Unit 3 essay 

 

What does the representation of animals in Western Pop Culture reflect about humanities relationship with nature?

 

Abstract 

 

As an artist whose animation practice draws on anthropomorphism to address human relations with nature, in this essay I question the way animals are represented in popular culture and investigate what their representation reveals about our relationship with nature. The essay explores how views of animals are formed by historical events, cultural narratives and religion. The study includes an analysis of three specific influential pop-culture references:  ‘The Physical Impossibility of Death in the Mind of Someone Living‘ by Damien Hirst (1991); ’Mickey Mouse’ animated by Walt Disney in 1928; ‘Winnie-the-Pooh’ by A.A. Milne, published in 1926, illustrated by E. H. Shepard; and the BBC’s ‘Seven Worlds One Planet’ presented by David Attenborough in 2019. 

 

The study reveals that the human/animal relationship in the West is disconnected and dominated by human superiority, animal exploitation and rejection of reality. These views have come about through cultural narratives which humanise and moralise animals, hiding the true animal from the viewer.

 

The study also finds that there is a new animal/human narrative emerging from pop culture and that humans desire to be connected to nature. People identify with animals and find escapism in engaging with nature. As a result, many people in the West feel guilty about the real conditions of the natural world, which is why animals in pop-culture are often disguised.  However, the arts are being drawn in to find ways of helping the viewer confront reality and explore solutions. This research has informed me in my own practice, and has given me methods to engage my audience in confronting environmental issues in a palatable way through art.

 

Key Words:

• Pop culture, art, animation, literature

• Human/animal relationship

• Superiority and control

• Object, profit, entertainment, escapism

• Confronting reality

• Identification and connection

 

 

 

Introduction

 

“Most research on animal representations is framed by the assumption that animal images convey human ways of thinking about the intersection of nature and culture, ideas always grounded in specific historical and cultural experiences”( Kalof and Amthor. 2010. p. 165-180). Therefore, analysing how animals have been visually represented historically and culturally can produce a better understanding of how the visual representation of animals influences how animals are seen and engaged with.

 

There are many animal representations in popular culture, from the well known children’s song ‘The Teddy Bears’ Picnic’,  to ‘Teenage Mutant Ninja Turtles’ or the story of ‘Goldilocks and the Three Bears’. Animals are often featured in popular music, fashion, theatre, film and advertising and are accredited with different human characteristics or emotions. There many well known animal based stereotypes (such as a clever cat) and superstitions (fear of black cats), which are commonly used to describe, explain or reflect upon the good and bad of human society.

 

 

 

 

 

Chapter 1 : A History of animal representation.

 

Animals have forever played a significant role in human history and have experienced conflicting treatment from humans. For much of history animals have been seen as both practical food and spiritual creatures, as they have been “worshipped, bred and sacrificed’ and used as ‘symbols of messengers and promises”. Yet after the Industrial Revolution the way in which Western civilisation viewed animals in the imagination was altered. Where animals once represented “symbols of messengers and promises’, they then became ‘literal meat or leather or horn” (Baker, 2013, citing, Bergers. 1980, p.23). This resulted in animals been seen purely as commodities for human pleasure, consumption and exploitation. 

 

The shift in how the West viewed animals was largely due to the growing idea that humans are superior to the rest of nature. This is evident in the way in which “traditionally, animals have been viewed as having limited faculties”, “their skills lessened by being measured against every standard (reason, language and tools) in which we consider ourselves superior” (Broglio, 2011, p.17). Some historians argue that the idea of human superiority was influenced by Christianity as Christians believe mankind has been given dominion over the animals by God. However, I would argue that human superiority is not the issue, but it is instead poor stewardship and cruelty which have led to exploitation.

 

On the other hand, there is historical evidence to suggest that Christian views and practices do impact how we view animals in the West today. For example, in the 13th century many “non christian, secular, animal fables and folk tales were imported from the East and christianised through the addition of moralisation” (Cohen, 2008, p.8-9).  Likewise, Greek philosophy? contained descriptions and tales of animals associating them with different virtues or vice.  These were then supported by biblical passages and used in sermons (Cohen, 2008, p.4-9). Many of these Christianised folktales and Greek ideas are extremely well known, such as Red Riding Hood. 

 

Therefore, arguably the representation of animals portrayed in these folktales infiltrates the imagination and alters how animals are viewed, especially as many children are introduced to folktales from a very young age. Folktales are said to “introduce the meaning of existence to children, they show them aims pre-established by humans, teach proper behaviours, and what is more, familiarise children with moral norms rewarded by the society.”(Klim-Klimaszewska, 2015). Unfortunately, the behaviours and norms promoted by such folktales humanise and disguise the true animal, potentially leading to a lack of care or understanding of real animals resulting in exploitation.

