The use of accents in Disney's animated feature films 1995-2009

107 Pages·2011·1.74 MB·English

The use of accents in Disney’s animated
feature films 1995-2009:
a sociolinguistic study of the good, the bad and the foreign

Janne Sønnesyn

Department of Foreign Languages
University of Bergen
May 2011
Summary in Norwegian
Føremålet med denne oppgåva har vore å sjå på bruken av ulike dialektar (”accents”) i Disney
sine animasjonsfilmar utgitt i åra 1995-2009. Undertittelen på oppgåva kan omsetjast til norsk
som ”ein sosiolingvistisk studie av den snille, den slemme og den utanlandske”, og
gjenspeglar at oppgåva ikkje berre har sett på førekomstane av ulike engelske uttalevarietetar,
men også har undersøkt kor vidt ulike karaktertypar systematisk vert gjevne visse typar
dialektar. Eit delmål med oppgåva har også vore å avdekka eventuelle diakroniske endringar,
sidan resultata frå denne studien til dels har vorte samanlikna med resultata frå den eine store
studien som er gjort på området tidlegare, nemleg Rosina Lippi-Green si studie frå 1997.
Hennar studie, som tok føre seg Disney sine animasjonsfilmar frå perioden 1938-1994,
avdekka nettopp slike systematiske mønster i samband med bruk av ulike dialektar, og ved å
samanlikna mine resultat med hennar funn, vil det verta tydeleg om det har skjedd ei endring
dei siste åra.
Oppgåva har arbeidd ut frå eit syn på filmmediet som noko som reflekterar
eksisterande haldningar og normer i samfunnet, også når det gjeld språk. Med bakgrunn i
talrike studiar av språkhaldningar, veit ein at ulike dialektar er med på å danna grunnlag for
oppfatningar me har av ein talar sin sosiale bakgrunn, personlege eigenskapar m.m. Å nytta
ulike uttalevarietetar i filmar vert såleis eit hjelpemiddel for å bygga karakterar.
Utifrå dei underliggjande hypotesane, blei det forventa å finna spor av systematiske
mønster i forhold til språkbruken. Det vart forventa å finna skilnader i språkbruken i samband
med kjønn, etnisitet og kor sofistikerte karakterane var, samt kva karakterrolle dei hadde i
filmen. Samstundes vart det også forventa å finna skilnader mellom mine resultat og funna til
Lippi-Green (1997). Grunna eit aukande press i samfunnet for å framstå og å opptre politisk
korrekt, vart det forventa at språkbruken hadde vorte meir autentisk, t.d. i forhold til etnisitet,
og at dei systematiske korrelasjonane ikkje var like framtredande lenger.
Oppgåva tek føre seg atten av Disney sine animasjonsfilmar frå dei siste femten åra,
og funna syner tydeleg at ei endring har skjedd, sidan ein mykje større del av karakterane
snakkar med standard amerikansk uttale no enn før, uavhengig av karakterrolle eller andre
karaktertrekk. Nærare analysar av datamaterialet avslører likevel at biletet er svært nyansert:
Trass i mykje standard amerikansk uttale, er det skilnader mellom kvinner og menn, mellom
etniske og ikkje-etniske karakterar, mellom karakterar ut frå kor sofistikerte dei er og mellom
karakterar med ulike rollar. Stereotypisering og karakterbygging ved hjelp av språket er såleis
eit verkemiddel som tydelegvis enno er i bruk i Disney sine animasjonsfilmar.
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Acknowledgements

First and foremost I want to thank my supervisor Bente R. Hannisdal for taking on my
project, for being an endless source of knowledge, inspiration, encouragement and enthusiasm
throughout the writing process and for always making me believe in what I was doing. I also
wish to express my gratitude to the Faculty of Humanities for giving me financial support to
purchase the Disney films used in the project. Special thanks are also due to my fellow
students, whose company I would not have missed for the world. Last, but not least, I want to
thank my family and friends, for their constant cheering on the sideline. Particular thanks are
due to my sister Trude Sønnesyn, for taking the time to read and comment on this and
numerous other papers throughout the past years. Finally, I want to express my endless
gratitude to my parents Inger and Eidar Sønnesyn, whose continuous support has meant more
than words can say.

