![]() ![]() ![]() While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children’s films, Princess Mononoke (1997) and Fern Gully (1992). By examining culturally specific criticisms and scenes from each film, I will explore how the legacy of coloniality can still be seen embedded in the framing of each film, despite the studio's stated intentions towards diversity and multiculturalism. In one case, a cultural historical tale was decontextualized and reframed, while in the other, cultural actors had a degree of input in the film representation. This paper will use a cross-period approach to explore the ways in which a global media conglomerate has and has not shifted its approach to appropriation of the multicultural as other and the implications for representational diversity in the context of globalization and a projected global culture. One clear example of this is the comparison of the depiction of diverse, cross-cultural womanhood between Walt Disney Animation Studio's Mulan (1998) and Moana (2016). ![]() As the consciousness of coloniality, diversity, and the necessity of not only token depictions of otherness but accurate representations of diversity in literature and film has grown, there has been a shift in the processes of adaptation and appropriation used by major film production companies and how they approach representing the other. ![]()
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