ParaNorman

C.

If you don’t see the linkage between zombies and social outcasts, you might take a hint from ParaNorman, a stop motion picture co-directed by Chris Butler and Sam Fell that was released worldwide at the end of 2012. The movie develops its plots by using the similarities in the dehumanized and vile nature of zombies to echo many of the negative portrayals of the minority groups in the eye of the mainstream media, familiar glossary include Orientalism, hypersexualization and infrahumanization in movies with non-Caucasian antagonists, such as the Hollywood hit 300 (Ejtehadian) or perhaps, more common in the previous decades, the stereotypical visualization of gay characters as camps or, sometimes, hyper-masculine and hyper sexualized (wood).

In ParaNorman, Butler conveys the message of tolerance while cleverly busts down a number of stereotypes both in reality and on the silver screen as the plot develops with a mythological vibe.

Weaving together a witchcraft mythology and Hollywood’s undead obsession, Butler, who is also the script writer, has made his anti-discrimination message clear. What’s admirable is more than just that, as the movie conveys multiple layers of messages to parties from both sides of the social issue: the persecutor and the persecuted.

The story sets in an American town with a legend about a wicked witch putting a curse on the jury and the judge of her trial prior to her execution 300 years ago. Norman, the main character, is an 11 year old who has the ability to see and talk with the dead. Being shunned, misunderstood and bullied at school have been a routine in his life until one day, when his estranged uncle in his final days entrusts him with a task that is to be completed before sunset on the 300th anniversary of the execution - to keep the witch at bay by tranquilizing her with a bedtime story to prevent her ghost from reanimating the zombies to haunt the town.

Being the only one who speaks the language of the dead, Norman heeds the call and heads towards the graveyard only to realize the witch was buried in an unspecified location elsewhere. That graveyard, instead, is the resting place of the zombies to soon be reanimated by the wrath of the witch as Norman fails his task before sunset when the witch’s ghost awakes.

Faced with 7 zombies, Norman flees in terror and is picked up by his friends in a van and they quickly head back to town while being followed by the undead. Upon the first sighting, the residents turn into a mob and greet the undead with hostility while Norman and his friends attempt to recover the burial information at the old town hall, where they subsequently encounter the undead and discover the truth: the witch executed 300 years ago was, in fact, innocent, she was an 11 year old little girl born with powers similar to Norman’s, probably due to her witchy heritage. Going back to reality, the undead before their eyes that once heartlessly condemned the innocent little girl are now the condemned. Unlike what Norman initially perceives, these zombified perpetrators are after him the whole time only to beg for help to be released from the curse. Eventually, Norman finds the burial site with the help of the undead and sets free the tormented soul of the little girl and the zombies.

       Along the lines, the messages are explicitly directed. To the persecuted among the audience, it is explained that people tend to be scared of others that are different, and so they persecute them, as exemplified by Norman’s treatment at school and also the misdeed of the jury and the judge. It is also illustrated by the mob that people of good nature participate in persecution due to both peer pressure and ignorance. And lastly when Norman counsels the broken soul of the little girl, the message against taking revenge on those who once hurt us is brought into light.

Meanwhile, to the persecutors among the audience, the entire plot metaphorically shows how their innocent victims of discrimination are demonized, such as the degradation of the image of an 11 year old girl to the hideous old hag with a signature pointy nose of a witch statue, and also the reduction of the reanimated that seek extrication to feral flesh cravers. Lastly, persecutors are, as well, reminded that their beliefs that lead to their behaviour often involve misjudgments, illuminated by the interpretation that Norman is trying to seek people’s attention by pretending to be able to talk to the dead given by several main characters in the film.

Bringing these two facets together, the movie seeks to advocate equality and tolerance just as it comforts the outcasts, such as addressing the infamous suicide-inducing bullying in middle school that has gain the media’s attention (Inbar), when it delivers a discourse on how victims should deal with it, to ultimately evoke reflection on both sides to bring harmony to our society.

In an interview on dorkshelf.com, Fell said that the targeted audience was “Ideally, seven and up”, while admitted by Butler in another interview with The Electronic Urban Report that they intended to make adult inclusive, the directors attempts to reach out to a wide range of audience, even though they decided to take a little risk.

