Based on this list See Sources below for more info. View pictures fullscreen to see captions
The movies I made, I wasn’t even trying to make them diverse. It’s just when you’re a filmmaker of any ethnicity, you’re going to write from your own experience. So all my scripts started with “Hispanic character…” then I’d be like, “Oh, gosh, now I have to find an actor to play this,” and then I’d find there were no actors in Hollywood. It was puzzling.
When I was doing “Spy Kids,” the Weinsteins asked me — not that they were being jerks at all, they were just wondering — "Why are you making the characters Hispanic? It doesn’t make any sense, isn’t this supposed to be for everybody?" “Well, it’s based on my family.”
They’d just never seen it. Hollywood is very much… no one wants to do it first, because what if they screw up? If someone else does it first and it’s successful, then that’s something we can imitate. It just makes business sense for people not to constantly be putting themselves out there.
[Weinstein] said that, and it really put me on the spot to come up with a reason. “Why not just give them American names? It’s America, it will confuse people.” I said “They are American — they’re based on my family, so they’re Hispanic, but they’re going to be speaking in English. It’s going to be for everybody.” But no one had done it before, so there was nothing to point to.
"But why?” They couldn’t understand why I was doing it that way, and I couldn’t come up with a good answer. And I realized, wow, if I wasn’t Hispanic, I would have folded, I would have changed the name. That’s why there weren’t more scripts like that. Somebody would have asked them at some point “Why are you doing it that way?”
Finally, I came up with the right answer. I said “You don’t have to be British to watch James Bond. Making him British actually makes him more universal because it makes him very specific.” And they were like, okay, that makes sense. And we did it, and “Spy Kids” was a big hit. And those who were Hispanic, it really meant a lot to them. People have come up to me for a lot of years since and said “You changed my kids’ whole life. They see little kids who are Hispanic that are spies and they saw your name as the writer and director and you changed their idea of what their future could be.” The ripple effects of that one movie were enormous.
"this is supposed to be for everybody"
These are my extremely quick “fan” made designs for the upcoming Disney movie “Moana”.
Stop. There is a reason why “fan” is in quotations.
I am not a fan. I am full of dread. Disney is about to tackle a Polynesian princess and that terrifies me.
For one, I am so angry at all of the fanmade designs I have seen. The sexy stereotyped Polynesian designs that somehow condenses hundreds of different cultures into a tube top and a a ti-leaf skirt.
Do you have any idea how offensive that is. That would be like making Mulan and saying “Hey she’s Asian, let’s throw her in a yukata”. Do you know how offensive it is that people think that Polynesian is a singular race? Hint: Massively.
I picked four cultures out of the vastness of Polynesia and each design is clearly different from the next. Each design is 100% endemic to the culture it is from, and it’s not even the tip of the iceberg.
We are not a homogenized area of the world. We have different languages, traditions, and ways of life. We are not all the same. We are not coconut bras and grass skirts. We never needed compasses. We are celestial navigators - it hasn’t died out. We journeyed across the Pacific using the stars and waves to guide us. We perfected aquaculture and sustainable living. Our heritages are rich and varied and beautiful.
We are not a tube top and a ti-leaf skirt. We are not an indistinguishable fabric swathed on brown bodies with random flowers in our hair. Stop fetishizing us! You have the internet at your discretion, and this is the best you can come up with?
Secondly, the fact that Moana will be dealing with mythology in Polynesia makes me want to crumple up and cry. It angers me to no end that people keep playing fast and loose with things they think are obsolete. Most of us still believe in our Gods (myself included). My family has a heiau, as recent as one generation ago my family has stories of conversing with Gods. Yet, people act like it’s fair game. Last I checked if anyone made retcons to the undead carpenter millions threw a shitfit, but because we are a marginalized people our beliefs are not allowed some respect?
It makes me angry and I won’t apologize for it. It makes me angry that when I call out other minorities for falsely portraying or marginalizing my culture (and the cultures of my fellow Polynesians) I get the “well I’m a minority too so I’m excused”. That is the worst offense, when people who should know better still treat you like an obsolete toy to be bandied about as characters.