Janne Sønnesyn
Bergen, May 2011

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Around here, however, we don’t look backwards for very long. We
keep moving forward, opening up new doors and doing new things,
because we’re curious… And curiosity keeps leading us down new
paths

- Walt Disney -

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TABLE OF CONTENTS
Summary in Norwegian ......................................................................................................... i
Acknowledgements ................................................................................................................ ii
List of figures ...................................................................................................................... vii
List of tables ........................................................................................................................ vii

1 INTRODUCTION ........................................................................................................... 1
1.1 Aim and scope ............................................................................................................ 1
1.2 Delimiting the project: a note on the difference between dialect and accent ............. 3
1.3 The variables studied .................................................................................................. 4
1.4 Research questions and hypotheses ............................................................................ 5
1.5 The history of the Walt Disney Company .................................................................. 6
1.6 The structure of the thesis ........................................................................................... 8
2 BACKGROUND AND PREVIOUS RESEARCH ....................................................... 9
2.1 A brief introduction to the field of sociolinguistics .................................................... 9
2.2 Language attitudes .................................................................................................... 10
2.2.1 Defining attitude ................................................................................................ 10
2.2.2 Stereotypes ......................................................................................................... 11
2.2.3 Attitudinal studies .............................................................................................. 12
2.3 Language ideologies ................................................................................................. 15
2.3.1 Standard varieties .............................................................................................. 16
2.3.2 Establishing a standard language ideology ........................................................ 17
2.4 Societal changes ....................................................................................................... 19
2.5 The role of the media – does it play a role at all? ..................................................... 21
2.6 Previous studies ........................................................................................................ 23
2.6.1 Lippi-Green (1997) ............................................................................................ 23
2.6.2 Studies of language variation in television ........................................................ 25
2.6.3 Studies of language variation in films ............................................................... 26
3 DATA AND METHOD ................................................................................................. 28
3.1 Presentation of the various accents ........................................................................... 28
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3.1.1 General American .............................................................................................. 28
3.1.2 Received Pronunciation (RP) ............................................................................ 30
3.1.3 Regional American English (RegAmE) ............................................................ 31
3.1.3.1 New York City ............................................................................................ 32
3.1.3.2 Eastern New England ................................................................................. 33
3.1.3.3 The South .................................................................................................... 33
3.1.4 Regional British English (RegBrE) ................................................................... 35
3.1.4.1 Scottish English(ScotEng) .......................................................................... 35
3.1.4.2 Irish English (IrEng) ................................................................................... 36
3.1.5 African American Vernacular English (AAVE) ............................................... 37
3.1.6 English with other accent .................................................................................. 39
3.1.7 A brief comparison to Lippi-Green (1997) ........................................................ 39
3.2 Non-linguistic variables ............................................................................................ 41
3.2.1 Character roles ................................................................................................... 41
3.2.2 Gender ............................................................................................................... 43
3.2.3 Ethnicity ............................................................................................................. 43
3.2.4 Level of sophistication ....................................................................................... 44
3.3 The selection of films – a brief note on Disney‟s universe ...................................... 45
3.4 Method ...................................................................................................................... 47
3.4.1 Collecting and analysing the data ...................................................................... 47
3.4.2 Challenges ......................................................................................................... 49
4 RESULTS AND DISCUSSION .................................................................................... 51
4.1 General distribution of accents ................................................................................. 51
4.2 Gender ...................................................................................................................... 57
4.3 Ethnicity .................................................................................................................... 61
4.3.1 The Princess and the Frog - a case study .......................................................... 67
4.4 Level of sophistication .............................................................................................. 71
4.5 Character roles .......................................................................................................... 77
4.5.1 Heroes and heroines ........................................................................................... 79
4.5.2 Villains ............................................................................................................... 81
4.5.3 Aides .................................................................................................................. 82
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4.5.4 Unsympathetic characters .................................................................................. 84
4.5.5 Authority figures ................................................................................................ 85
5 SUMMARY AND CONCLUSIONS ........................................................................... 88
5.1 Summary of the findings .......................................................................................... 88
5.2 Gathering the threads ................................................................................................ 90
5.3 Critique of my own work .......................................................................................... 92
5.4 Contributions made by this thesis ............................................................................. 94
LIST OF REFERENCES ................................................................................................. 95

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List of figures
Front page: „Shark scene‟ from Finding Nemo (2003).
Figure 2.1: The overall distribution of accents in Lippi-Green‟s (1997) study………………….. 23
Figure 3.1: Blueprint of the analysis form……………………………………………………….. 47
Figure 4.1: The general distribution of accents in the Disney animated feature films…………... 50
Figure 4.2: The overall distribution of accents in Lippi-Green‟s (1997) study………………….. 51
Figure 4.3: A comparison of the results from the present study and Lippi-Green (1997)………. 52
Figure 4.4: The distribution of characters in terms of gender…………………………………… 56
Figure 4.5: The distribution of accents among female characters……………………………….. 57
Figure 4.6: The distribution of accents among male characters…………………………………. 57
Figure 4.7: The distribution of characters in terms of ethnicity…………………………………. 60
Figure 4.8: The distribution of accents among ethnic characters………………………………... 62
Figure 4.9: The distribution of accents among non-ethnic characters…………………………… 62
Figure 4.10: The distribution of characters in terms of level of sophistication………………….. 70
Figure 4.11: The distribution of accents among sophisticated characters……………………….. 71
Figure 4.12: The distribution of accents among unsophisticated characters…………………….. 72
Figure 4.13: The distribution of regional American accents among unsophisticated characters... 74
Figure 4.14: The distribution of different character roles in the data material…………………... 77
Figure 4.15: The distribution of accents among the different character roles…………………… 77
Figure 4.16: The level of sophistication among the unsympathetic characters…………………. 84
Figure 4.17: The distribution of accents among caretakers in the present study………………… 86