 

In summary, animals have always had a significant presence in human history and culture, especially in religion and folklore. There are many examples of animal representation in pop culture influenced by the Industrial Revolution, growing ideas of human superiority, Christianity and folktales, many of which have humanised animals and used them to reflect human society. Sadly, many representations of animals throughout Western history do not represent the true animal and may have led to animal exploitation.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Chapter 2: Cultural views concerning animals presented in art.

 

Animals have always been a point of interest in art, from early cave paintings used to appease the gods, or as a “shamanic ritual” used to “mediate and reconcile the human experience in nature”(Aloi, 2011, p. 26). The spiritual association with animals presented in art can also be seen in ancient Egyptian paintings of part animal part human gods (Aloi, 2011, p. 26).  Likewise “17th century artists painted hunting scenes and dramatic life, 18th century artists chose to celebrate the natural beauty and majestic power of animals and in their natural habitats, 19th century Victorians painted sentimental pictures of their domestic pets” (artfactory, 2020). The relationship between humans and animals has developed and changed over the centuries, which can be seen through the way the focus of animals in art has change. 

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It is argued that The Physical Impossibility of Death in the Mind of Someone Living created in 1991 by Contemporary British Artist Damien Hirst, is submerged in traditional cultural references concerning animals and sums up the contradictory relationship we currently have with nature. White. L (2010) states that Hirst’s work “condenses our lived contradictions into perplexing, unforgettable, iconic images” and “tells us much about our own time” (White, 2010). Therefore as we study Hirst’s work we are able to gain a greater understanding of ourselves, and in this instance a greater understanding of our relationship with animals.

 

It could be argued that unlike the representation of a shark in a painting, Hirst’s shocking 14 foot long dead tiger shark in formaldehyde, floating in a large glass tank, is not a representation of animals as it is the real body of a shark. However, I would argue that this shark is not simply a ‘real’ shark in its ‘real’ environment. It has been manipulated by the artist, taken out of its natural habitat and presented in this pristine, manmade cage. The shark illustrates the human “quest for control”( Aloi, 2011, p.26), which has dominated humanity’s relationship with animals. The shark is one of the biggest, most feared and powerful predators in the ocean and yet here it sits manipulated for human pleasure even in death.

 

 The domination of the shark symbolises the power of humanity and the exploitation of animals for profit, which is evident in the centuries of “publicity artists have garnered from the focus on animals as the main subject of their work” (Aloi, 2011, p.29).  By placing the carcass of this shark in a tank within the walls of a gallery Hirst has turned the animal into an art piece an object or “trophy" (Aloi, 2011, p.25-28).  It is seen as a product of meat and flesh, just a body or carcass to be hunted, eaten or sold as art.

 

I would argue that the presentation of the work also highlights humanity’s disconnection from nature and discomfort in facing real wilderness, as well as the devastating effect humans have had upon the planet, because the work highlights human reluctance to gaze upon real animals in their natural environment. The shark looks as if it is floating in a clean safe aquarium-like environment, and viewers find enjoyment in encountering the dangerous beast at a safe distance. However, the tank does not reflect the real vast, dangerous, pollution-filled oceans animals live in. The formaldehyde solution which looks like clear water acts as an illusion hiding the true decaying state of the animal and shielding viewers from encountering the real shark. 

 

Because of Hirst’s shocking display of human control and animal exploitation the shark is uncomfortable viewing.  As a viewer I am shocked by the obvious exploitation of the vulnerable animal at the mercy of human hands. My   reaction of shock shows that as a viewer I am not totally aware of the reality of animal exploitation. It also implies that as viewers we are not often confronted with the reality of our relationship with animals, as we prefer to live in an illusion of harmony and companionship with nature. This is also often the reaction people have when confronted with the reality of slaughter houses and meat production, as we prefer to believe in happy little animals on friendly farms as sold to us in popular films such as Charlotte’s Web.

 

In summary, Hirst’s work emphasise our contradictory views about the human animal relationship. On one hand, humans believe they are superior to animals, humans desire control and often see animals as depicted by Hirst as objects to be used for profit and entertainment. On the other hand, viewers are shocked and uncomfortable when bluntly confronted with reality and our own views,  We hide behind an illusion of companionship with animals, just as Hirst’s work hides the decaying carcass from the viewer using formaldehyde. This work demonstrates that art has the power to truthfully reflect and influence our relationship with animals, as it helps us to confront and question reality.

 

 

 

Chapter 3: The representation of animals in animation.