 Being openly gay himself (Anderson-Minshall), Butler revealed his motive as the mastermind behind the script when he addressed why their mainstream animated film features the first gay character in an interview with The Advocate, “We were telling a story that was fundamentally about intolerance. We believed that it was important to have the strength of our convictions”.

In a general sense, ParaNorman conveys messages that are coherent with the belief system of the mainstream Western audience, at least from a governmental stance, ideas such as equality regardless of one’s status as a minority due to one’s sexual orientation and physical attributes/race echo with what has been taught at school about these issues and the anti-discrimination laws implemented by numerous Western countries. On top of Butler’s ethos as an openly gay animator, the resonance with the view of the general public on the issue of equality gives the film narrative fidelity and persuasiveness.

Yet, it is also true that the gay character weakens its narrative fidelity to those with a more conservative mind, to some parents, this gay character that comes out in a humourous manner by dropping a line that goes “You’re going to love my boyfriend, he’s like a chick flick nut” towards the end of the film was an unpleasant surprise, one outraged Christian parent wrote on her blog, “My friend saw the film in a ‘red state’ and she reported that ‘you could hear the gasps in the theatre from parents’”, when the character was revealed to be gay (French). The film’s narrative fidelity is weakened when (1) parents do not find homosexuality an appropriate topic in a family movie and/or (2) they fundamentally disapproval homosexuality.

In ParaNorman, Norman, the protagonist has lived as a social outcast for his whole life of 11 years due to his in-born psychic ability. However, regardless of his status, he demonstrates acceptance towards other minorities: the stereotypical fat kid, the uni-brow nerdy girl and the ghost of the young girl with witchy heritage. Norman as a character has shown a high characterological coherence. Not only does he know what it means to be tolerant, he even demonstrates a higher level of moral ethics as he persuades the ghost of the young girl to give up on taking revenge against those who hurt her. His experience as an outcast in middle school makes him relatable while his positive attitude and ethics make him the protagonist that the audience would like to identify with.

There is little to question about the logic in this piece since the points about acceptance and tolerance are not new to the public and we know those social issues exist, and therefore, whether it has achieved adherence mainly rests upon the tenet of fidelity – whether viewers’ opinion on minorities is in line with the government’s or the general public’s stance and also whether they think it is acceptable to have a gay character in an animation.

Nevertheless , if we take the robust global gay rights movement after 2000, as some may call ours “the post gay era” into calculation, the directors’ decision was perhaps not as bold as we thought, considering the numerous progresses that have been made, as Neil J. Young, a blogger for the New York Times recalls, “the end of the military’s Don’t Ask, Don’t Tell policy; President Obama’s endorsement of gay marriage; and the recent ruling by a federal appeals court that declared the Defense of Marriage Act unconstitutional”. Not to mention at least 10 countries legalized gay marriage between 2001 and 2010 (The Daily Beast), while the U.K and France have recently joined the league (Eaves).    

But after all, as assuring as it seems, law making is not the ultimate solution to this issue. Despite discrimination against minorities has been substantially suppressed by law, such as the Charter of Fundamental Rights of the European Union, this movie took one step further to change the beliefs of its viewers within the fantasy genre that the movie falls into by presenting a high argumentative coherence. When the traditionally-hostile zombies that metaphorically represent minorities that are inaccurately portrayed by the public are finally discovered to be repented and suffering instead of causing others to suffer along the storyline, an evaluation about reality is triggered among the audience, linking back to the negative and often inaccurate portrayals of the marginalized groups. By showing the adversity of an intolerant environment due to the inaccurate labels, ParaNorman ultimately promotes acceptance based on individuality beyond the rigid compliance with the impersonal laws.