List of tables
Table 3.1: The Disney films used in the study…………………………………………………... 44
Table 4.1: The overall distribution of accents in the data material……………………………… 50

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1 INTRODUCTION
1.1 Aim and scope
The aim of this thesis is two-fold. Firstly, it aims to look at the use of accents in Disney
animated films released in the years 1995 till 2009. That different accents are used for
different characters in films is a well-known phenomenon, but the question remains as to
whether it is possible to find any correlations between certain character traits and the use of
various accents in these particular films. Are there systematic patterns in the way accents are
used, in order to build characters? The thesis hypothesises that this certainly is the case. With
Disney being an American-based company, it is very likely that General American1 (GA) will
be the most common accent, as well as the accent most often connected to the „good guys‟,
whereas Received Pronunciation (RP) and/or English with a foreign accent are accents that
might be given to characters holding less favourable roles, e.g. as villains, aides to villains etc.
The second aim of this thesis is to see how the newer films compare to the ones that
were released prior to 1995. In order to answer this, the results from this study will be
compared to the one major study that has been carried out on this topic previously, and the
study from which this thesis takes its point of departure, namely Rosina Lippi-Green‟s study
from 1997, published in her book English with an Accent. Seeing as she dealt with all full-
length animated Disney films released in the years 1938-1994, and came up with some rather
interesting results, a comparison with her study will yield information regarding any
diachronic change that has taken place in the past fifteen years. The working hypothesis of
this thesis is that a change will be detectable in comparison with previous results. There is no
two ways about the fact that during the past fifteen years we have experienced an increased
pressure to appear politically correct in all spheres of society, and it is likely that this pressure
has had an effect on Disney and their use of accents in the animated films as well. Special
attention will be given to how ethnicity is reflected. An increased pressure to appear
politically correct arguably also entails an effort to give characters accents that are more true
to nature, in the cases where it would be natural to do so. This could for instance be topical in
cases where a character is of an ethnic origin2, or if the story of the film is set in a place where
one would not necessarily expect the natural accent to be GA. Bearing in mind that we in the

1 General American is used as the term of the mainstream, non-regional American accent. What exact linguistic
features that characterises this particular accent will be explained in further detail in chapter 3.
2 What is meant by this classification is clarified in chapter 3.
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autumn of 2009 saw the release of the first animated film with an African-American heroine,
an investigation of the correlation between accent and ethnicity is extra relevant.
Ever since its early days, film has been a medium that has reflected its time very well.
Films show signs of the time in which they are made, and thus provide us with valuable
information regarding history and culture, as well as language, from certain periods in time
(Lund 2009: 2). The issue of language first became important after the silent-to-sound-
transition that took place in the late 1920s and the early 1930s, when talkies gradually
replaced silent movies (Taylor 2009). One can claim that the language used in films reflects
how people were speaking at a given time in history, and to a certain extent this is probably a
feasible assertion. However, this study is based on a slightly different assumption. Instead of
viewing linguistic data from films as synchronic evidence as to how language actually were
used, this thesis rather views the linguistic data as a reflection of the societal norms connected
to language at a specific period of time. There have always existed opinions that some accents
are more acceptable than others, and as Taylor (2009: 17) states, this has been reflected via
the film medium from early on:
The questions about what kinds of voices would end up on the screen were not
only about how stars should sound, but also about what kinds of voices should
end up coming out of the mouths of Americans.
Accent is thus more of an artistic device, a device that arguably is used with care to promote
some kind of attitude, rather than as an effort to mirror actual language use.
Using accent as an artistic device would not have had the same effect unless accent
itself had an effect on people. Part of the theoretical framework this thesis builds on, are the
numerous attitudinal studies showing the importance of accent when listeners draw inferences
about speakers. Accent is often – arguably more often than most people are aware of – the
main basis for passing judgments on a person‟s background, race/ethnicity and social status,
as well as numerous other social and personality traits (Wolfram and Schilling-Estes 2006: 1),
and it is an important part of the stereotypical images we form of people and groups of
people. That accents evoke different attitudes among listeners is also intrinsically related to
the belief that some accents are regarded as more standard, i.e. better, than others. The
assignment of various accents to different characters in films could potentially be one way to
promote such a standard language ideology, especially if it is possible to detect correlations
between accent and character type. Looking at the use of accents in films/ television could
therefore provide us with information not only about which stereotypes that belong to which
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