 

 

 

 

 

 

 

 

 

 

 

 

 

We’ve demonstrated how Hirst’s ‘real’ shark and the state of the natural world are disguised by the white walls of the gallery, the tank and the formaldehyde, hiding the true decomposing state of the shark. Animals which dominate the cinematic screen are often anthropomorphised and pictured in “disguise”(Malamud, 2012, p.72) as they perform silly tricks or scenes for the viewers entertainment. 

 

Disney films in particular have made immense profits out of films featuring animals in disguise. One of the most well known is the famous animated cartoon character Mickey Mouse, created by Walt Disney and Ub Iwerks at the Walt Disney Studios in 1928.  The character was first created in black and white animated shorts in some of the first sound cartoons. 

 

 

This is unlike real mice which are often feared, seen as dirty and timid, and scurry around on all fours on the London Underground. The original Mickey Mouse was featured in animations full of humour, characterised as a mischievous black and white mouse which stood on two legs and spoke with a squeaky voice, voiced by Walt Disney, famously dressed in red shorts with big buttons, yellow shoes and white gloves.     

 

However, this mouse in disguise may seem to hide the true animal. It could be argued that the representation of Mickey Mouse as friendly and loveable with human emotions may strengthen the viewers’ desire to care for mice. It has been argued that Mickey’s “ability to evoke admiration” has made Mickey so popular because he is used for “identification”, which is “one of the most important approaches to enjoyment (Moellenhoff, 1989, pp105-119). Mickey Mouse is a strong tool for identification as he enables viewers to “vizualise, recover and explore”(Wells. 2008. p.94) the expression of human emotion through animals without social or cultural restraint, building a strong personal bond between Mickey Mouse and his viewers. 

 

Additionally, Mickey was the first in Disney’s “hyperrealism, model of ascetics, underpinned by Walt Disney’s own conviction that animals had very real personalities, expressed through their bodies, which it was the responsibility of the animator to understand and embrace.” (Wells. 2008. p.94) Therefore, it could be said that the underlying characteristics of Mickey are based on real mice and that Mickey was created for the purpose of revealing the similarities between humans and animals. The character of Mickey Mouse reveals similarities by showing animals with emotion, presenting a character that viewers can identity with.  This may help viewers to see animals not as objects but as feeling living beings and deepen their desire to care for and connect with animals.

 

 

However, the misrepresentation of animals may also cause viewers to be further disengaged and disappointed with real animals, as “the real magic of animals is lost beneath a plethora of banal human characteristics” (Epstein, 2014). The misrepresentation of animals may also cause viewers to engage with animals in an inappropriate and dangerous manner.

 

 

Chapter 4: The represent of animals in fictional literature

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Just as animation has influenced our understanding of animals, before animation there was literature. Literature is said to help us make sense of the world, preserve, promote, discuss, reflect upon and critically analysis our understanding, knowledge and social beliefs (Burke and Copenhever, 2004, p. 206-207). Therefore, I would argue that literature and children’s literature in particular has had a profound influence on our world view concerning both humans and animals.

 

As in folktales and animation, animals in children’s literature are often anthropomorphic, dressed in clothes and moralised. Animals are often chosen as the main characters in children’s stories to teach them about the world and help them wrestle with difficult topics and emotions at a distance (Burke and Copenhever, 2004, p. 206-207). Such stories have been deemed suitable for children for many generations, especially in Victorian times as it was believed that children were “closer to nature than adults” (Cosslett, 2002, p.1). It was often argued that children associate with animals because like animals children struggle to communicate their needs to humans and depend on adult humans for survival.  This statement may be true but emphasises the idea that humans are superior and animals are vulnerable and less equipped to look after themselves.

 

Animals and plants in children’s literature have also been seen as important for their mental and physical development, as findings in 20011 “indicate that limited exposure to nature and green space may have serious physical and psychological health ramifications” (Strife and Downey, 2011). Therefore, it is important for children to connect with nature for healthy development.  Books about nature help children engage with animals and plants. Accordingly, I would suggest that analysing children’s literature helps us to understand how nature is represented in pop culture and its impact on our relationship with animals.

 

 

Winnie the Pooh is a prime example of influential children’s literature: a well-loved series by British author A.A. Milne in 1926, illustrated by E.H. Shepard.  Parallel to Walt Disney’s Mickey Mouse, Winnie the Pooh does not reflect the characteristics of a real bear. Although named after a real bear, Pooh is based on A.A. Milne son Christopher Robin’s  stuffed toys and the imaginary games his son used to play with them in Ashdown Forest in Sussex. A real bear would not be a suitable playmate for a child, whereas Pooh is an adventurous, honey-loving, dim but friendly golden teddy bear.