As a director in mainstream cinema Butler wields his power to help rectify the obscured, marginalized and misrepresented minority image by employing interesting cinematic entities, specifically, witches, zombies and real psychics as metaphors to code for various minorities in our society and transform the movie as a whole into a sensational allegory, which is, by definition, a sustained metaphor continued through whole sentences or even through a whole discourse (Burton). I argue that the three cinematic metaphors in the movie – witch, zombie and psychic are expositions of various perceived natures of minorities while the movie reminds the audience how different minorities really are in reality from these portraits by refuting these proxy stereotypes with its plot.

 Zombies appear to be a long time obsession of Hollywood, there have been a generous amount of movies involving zombies, the Resident Evil franchise, 28 days later, the Walking Dead and Planet Terror to name a few. Not only are the classic zombies antagonistic, they are also feral by nature and are “uncaring, unfeeling and incapable of remorse” as explicitly stated in the trailer of Warm Bodies (Levine). The antagonistic nature is in line with the marginalization of minorities in mainstream media while their mindlessness; rottenness and unfeeling nature altogether generate the ultimate dehumanized image which echoes with the negative dehumanized stereotypes of minorities also in mainstream media (Ejtehadian).

Witches are no less classic in Hollywood movies, although there are good witches; they are still mostly negative figures, just like the minority class they stand for. Unlike zombies that were “converted” and also psychics whose identity is questionable, the emphasized feature of witches is that they assume their nature through heritage. They are born this way, Aggie, the executed little girl in this movie is no exception, just like the witches in the Harry Potter franchise, the Golden Compass and Hansel and Gretel: Witch Hunters. Aggie, the witch born girl represents a particular class of minorities – racial minorities and, widely accepted, the LGBT group.  The inheritance factor is a shared feature among the tenor and the vehicle in this metaphor while the negativity in their stereotypes is metaphorically and visually capsulated by the striking contrast between Aggie’s innocent look and the vile looking witch statue that was erected presumably after her demise. These metaphors alongside the movie plot also help accentuate the helplessness of people who fall into this minority class, such as the LGBT group with a widely accepted biological nature (Lewis), of which Butler belongs to. Together, the metaphors and the plot function to illustrate that one could be born a certain way but that does not make one evil in essence.

Lastly, psychics are more often associated with incompetency and con-artists than the definition of the word itself (Dahler and Glenn). In modern days when science, objectivity and proof are highly valued, they are perhaps no longer taken seriously and their talent (if they have any) counts for naught. Norman, our protagonist, is endowed with this unusual talent through heritage, is perceived to be attention seeking and weird. In fact, the entire town misses out on their opportunity to talk to their deceased loved one through Norman as they spend time instead, discriminating against and isolating him. The psychical talent of Norman represents the exclusive difference possessed by minorities, such as unique traditions and skills that can potentially benefit the entire society yet are buried beneath ignorance, prejudice and fear. Take for instance; Tibetan medical practitioners in American were once at risk of “being identified as criminals by practicing medicine without a license” as their practice was deemed “unscientific” by the western standards (Adams). Luckily the ban has now been lifted and the efficacy of their remedies has been proven (Adams).

By taking advantage of these familiar figures to arouse interest and assure instant understanding of their nature, Butler delivers his critique of this social phenomenon by coating his potentially preachy and clichéd political discourse with unexpected yet popular themes. The essence of these metaphors has long been defined in a consistent fashion in literatures and popular culture and is highly stereotypical. This is why when these must-have features or natures are defied in the movie, viewers are left surprised. When the effective use of these cinematic metaphors is paired with the subsequent defiance of these proxy stereotypes, viewers are tempted to project the same possibility of incoherence of nature onto their minority counterparts in reality, and ultimately serving Butler’s purpose of promoting tolerance towards minorities

These allegories also function together to enhance the aesthetic value of the movie. With the less explicit and aesthetically pleasing expression of ideas through allegories, a larger audience becomes more susceptible to Butler’s rhetoric, such as people who believe in equality but have no particular concern for the LGBT group or racial minorities specifically. The allegories encourage the audience to analyze who these entities truly represent as they effortlessly bond with these unreal but humanized characters and when they experience discrimination, injustice and cruelty, empathy is easily evoked because these entities do not exist in reality, and thus do not violate their personal values, the strongest resonance only comes from their humanity instead of any other specific identities. Viewers, such as the category mentioned about who are (1) not on the exact opposite to the idea of tolerance and equality i.e. affiliate or affirm with hate-groups and (2) do not condemn or disapproval specifically of the LGBT group like Christian and Muslim fundamentalists, are more likely to be persuaded as personal belief system and political view are transcended by the unreal nature of these cinematic metaphors.

