Quasi-thoughts on Quasimodo

Norden’s article on the portrayal of disabilities in Disney’s The Hunchback of Notre Dame discusses Quasimodo’s characterization as disabled and how his appearance adversely impacts his ability to function normally in society. In conjunction with disability studies, Norden claims that Disney “uses Quasimodo’s physicality to imply that he is emotionally stunted” (Norden, 168). While I understand the idea that Quasi appears to be socially stunted and immature for his supposed age, I do not agree that Quasimodo’s physical appearance is the reason for his being so, nor do I think this is the message Disney intended.

As Norden discusses, making the original story suitable for an animated Disney film was a challenge, and filmmakers were faced with the task of making the characters more relatable for young children. As a result of this demand, I believe the creators of the movie purposely made Quasi more childlike in his obedience, imagination, and fondness for playing with figurines in order to make the main character someone that kids could relate to. Quasi’s youthful tendencies are a product of an attempt to make him into a character children can understand, not a product of filmmakers’ desires to equate physical deformity with emotional underdevelopment.

Additionally, it is much more reasonable that Quasimodo’s being socially or emotionally stunted is a product of his being trapped in Notre Dame for his entire life instead of simply a product of his deformity. It would be much easier for me to accept the argument that his underdevelopment is a result of the oppressive, discriminatory religion Frollo exhibits. After all, it is not Quasi’s physical deformity that keeps him trapped in the tower, but rather Frollo’s inability to accept Quasi and his handicap. 

Spotted in Target. Everyone knows Woody brings the party

Relevance of Radiator Springs

Ken Gillam’s article “Post-Princess Models of Gender: The New Man in Disney/Pixar” analyzes masculinity and character development in male protagonists like Woody, Buzz, Mr. Incredible, and Lightning McQueen. I found his argument compelling and well supported, especially the aspects concerning the necessary humbling of the protagonist in order for him to mature as a character. Specific to Lightning McQueen in Pixar’s Cars (2006), this falling from high stature occurs when Lightning ends up in Radiator Springs, which he finds provincial and beneath him. I found this use of setting relevant to the message of the movie; the growth that occurs as a result of Lightning’s time in Radiator Springs is more than just an effect of his being knocked off the pedestal he was placed on in the big city world. The transition from the high-paced, seemingly materialistic life of the city is starkly contrasted by the slow, more simple world he finds in Radiator Springs, and this contrast serves to highlight the importance of valuing the smaller and simpler parts of life that are easy to take for granted. For example, the movie begins as Lightning prepares for his race, trying to achieve complete focus on speed and victory. However, after spending some time in Radiator Springs, he is invited by Sally to go for a drive. Seeing Lightning is confused by what she means, Sally asks, “Don’t you big city racecars ever just take a drive?” On the drive, Lightning is awestruck by a waterfall he sees, and exclaims that the cars driving right by “don’t even know what they’re missing.” This commentary places emphasis on slowing down to enjoy activities and friendships rather than focusing on coming out on top or simply reaching the finish line. The fact that Lightning’s character development occurs in a small, simple town is not just setting that can be looked over. Instead, the location of the story is necessary to an important message in the movie: taking time to slow down and appreciate what we often take for granted is a key part of maturing.

Works Cited:

Gillam, Ken, and Shannon Wooden. "Post-Princess Models of Gender: The New Man in Disney/Pixar." Journal of Popular Film and Television. (2008): n. page. Web. 8 Oct. 2013.