for one of my classes. It has been exceedingly difficult not to feel as if I am being unproductive during this time, simply because that idea is so ingrained into our minds. Most of the time, whenever I wasn’t doing schoolwork, I tried to fill my “free time” with things that brought me joy, whether that meant watching multiple seasons of a show in one sitting, or going for runs outside. Over time, I realized that I was repeatedly turning to the media that has always brought me the most comfort: animation. 

As I revisited the Phineas and Ferb episodes that I adored as a kid, and the Pixar films that I obsessed over, I began to realize just how valuable and formative these works were, but also how resonant they remain today. Animation is something that has always been associated with childhood, whether it’s Saturday cartoons or Disney princess films, but, despite all its imaginative and inspirational elements, it has always been considered a lesser form of art.

This perception of animated works is evidenced by the way in which they’ve been historically neglected by honorary institutions. The Academy Award for Best Animated Feature Film was not established until 2002, and the only animated film to have ever been nominated for Best Picture before this category’s inception was Beauty and the Beast in 1991. Meanwhile, The Flintstones and Family Guy are the only animated series to have ever been nominated for the Emmy Award for Outstanding Comedy Series (with neither winning), while none have ever been nominated for Outstanding Drama Series.

As animation has grown throughout the years, different institutions have felt compelled to create a partition between animation and live action, by establishing categories where they can celebrate animated works as separate forms, but rarely ever on equal ground. However, animation has proven time and time again that it is a medium that defies expectation. In the mid-2000s, Pixar had the highest average score on Rotten Tomatoes of any film production company, and the animation studio continues to produce films that are universally adored and critically successful. Films like Coco can be just as impactful for the kids they’re tailored to, or the parents who take them to the theatre. Meanwhile, as digital animation creeps into more film and television through CGI technology, the lines begin to blur as to what constitutes animation anymore.

While animation has often been associated with adolescence and even immaturity, it is important to recognize the ways in which it acts as one of the most progressive mediums of our generation.

While animation has often been associated with adolescence and even immaturity, it is important to recognize the ways in which it acts as one of the most progressive mediums of our generation. During the twentieth century, there were often underlying themes that were problematic and offensive in many animated works. Certain Looney Tunes shorts are no longer aired because of the racial and ethnic stereotypes that were depicted by some of the characters. Meanwhile, in recent years there has been a discussion around queer coding in classic Disney animated villains, and the ways in which many of these characters were created with gay or lesbian stereotypes in their mannerisms or voices.

Yet, in the twenty-first century, animation has taken the front seat when it comes to progressive storylines and diverse representation. Consider Bojack Horseman, an animated Netflix series that ended this past January. Bojack was lauded for its complex storylines and willingness to broach tough issues with thoughtfulness and grace. It was one of the first shows to have an openly asexual main character, and it covered difficult themes like depression and substance abuse in a realistic way. Meanwhile, other series have blazed similar trails, like Steven Universe, a Cartoon Network series that presented sexual and gender fluidity in a respectable manner amidst a heartwarming coming-of-age story. Neither Bojack nor Steven ever won a Primetime Emmy Award.

Thus, while animation becomes more prevalent, it is important to note how the themes in these works have increasingly become more innovative for children and adults alike. Wall-E functions as a haunting climate change parable that could stand alongside the warnings spoken by Greta Thurnburg, and shows like Archer match comedies like Arrested Development in their referential humor and wit.

I used to feel guilty when I would rewatch one of my favorite animated shows or movies, because it felt less “challenging” than other forms of art. However, some of the most powerful messages keep coming from these unexpected places, so - maybe it shouldn’t be so unexpected anymore? I finally realize that I haven’t been lost in a fit of nostalgia or some lazy, childish fixation on the colorful stories that dictated my youth. Instead, I was reveling in some of the best art the world has to offer.

Originally published in ROCKET Volume X, Issue 2