ParaNorman exemplifies a successful use of allegory, since the allegory serves to enhance the aesthetic value of the piece, helps illustrate visually and conceptually the idea of inaccurate stereotypes and also broadens the application of the rhetor’s concept through capturing the common features of numerous minority groups and legendary entities in order to give viewers the flexibility to project the movie’s message onto whichever group that crosses their minds. Meanwhile, ParaNorman as an overarching allegory has exemplified how the metaphoric use of classic unreal entities as vehicles can make the controversial acceptable or disputed nature of the tenors in reality by holding on to a noncontroversial similarity that they share, which illuminates this unique property of allegory.

By and large, even though ParaNorman inevitably loses its magic to groups holding ideologies or doctrines that are opposite to its rhetoric, for instance, a commentator puts it on the movie review page of ParaNorman on christiananswers.net, “As Christians, and followers of Christ, this should be one of the most offensive parts of the movie to us, because homosexuality tears down all fundamental parts of the Bible’s teachings on family, sexuality, and men’s/women’s roles” (Klotz), and finishes with “Do not bring your kids to see this” (Klotz). The movie has, nonetheless, been received significantly positive by the public and among critics, spotting an 87% of positive reviews from critics and a 73% from audience, with a rating average of 7.3/10 based on 155 reviews on Rotten Tomatoes. Mike Scott, a critic praises:

 But beneath all that -- beneath the good storytelling, the playfully ghoulish vibe and the overall visual artistry -- lies a surprisingly sweet and unexpected through line about embracing the weirdness in other people. That might sound hokey, but directors Chris Butler and Sam Fell manage to breathe life into that idea wonderfully, and without getting preachy about it. [They do it far better than recently opened "The Odd Life of Timothy Green," another movie beating the embrace-the-outsiders drum.] In their hands, "ParaNorman" isn't just a kiddie movie. It's also movie for weirdos, outcasts and freaks of all shapes and sizes. [You know who you are.] (Scott)

With its dark but fitting allegory and its stylistic cinematic elements, ParaNorman has charmed its viewers as it garners critical success and receptions that approve of its advocacy, making it a noticeable advance to promote equality, forgiveness and tolerance. 

Works Cited

ParaNorman. Dir. Chris Butler and Sam Fell. Perf. Kodi Smit-McPhee, Tucker Albrizzi, Anna Kendrick and Casey Affleck. Focus Features, 2012. Film.

Butler, Chris, and Sam Fell."Interview: ParaNorman’s Chris Butler & Sam Fell Part One | Dork Shelf." Interview by Will Perkins. Dork Shelf. Http://dorkshelf.com, 14 Aug. 2012. Web. 17 Jan. 2013. http://dorkshelf.com/2012/08/14/interview-paranormans-chris-butler-sam-fell-part-one/.

Butler, Chris, and Sam Fell. "Why ParaNorman Featured the First Gay Character in an Animated Film." Interview by Diane Anderson-Minshall. Advocate.com. The Advocate, 29 Nov. 2012. Web. 17 Jan. 2013. http://www.advocate.com/arts-entertainment/dvds/2012/11/29/why-paranorman-featured-first-gay-character-animated-film.

"The Film Strip: 'ParaNorman' Says You Can Be Weird but Bullying Is Not Ok." Interview by Marie Moore, Chris Butler, and Sam Fell. EURweb. The EUR/Electronic Urban Report, 16 Aug. 2012. Web. 17 Jan. 2013. http://www.eurweb.com/2012/08/the-film-strip-paranorman-says-you-can-be-weird-but-bullying-is-not-ok/.

"ParaNorman Has Gay Sub-Plot." Web log post. The Home Front. National Review Online, 22 Aug. 2012. Web. 7 Feb. 2013. http://www.nationalreview.com/home-front/314665/iparanormani-has-gay-sub-plot/nancy-french.