We are indigenous people and we deserve respect. We deserve for people to care about our culture. For people to be afraid that the nightmare which created whitewashed Pocahontas might happen to us. If you call yourself an ally, or self-aware, I demand that you fear for us. I beg that you question what may happen in the wake of what Disney has been spewing out. Don’t be part of the base that turns Moana into nothing more than a token.
We were too young to stop Pocahontas from being made. We are not too young to afflict a change and prevent it from happening again. Signal boost my words, or write your own. Do something. Don’t let a movie go out across the world that could damage those that have already taken heavy hits. Don’t be compliant, don’t be silent. Don’t DO that I beg you. I am begging you on my knees, I grovel to you.
Don’t condense our cultures to an easy stereotype. Don’t let our stories become distorted for entertainment. Fight for good writing, fight for good designs. Fight for a movie you would be proud to watch. Give us something more than a rebellious teen who is Polynesian simply because they say she is.
Please. Please. With all my heart, a’ohe hana nui ka alu’ia. No task is too big when done together.
good to know.
an asian woman has never won the oscar for best leading actress
the last and only time an asian woman was nominated for an oscar for best leading actress was 79 years ago (and she was white-passing and concealed her race)
just let that sink in
I said this before, how many films feature Asians as leads in a year? That aren’t marital arts films? like none.
… that’s the problem
I decided to ignore anything pertaining to the film ‘Frozen’ a long time ago - the misrepresentation of the Saami in it, or rather the combination of misinformation and problematic myth-making in it did not appeal to me at all, I had already explained why I disapproved of the bastardisation of our traditional clothes at length and with far more pressing issues at hand, such as the revival of my maternal language or the fight against fierce colonialism on our ancestral lands, I neither felt compelled to nor had the time to waste more time on a Disney film which contributes virtually nothing to the cultural wealth and knowledge of my people.
But then someone submitted a post to the blog “Unpopular Opinions” here on Tumblr, and ever since, my inbox has been filled with angry, anonymous messages about how I have no right to be dismissive of the film as this unnamed person presented themselves as Saami and claimed that the film was loved by most Saami, and any critique of it was hurting the Saami.
I heavily disagree, critical discussions about representations are always needed, especially when we’re talking about members of indigenous peoples and other minorities and everything I have said about the film with regards to its false claims to Saami-ness stands, but to perhaps stop my inbox from being filled with more trite from people I don’t know, I’ll spend the rest of this post talking about ‘Frozen’ one single, last time, rather than rolling my eyes at inane messages on a daily basis.
I do not pretend to be speaking for anyone but myself, nor do I hide my identity behind a veil of anonymity. I am for better and worse fairly well-known within my own community, so I’ll say this for the last time, when I state that I find the film problematic because of how it deals with the Saami, I am expressing my own opinions.
I do not speak for the entirety of my people, nor do I actually see a problem with some Saami liking the film or disliking it as I do.
But as for the film.
In short there are three main things that particularly bug me; the first concerns the opening song, the second deals with the way our traditional clothes have been re-imagined by Disney and the last beef I have with Disney has to do with the director’s claim that Kristoff is Saami without showing any non-fictional proof whatsoever of this throughout the entire film.
But let’s start with the opening song, seeing as comments made by the President of the Norwegian Saami Parliament with regards to it has been interpreted as her loving the film.
In her New Year’s Speech, the president stated that ‘
‘the yoik “Eatnamen Vuelie” and Fjellheim’s musical talent is now making a whole world listen - to yoik. We are seeing the same in other cultural expressions: the Saami culture is expanding to ever new audiences’
It may come as a surprise, but I do agree with Aili Keskitalo as far as her statement goes - it is a great thing that we’re seeing our culture gaining new grounds - but only insofar as it’s being read in connection with the following paragraphs of her speech which have conveniently been left out of the quote by the majority of people on Tumblr.
In her speech, Aili Keskitalo goes on to say that “but often we experience that stories about us are being told by others than ourselves”. In other words, while not criticising the film per se, she’s not endorsing it either as some people have been claiming - she’s merely applauding the fact that Saami music is getting world-wide attention, followed by a paragraph where she high-lights the problematic aspects of having outsiders tell our stories without our involvement in them.
