THE POLITICAL REALITY OF MODERN CARTOONS: REGIME TRANSFORMATIONS AND SOCIAL CONTRADICTIONS
Authors: Шульман Екатерина Михайловна , Кутузова Анастасия Александровна 
Published: April 2021

В статье рассмотрены новые направления социально-политической трансформации современного общества и их отражение в мультипликации. Показана взаимосвязь изменения социальных норм и базовых сюжетных линий мультипликационных фильмов. Особое внимание уделяется возрастающей роли горизонтальных социальных связей и повышению ценности институтов семьи и репутации, вызванному высочайшей степенью транспарентности информационного общества. При этом ценность индивидуализма отходит на второй план, уступая место взаимопомощи для достижения общего блага. Кроме того, отмечено изменение представлений о романтической любви и отношениях поколений. Проведен анализ иллюстраций создания и разрушения авторитарных политических моделей в современных мультфильмах. Показана актуальность в мультипликационных фильмах тем борьбы с тиранией и гражданской самоорганизации.

Popular culture reflects not only events, but also the nature of the modern era and problematic aspects that require the attention of the state and society. The article examines new vectors of socio-political transformation of modern society and their reflection in animation. The study of modern cartoons shows that they have replaced traditional myths and began to broadcast social norms and their transformation. Special attention is paid to the growing role of horizontal ties and the increase in the value of the family and the institution of reputation, caused by the highest degree of transparency of the modern information society. This is clearly emphasized in the plots of such cartoons as Frozen, Moana, Brave, Inside Out, Finding Nemo, and Coco. All cartoons show the hero’s rebellion, which results in an understanding of family ties’ value. In addition, the article notes a change in ideas about romantic love. At the same time, the value of individualism fades into the background, giving way to mutual assistance to achieve the common good. The article emphasizes that atomization and individualism were characteristic of human culture for a fairly short period of time. They appeared after the collapse of traditional society, urbanization and the next industrial revolution. However, later urbanization was replaced by hypeurbanization along with information transparency, which, relying on new technical means, revived many features of the traditional society. Moana’s plot demonstrates the reduction of the atomization of modern society, the negative side of the high level of individualism, which is increasingly difficult to demonstrate today due to the rapidly increasing role of social connections. The conflict of civilizations described by Huntington is not reflected in modern multiplication. Anyone who seemed to be the enemy and the embodiment of evil, upon closer examination, turns out to be either a victim in need of help, or a potential ally. In this specific, often repeated plot, it is not difficult to see the influence of postcolonialism as a direction of modern thought and public discourse. Illustrations of the formation, functioning and destruction of authoritarian political models in modern cartoons are analyzed. The relevance of the theme of the fight against tyranny in animated films is shown. Examples include Toy Story 3, A Bug’s Life and the animated series Watership Down. In the first case, the dictator imposes on society the ideology of a hostile external world, which forms the authoritarian political model’s ideological basis. Its organizational basis is represented by a repressive mechanism consisting of security, surveillance and a closed perimeter. This brings the presented model closer to totalitarian political regimes, because modern autocracies do not hinder the intention of those who disagree with leaving the country. This helps them maintain their power for as long as possible. In order to maintain this regime, a privileged caste is created, represented by the power apparatus (guards who are allowed gambling and additional consumption). In addition, the security apparatus has the right to carry out violence against all other members of society. The plot of A Bug’s Life also shows society’s struggle against tyranny, which is carried out through a combination of the direct threat of violence and propaganda. The method of intimidating the tyrant Hopper shows that he does not perceive himself as a legitimate bearer of power and recipient of resources. Internal recognition of its own illegitimacy provokes a reluctance to make concessions, reach a mutually acceptable compromise and negotiate, as the legitimate government usually does. Direct political content is also found in Watership Down. Within the framework of the narrative for children, the main attributes of the classic fascist dictatorship are politically realistic. The authors draw attention to the fact that the basis for the alternative to dictatorship is not atomization and chaotic violence, but civic organization and mutual assistance.