Young, Neil J. "Equal Rights, Gay Rights and the Mormon Church." Web log post. Campaign Stops. The New York Times, 13 Jan. 2013. Web. 7 Feb. 2013. http://campaignstops.blogs.nytimes.com/2012/06/13/equal-rights-gay-rights-and-the-mormon-church/.

Burton, Gideon. "The Forest of Rhetoric." Silva Rhetoricae:. Brigham Young University, n.d. Web. 07 Mar. 2013. http://rhetoric.byu.edu/.

Warm Bodies Official Trailer #1. Dir. Jonathan Levine. Perf. Nicholas Hoult, Teresa Palmer and John Malkovich. Warm Bodies Official Trailer #1 (2013) - Zombie Movie HD. Youtube.com, 9 Nov. 2012. Web. 7 Mar. 2013. http://www.youtube.com/watch?v=07s-cNFffDM.

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Inbar, Michael. "Mom: Bullying Drove My 10-year-old Girl to Suicide." Online posting. TODAY.com. NBSNEWS.com, 18 Nov. 2011. Web. 24 Feb. 2013. http://www.today.com/id/45354766/site/todayshow/ns/today-parenting_and_family/t/mom-bullying-drove-my--year-old-girl-suicide/.

"Countries Where Gay Marriage Is Legal: Netherlands, Argentina & More." The Daily Beast. Newsweek/Daily Beast, 09 May 2012. Web. 24 Feb. 2013. http://www.thedailybeast.com/articles/2012/05/09/countries-where-gay-marriage-is-legal-netherlands-argentina-more.html.

Eaves, Lucas. "The Frog and The Eagle." Independent Voter Network RSS. IVN US, 13 Feb. 2013. Web. 24 Feb. 2013. http://ivn.us/the-frog-and-the-eagle/2013/02/13/what-do-gay-marriage-laws-in-france-and-the-uk-mean-for-the-us/.

French, Nancy. "Parents: ParaNorman Introduces Children to Homosexuality." Web log post. Http://www.patheos.com/. N.p., 21 Aug. 2012. Web. 24 Feb. 2013. http://www.patheos.com/blogs/frenchrevolution/2012/08/21/parents-paranorman-introduces-children-to-homosexuality/.

Ejtehadian, Sonia. "Overt Racism in the Movie 300: Dehumanization, Violence & Political Agenda." Web log post. The World Through Clear Coloured Glasses. N.p., 9 Nov. 2011. Web. 16 Mar. 2013. http://theworldthroughclearcoloredglasses.blogspot.com/2011/11/overt-racism-in-300-dehumanization.html.

"Scans See 'gay Brain Differences'" BBC News. BBC, 16 June 2008. Web. 16 Mar. 2013. http://news.bbc.co.uk/2/hi/health/7456588.stm.

Lewis, Gregory. "Belief in a Biological Basis for Homosexuality and Support for Gay Rights" Paper presented at the annual meeting of the WESTERN POLITICAL SCIENCE ASSOCIATION, La Riviera Hotel, Las Vegas, Nevada, Mar 08, 2007 <Not Available>. 2012-06-24 http://www.allacademic.com/meta/p176788_index.html

Klotz, Mishan. "Negative." Rev. of ParaNorman. n.d.: n. pag. Http://christiananswers.net. Web. 19 Mar. 2013. http://christiananswers.net/spotlight/movies/2012/paranorman2012.html?zoom_highlight=paranorman.

"ParaNorman (2012)." ParaNorman. N.p., n.d. Web. 19 Mar. 2013. http://www.rottentomatoes.com/m/paranorman/.

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Adams, V. "Randomized Controlled Crime: Postcolonial Sciences in Alternative Medicine Research." Social Studies of Science 32.5-6 (2002): 659-90. Print.

Wood, Matthew. The Portrayal of Gays and Lesbians on TV, and How Viewers React. December 1996. http://ruby.fgcu.edu/courses/tdugas/ids3301/acrobat/gaysontv.pdf