Now, ‘Vuelie’, has indeed been written by a South Saami composer, this is something I personally like, especially as I as a yoiker admire Frode Fjellheim’s work as far as the revitalisation of South Saami yoiking goes, but the choir performing it is not Saami, and as such I do not see Vuelie as an inclusion of a Saami voice in the film, but rather as a way to include something which is evocative and exotic, in the same way as the opening song of Pocahontas.
My opinions with regards to Vuelie would have been completely different, had Disney employed e.g. the Saami youth choir Vaajmoe to record the song, but seeing as they chose to employ a non-Saami choir, despite having asked Frode Fjellheim to rewrite his tune Eatnemen Vuelie to better suit the magical atmosphere of the film, my opinions remain unaltered.
Furthermore, in an interview which has been circulated widely on Tumblr in the last couple of weeks the composer Frode Fjellheim clearly states that the tune itself is only inspired by yoiking, calling it ‘en jojke-inspirert ting’, i.e. a tune inspired by yoiking, rather than being an actual yoik per se. This is hardly surprising, as the tune was originally written as a choral piece, but as it is called Vuelie, which is the South Saami word for a yoik, people have automatically coded it as a yoik, despite what Frode is actually calling it.
I maintain that a tokenist use of a cultural practice that was punishable by death until the late 18th century does not in fact count as inclusion, no matter how many times people tell me to be happy about the tune, and as much as I’m indeed happy for Frode to be earning a shit-load of money from his song, I do find the way in which it has been recorded to be deeply problematic nonetheless.
I mean, if they wanted something exotic without employing a Saami choir, they could have just gone full-on with the use of Scandinavian herding calls, which can be heard more or less whenever when some magic shit is going down in the film.
Over to the clothes; I have already explained why and how the clothes have been inspired by our traditional clothes in another post which can be found here, so I won’t spend too much time examining every part of Kristoff’s clothes, but I will mention a couple of things, the first thing being his shoes.
Kristoff is seen wearing a type of reindeer hide boots called goelke-gaamegh, or novhtegh in South Saami, but despite the fact that the shape is authentic, the lack of either shoelaces or woven shoebands and shoelaces mean that they would be highly impractical as snow would get into the shoes as they’re worn without a way to keep them tied closely to the leg.
Sure, shoes and odd clothes are hardly things that warrant any longer discussions, but the way in which all of Kristoff’s clothes seem to be almost Saami and then they’re not, well it really does not sit well with me at all.
I was brought up in an area of Saepmie where donning a gapta (traditional dress) was seen as something bad by the majority, something which warranted fierce discrimination, and to this day there are a gazillion unspoken rules, generational traumas and basic tiny details surrounding the wearing of our traditional dresses that I find it annoying to see the dress being bastardised in the way it’s been by Disney. As much as I don’t think of Kristoff as a Saami, I’d much preferred that they had at least made his clothes authentic, or not bothered with the so-called Saami influence at all.
Because what we now get to deal with are cosplayers who do not understand the deep, cultural codes behind our traditional clothes donning a fake version of our clothes and being applauded for it, while Saami children especially in my part of Saepmie struggle with the very idea of daring to put on a gapta in public because it’ll earn them snide, racists comments from the majority for daring to be publicly Saami.
To mention just one story of what wearing a gapta can result in, here’s one example. Last week I was talking to a friend of mine who uses his gapta regularly, and he told me how he’d worn it at a council meeting a couple of years ago when a right-wing politician had walked up to him, casually telling him that they were discussing plans on putting up new signs in a village close to Liksjoe, only they weren’t sure if the hanged Saami they wanted to put on it should be North or South Saami and seeing as my friend was being Saami in public, maybe he could wage in.
But let’s all cosplay Kristoff, why don’t we.
