WALL E: ENVIRONMENT FRAMING
During the 90’s, questions about the environment were growing as much as the communicative field about environmental issues. Media and industries therefore became spokespersons of the environment, conveying ecological messages and replying to people’s confusion regarding ecological issues (Cox, 2010). That is the choice of Pixar today, as anecologically responsible and environment communicant organisation, to perpetuate the movement, providing its audience an entertaining alternative of preventing global warming. Wall E is a chef d’oeuvre of animation, engaging a major debate in an environment perfectly designed.
AN ENVIRONMENT CONSTRUCTED IN LINE WITH THE TARGET.
Pixar’s core business is all about entertaining people throughcreative stories and original cartoon characters combined with a perfect quality of image computer. That is why children are Wall E’s main target even if the computer technology used in the animation can extend the target to a larger audience. However, children still remain the first addressee of the movie. Indeed, we take for granted that because many previous years of human activity has damaged theplanet, it is the duty of future generations to resolve the problem. In other terms, the solution to environmental issues comes from the same place. Against their wishes, children are directly implicated and are the hope for a better future.
According to Kriesberg (2010), nowadays in our societies and with the rise of environmental issues, awareness among young people is developed since school.Children learn about the environment by listening to their parents and teachers from a generation to another. Children between 10 to 13 years old age are able to understand environmental messages and then apply what they have learned by getting involved by any mean. That is especially for this age bracket that Pixar designed the world of Wall E. There is much competition between industries to attractchildren attention about environment (books, songs, activities…) but animation is a paramount tool to reach them. The animated world of Wall E is full of symbols easily translatable in children’s world. They will be able to make their own judgements thanks to the knowledge they acquired before.
First of all, the opposition to our usual representation of nature is clearly developed in Wall E andhelp children in passing judgement on what is right and wrong quickly. The image children have of a wealthy planet is colourful, the sun is yellow, the sky is blue and the forest is green, people are everywhere, playing, laughing... The image of the world reflected in the movie is distinctly different: the sky is grey, the ground is brown, the planet is dirty, full of wastes and Wall E is notplaying but cleaning human wastes for 700 years all alone! Thereafter, the link with human consumerism is obvious because human kind left the planet to live on a space boat where they are all big, assisted by robots and alienated by a famous corporation which name “BuyNLarge” denounces a society of consumption.
According to Cox’s theory (2010), this relation of cause and effect is overwhelming inWall E and is clearly part of the environmental rhetoric and discourse, mainly visual. More specifically, it is the result of the critical rhetoric study which is going to establish a relation between environmental issues and society issues: too much consumption leads to global warming and then to the end of the world... As part of the study of the pragmatic modes of persuasion, the design of theplanet damaged by human activity itself is persuasive for children, as much as the space boat where people live conditioned by machines, fatalists in front of their fate. Here is the important role of animation as a media: animation has clearly the power to transcribe an imperceptible forecast of the future thanks to a great image quality and develop computer technologies in order to induce a...
Lire le document complet
Veuillez vous inscrire pour avoir accès au document.