 

The representation of Winnie the Pooh as unlike a real bear could imply that Milne, like many of us, does not want to confront real nature. However, I think it is more likely that Winnie the ooh’s disguise reflects an escape from the reality of Milne’s past and experience of war. Salter (2017) states that the design of Winnie the Pooh was largely influenced by the after effects of World War I, in which both author and illustrator played a part. The war left many shell shocked and in need of rehabilitation, which Milne found in the tranquility of his country retreat in Sussex (Salter, 2017).  

 

 

 

I would argue that just as Milne escaped from war through the countryside and his writing, perhaps his work serves as a form of escape for his readers, reflecting what he found in nature. Cappello (2017) writes that escapism is “flight from reality” and that literature enables that flight by “giving us access to a world that is easier to manage than the one we bear in real life”(Cappello, 2017). Likewise, in the present day, I would argue that nature still offers a form of escape. This was particularly evident during the height of lockdown as escaping to local green space was the only rest to be found from the confinements of the pandemic. Escapism through nature is also offered in Winnie the Pooh as readers delve into the nostalgia of childhood, imagination and innocence found in animals and nature represented by Winnie the Pooh and his Hundred Acre Wood friends.

 

In summary, throughout history the representation of animals in literature has inspired other areas of popular culture and greatly influenced our understanding and relationship with animals. This means that potentially children’s literature has particular power to write and reshape human/animal relationship narratives in popular culture. Furthermore, as in the anthropomorphism of Winnie the Pooh, animals in literature are often disguised, revealing that humans do not want to confront reality. Yet, we do value nature for its ability to enable us to escape. This means that artists could use the representation of animals in art to emphasis the importance of nature from a human mental wellbeing point of view. However, unless society confronts the reality of the challenges facing the natural world, and rewrites the harmful narratives promoted in popular culture, we are in danger of not having any nature left to escape to. 

 

 

Chapter 4: A new narrative

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The three different examples of animal representation in pop culture given above demonstrate the power of the arts to write and rewrite popular narratives in Western culture, narratives which greatly influence our relationship with nature. Therefore, those in the arts have an opportunity to write a new narrative, laying aside the idea that animals are objects for entertainment, profit and escapism, promoting instead a new narrative of compassion, identification, interdependence and coexistence. This new narrative confronts the reality of the struggles and joys found in living alongside the animal kingdom. 

 

 

Fleming. D (2001) writes that “one of the most powerful ways for leaders to make sense of the ambiguity-opportunity cycle is to tap the power of one of humanity's oldest art forms – storytelling. Through “sense making" and “sense giving," leaders can use the raw materials of narrative to construct new "organisational sense.”(Fleming, 2001). This means that if the arts can lead the way in forming a new sustainable future, in which animals are seen as real animals and not exploited by humans, then I would argue the arts should use story telling to re-shape how Western culture views our relationship with animals.

 

One way in which the arts are beginning to write a new narrative is by using pop culture to help people reengage with animals and confront reality. For example, the BBC documentary series Seven Worlds One Planet 2019 presented by David Attenborough uses stunning cinematic film and dramatised stories of living animals to bring the wonder and struggle of creation into our very homes. Viewers become intimately and emotionally engaged in the stories of triumph and tragedy faced by the animals captured on film.  As a viewer I find that watching such breathtaking footage of real animals makes me desperate to engage with animals up close and personal and do what I can to save them.  Of course this may not be the response of all viewers. 

 

However, I would argue that David Attenborough’s most recent documentaries help viewers face reality, see the ‘real’ animal and grasp the true state of the environment.  His documentaries give viewers more than a glimpse into the exciting and beautiful world of animals – they also educate viewers about animal behaviour, habitats, hunting and the threat they are under due to unchecked human exploitation. The Seven Worlds One Planet documentary uses a clever combination of entertainment, stories and attractive imagery to capture the audience, and yet reveal reality. 

 

This approach is in line with advice given by sustainable advertising consultancy agency Eco-age (2019), which states that “in a world where people respond to positivity, we have to find an uplifting way to tell people to change”(Eco-age, 2019). It seems that in order to engage viewers, the arts must make facing reality more palatable and achievable to help people imagine new solutions and therefore build better human/animal relationships.  “By engaging, inspiring and entertaining people we can make them more receptive to facts and new ideas” (Eco-age, 2019). 