Finally, I would like to address the extensive myth-making in the film. On one hand Disney has done a great job at creating something fairly vapid, light-hearted and full of singable musical numbers, with an annoying yet somehow endearing talking snowman, but on the other hand they’ve made the Saami seem even more exotic and fairy-tale like by making Kristoff an orphan raised by trolls.
I mean, nice touch on writing ‘trolls’ in runes on the map at the beginning of the film, but the fact that the only supposed Saami in the entire movie is orphaned, thus stripped of a community which is essential to a Saami identity as our indigeneity is primarily communal rather than individual, and then have him being raised by fucking trolls just contributes to the idea that we’re either mythical creatures or not even real in the first place.
But it’s a film aimed at children, the trolls were so cute.
I actually enjoyed the song Let it Go, I liked that Kristoff was asking for consent before kissing Anna, I particularly liked the true-love twist at the end - but felt it would have been much better if the entire romantic subplot between Kristoff and Anna had been scrapped entirely, but there were so many parts of the film that I disliked that I couldn’t fully enjoy it and just sit back and “relax because it’s a children’s movie”.
The misrepresentation and myth-making surrounding Kristoff, i.e. the so-called Saami boy continues throughout the entire film and regardless of how minor it seems, it does feed into an ongoing discourse about us in Saepmie where we’re either seen as exotic or considered to be worth less than dirt depending on where you enter it. The fact that Kristoff is somehow Saami because he has a reindeer is another thing which grinds me the wrong way as this type of misinformation is already running wild over here and has been doing so for decades, i.e. that real Saami have reindeer, and it is making life complicated for actual reindeer and non-reindeer herding Saami alike in Saepmie.
Finally, for a company which claims to have done extensive research on the Saami, they’re clearly not knowing enough about us or even reindeer to know that
- Sven has the antlers of a female reindeer.
- A full-grown man would not be able to ride a reindeer bull. Like ever. The belief that Saami used to ride their reindeer goes all the way back to 1540, when Olaus Magni, who had never actually seen a real-life Saami, claimed that we used reindeer as horses and published this picture in one of his books:
In other words, Disney is contributing to keeping yet another prejudice about my people alive and kicking.
- Reindeer are wild animals, and even vuejeme-råantjoeh, i.e. bulls used to lead a herd of reindeer during reindeer migrations wouldn’t ever behave like a dog.
- Kristoff’s sleigh is distinctly Norwegian, and it’s way too heavy to be pulled by a reindeer.
If Kristoff actually was Saami, his sleigh would probably look a lot more like this, and he’d have been using skis instead of walking.
Is Frozen the worst thing that has ever happened to us as a people? Well no, but it doesn’t mean that it isn’t problematic anyway.
SIGNAL BOOST THIS. thank you for taking the time to write out your thoughts.
In the West, plot is commonly thought to revolve around conflict: a confrontation between two or more elements, in which one ultimately dominates the other. The standard three- and five-act plot structures—which permeate Western media—have conflict written into their very foundations. A “problem” appears near the end of the first act; and, in the second act, the conflict generated by this problem takes center stage. Conflict is used to create reader involvement even by many post-modern writers, whose work otherwise defies traditional structure.
The necessity of conflict is preached as a kind of dogma by contemporary writers’ workshops and Internet “guides” to writing. A plot without conflict is considered dull; some even go so far as to call it impossible. This has influenced not only fiction, but writing in general—arguably even philosophy. Yet, is there any truth to this belief? Does plot necessarily hinge on conflict? No. Such claims are a product of the West’s insularity. For countless centuries, Chinese and Japanese writers have used a plot structure that does not have conflict “built in”, so to speak. Rather, it relies on exposition and contrast to generate interest. This structure is known as kishōtenketsu.
For all those assholes who think conflict is the only thing that gives shape to plot. Thanks for putting what I’d only been tenuously touching into words, stilleatingoranges!
anthropomorphic talking animals or inanimate objects: okay
mythological beasts/deities: cool
modern ideas of “historical” clothing: sure
poc: WHOA THERE NOW THAT’S NOT HISTORICALLY ACCURATE THEY DIDN’T EXIST ANYWHERE BEFORE THE 1800s AND IF THEY DID THEY WERE SLAVES