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JUNGLE BOOK FONT 2016 TV
The book reveals that children have lost the ability to tell each other stories around the fire because the TV screen fills up their nights, and that a shaman turned church doorman has willingly abandoned his culture and traditional lore. “One often imagines an indigenous culture as being frozen in time, but this culture evolves like any other, without, however, losing its roots.” Yet there are some exceptions. “I was interested in the idea of being ‘civilized’,” Yann Gross went on to say. While the texts are written in a style inspired by children’s stories, they demonstrate an utmost lexical rigor. Their attention to appearances went so far as to refuse to let him come along with his unkempt beard and rugged outfit. He discovered then that few people spoke their native language that they drank, played soccer, and dressed up Saturday nights to go dancing in the village square. His interest in the subject can be traced back to 2008, when he worked as a civil servant on a reforestation project in northeastern Brazil. I also wanted to invoke the desire to be a part of the globalized world by repeating all these absurdities pandered since the conquest,” Yann Gross explained. “What I found interesting was trying to stay clear of exotic stereotypes. A man must marry the daughter of his sister, his niece.” His analysis - that of a biologist, as we learn from a note at the end of the book - follows a traditional Suruí explanation: “The Suruí people are polygamous. These are white man’s illnesses,” he said. There are no people with the Down syndrome or homosexuals among our nation. The words of a native Suruí (Brazil) offer the flipside of the story: “We have never had any problems with consanguinity. Read with a Westerner’s eye, these vignettes make one smile, even if, as the photographer tells us, “the navy disburses medication without making a diagnosis, which wreaks havoc on the metabolism of these people.” We encounter a schoolteacher named Hitler and a baby baptized Ampicilina, after the only antibiotic prescribed by traveling clinics. Scattered throughout the book and interspersed with images, concise anecdotes, set in font size 18, give voice to the local inhabitants, for better or for worse. Instead, we savor the paradoxes of reciprocal stereotypes and acculturation. The photographer Yann Gross paints a picture of this mythical forest that shies away from exoticism. While it is indeed a collection of stories, these stories are about a demystified Amazonia they are about an “hallucinatory jungle,” to borrow the words with which Arnaud Robert concludes his beautiful introduction. In “The Song of the Roustabouts,” faceless Black workers toil away to offensive lyrics like “When we get our pay, we throw our money all away.With its gilt edges, hardbound cover, and a stylized illustration of the indigenous world, The Jungle Book appears at first glance to be a reprint of Rudyard Kipling’s stories. The leader of the group in Dumbo is Jim Crow, which shares the name of laws that enforced racial segregation in the Southern United States. The crows and musical number pay homage to racist minstrel shows, where white performers with blackened faces and tattered clothing imitated and ridiculed enslaved Africans on Southern plantations. ‘Swiss Family Robinson’ 1960 Disney/Stories Matterĭisney’s live-action 1960 feature Swiss Family Robinson is marked for its “yellow face” and “brown face” pirates, while 1941’s Dumbo, flagged last year by the channel, now receives a more detailed explanation and some historical context: The Jungle Book from 1967 makes the list due to its King Louie character (voiced by Louis Prima), a jazz-singing, be-bopping ape long considered an offensive caricature that utilizes racist stereotypes of African Americans. Peter Pan, released in 1953, is tagged for its stereotypical depiction of Native people “that neither reflects the diversity of Native peoples nor their authentic cultural traditions.” In addition to “mockery and appropriation” of Native culture and imagery, Peter Pan repeatedly uses the offensive term “redskins.” ‘Peter Pan’ 1953 Disney/Stories Matter
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Lady and the Tramp, from 1955, receives a similar warning for its Siamese cat characters Si and Am (voiced by Peggy Lee, who sings the film’s “The Siamese Cat Song,” a musical number that was cut from the 2019 live-action remake), as well as secondary canine characters each depicted with exaggerated ethnic stereotypes. Disney Hopes For Long Holiday Dance With Steven Spielberg's 'West Side Story' Global Start Could Reach $31M - Box Office Preview ‘Lady and the Tramp’ 1955 Everett Collection