 

However, I would argue that although Seven Wonders One Planet may help viewers be more receptive to the devastating facts of animal exploitation, by showing the real struggles of animals, the show fails to offer solutions or present an alternative way of living with animals.  I believe this needs to be more widely developed in pop culture.  Several initiatives are exploring ways of inspiring audiences to change the state of our environment by offering creative solutions, such as the Radical Nature Exhibition 2020 at the Barbican Centre; Mushroom: Art, Design and Future of Fungi 2020 at Somerset House; or new children’s books such as ‘Our Little Inventor’ by Sher Rill Ng 2020. However, I think there is a long way to go before society overall changes the way we engage with animals.  We are far from a point where environmental solutions rather than challenges infiltrate popular culture and become widely accepted.

 

In summary, there is a new human/animal relationship narrative emerging from pop culture through the arts, which confronts the reality of animals and our environment in an engaging and palatable way.  Alternative ways of living with nature sometimes feature in that narrative. However, this is not the most prevalent narrative in pop culture as it has a lot of past cultural narratives condemning animals as commodities to contend with.

 

 

Conclusion 

 

In conclusion, art, animation and literature have immense power to represent animals in away which influences our relationship with animals. Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living reveals that as a society we are ashamed of the way we treat animals. We are reluctant to face reality and so disguise animals in pop culture. This can be seen in Walt Disney’s Mickey Mouse and A.A Milne’s Winnie the Pooh.  These are not real representations of animals but animals disguised behind clothes and human characteristics to make them more appealing and palatable to the human viewer. The misrepresentation of animals in pop culture has lead to the rejection of real animals and a history of animal exploitation.

 

Yet despite many unhelpful representations of animals in pop culture, the anthropomorphism of animals also reveals that humans desire to be connected to animals.  We recognise the similarities between us and the benefits of engaging with nature for our physical and mental health. This can be seen through escapism in Winnie the Pooh and the friendly identifiable characteristics of Mickey Mouse. Furthermore, a new animal/human narrative is emerging in popular culture where viewers are encouraged to confront reality. This is seen in Seven Worlds One Planet as the camera pivots between breathtaking beautiful landscapes and pollution-filled oceans. 

 

Together the different representations of animals in culture presented through the arts have revealed to me as an artist the power we have to influence societies understanding and relationship with animals.  This research has helped me as an artist to understand the historical relationship between humans and animals portrayed in popular culture, and further discern my responsibility for positively shaping culture. In understanding popular culture’s current message about the human/animal relationship, I am able to critically analyse my own work better, identify where my work is simply repeating an age old message, and challenge myself to think about offering solutions and how I can say something new through my work. 

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Furthermore, as I have explored how methods such as identification, escapism, excellent visual imagery, humour and storytelling across different art forms can engage viewers with difficult topics, I can use these methods in my own work to make heavy environmental topics more palatable to my audience and help them face reality. I have already begun to explore using story telling and charm within my animations to reveal our relationship with plants to my audience. Finally, just as anthropomorphism in Mickey Mouse has helped viewers to identify with animals, I can likewise use similar approaches to draw similarities between plants and humans in my work and instill a greater desire to care. 

 

 

References

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• Ng, S., Lucas, E. and Luu, V., 2020. Our Little Inventor. Glen Huntly, VIC: Story Box Library. Salter, J. 2020. How A Fluffy Bear Helped The Nation Recover From War. [online] The Telegraph. Available at: <https://www.telegraph.co.uk/films/goodbye-christopher-robin/country-finding-its-feet/> [Accessed 18 August 2020].

• Somerset House. 2020. New Works And Events Announced For Mushrooms: The Art, Design And Future Of Fungi. [online] Available at: <https://www.somersethouse.org.uk/press/new-works-and-events-announced-mushrooms-art-design-and-future-fungi-0> [Accessed 17 August 2020].

 

• Strife, S. and Downey, L. 2011. Childhood Development and Access to Nature. Organization & Environment, 22(1), pp.99-122.

 

• Wells, P, 2008. The Animated Bestiary: Animals, Cartoons, and Culture.Rutgers University Press [online]. Available at: http://ebookcentral.proquest.com/lib/ual/detail.action?docID=413877.

[Accessed 2020-08-10].

• White, L., 2020. Damien Hirst&#8217;S Shark: Nature, Capitalism And The Sublime. [online] Tate.org.uk. Available at: <https://www.tate.org.uk/art/research-publications/the-sublime/luke-white-damien-hirsts-shark-nature-capitalism-and-the-sublime-r1136828> [Accessed 17 August 2020].

 

 

Bibliography

• Melson. G. 2001. Why the Wild Things Are. Harvard University Press.

 

• Haraway. D. 2007.When Species Meet. University of Minnesota Press.

 

• Daston. L. 2019. Against Nature. Untimely Meditations Series. MIT Press.