A PENTADIC CRITICISM OF THREE DISNEY/PIXAR FILMS:

SPIRITUALITY AND ENVIRONMENTALISM

IN MONSTERS, INC., FINDING NEMO, AND WALL-E

Benjamin D. A. Heffington

A Thesis

Submitted in Partial Fulfillment

of the Requirements for the Degree of

Master of Arts in Communication

Northern Arizona University

May 2015

Approved:

Dayle C. Hardy-Short, Ph.D., Chair

C. Brant Short, Ph.D.

Laura R. Umphrey, Ph.D.

 ProQuest Number: 1596960

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 ABSTRACT

A PENTADIC CRITICISM OF THREE DISNEY/PIXAR FILMS:

SPIRITUALITY AND ENVIRONMENTALISM IN

MONSTERS, INC., FINDING NEMO, AND WALL-E

BEN HEFFINGTON

Many messages can be found when viewing films in popular culture. Disney remains

one of the more examined entities which creates, produces, and disseminates such films.

Using the pentadic method this thesis examines three such films by Disney/Pixar, which

are Monsters, Inc., Finding Nemo, and WALL-E. While these films have been examined

for spiritual and religious themes, as well as messages relating to environmental

consciousness, no researchers have tried to connect the two. By comparing the dominant

elements in each film, this project discovers the films do link environmental

responsibility to spiritual responsibilities. Furthermore, the viewing audience could

extract several messages relating to commitment and faith in religion.

ii
 DEDICATION

Certainly this thesis would not have been completed without the advice and support from
many mentors; most specifically, Dayle Hardy-Short. Thank you for your commitment.

This thesis is dedicated to my wife, Jen.

If I am WALL-E, then you are my EVE. If I am Marlin, you are my Dory. And if I am
Mike, I am so glad you are my Sully.

Your belief in me is heart-stopping. I hope I make you proud.

Thanks for starting and ending this journey with me.

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 TABLE OF CONTENTS

CHAPTER ONE: INTRODCUTION AND REVIEW OF LITERATURE… ............................... 1

Introduction ......................................................................................................................... 1

Purpose of the Project ......................................................................................................... 8

Review of Literature ........................................................................................................... 8

CHAPTER TWO: DISCUSSION AND METHODOLOGY ....................................................... 27

Research Questions ........................................................................................................... 27

The Method ....................................................................................................................... 28

The Texts .......................................................................................................................... 36

CHAPTER THREE: DATA ANALYSIS AND FINDINGS ....................................................... 38

Monsters, Inc..................................................................................................................... 38

Finding Nemo.................................................................................................................... 46

WALL-E............................................................................................................................. 55

CHAPTER FOUR: CONCLUSIONS AND IMPLICATIONS .................................................... 65

Discussion ......................................................................................................................... 65

Research Question One ..................................................................................................... 67

Research Question Two .................................................................................................... 67

Research Question Three .................................................................................................. 74

Research Question Four .................................................................................................... 78

Limitations and Ideas for Future Research ....................................................................... 81

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REFERENCES ............................................................................................................................. 83

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 CHAPTER ONE: INTRODUCTION AND REVIEW OF LITERATURE

Disney Films: It’s Not Just another Movie Night with the Family

Film is a classic form of entertainment. Families who search for quality and

wholesome activities through which to increase connections and strengthen bonds often

engage in regular “movie nights.” Films offer a unique opportunity for members of

families not only to be entertained, but also to share conversations about themes and

begin to develop views of subjects presented. Depending on the ages of the children,

oftentimes blockbuster animated movies are selected due to their popularity, and families

often find cultural significance in these films. Through various tales, families begin to

grasp that in Disney’s World, heroes and heroines live happily ever after and love

conquers all.

Rhetorical critic Todd Lewis has focused on animated texts in popular culture. In

examining The Simpsons using the work of Kenneth Burke he suggests that such texts

“have recently gained academic credibility for their apparent rhetorical significance”

(Lewis, 2002, p. 156). White (2011) agrees and credits Disney for a remarkable

influence on American culture. He admits, “it is hard to write for a popular audience in

the United States and not reference Disney, consciously or unconsciously” (p. 113). In

fact, movies produced by Disney have been the subject of rhetorical examination for

many years. Certainly traditional fairy tales can present values in an entertaining fashion,

but Disney also presents many environmental myths and themes. These examples can

often influence thoughts about nature in general (White, 2011); however, many more

subjects exist in the films. As an example, the role of female protagonists (typically in

the form of fairy-tale princesses) has often been a hallmark of Disney films. As Ebrahim

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(2014) notes, “finding scholarly discussions of Disney’s princesses is not difficult” (p.

44).

Popular culture often expresses the artistic, yet educational, impact that such films

have made (see Michael Mullin’s All I Really Need to Know I Learned from the Mouse,

2001). Disney films promote many traditional ideas of love and issues involving gender

roles, but more subtle themes are present. For example, Disney movies of the 1990s have

been examined for U.S. foreign policy. McQuillan and Byrne (1999) argue that The Lion

King can be viewed as addressing previous policies of apartheid in South Africa, with the

main character coming home after a forced exile only to resume power. Aladdin (the

Middle East) and Mulan (China) may trigger thoughts in the audience which address our

relations with other governments and political institutions of the world. Tranter and

Sharpe (2008) point out, “Disney movies (and other forms of Disney entertainment) have

been the subject of detailed analysis of what had been labeled a ‘hidden curriculum’ that

promotes racist, sexist stereotypes” (p. 296), and also promotes a selective history of

political, military, and/or economic domination (Giroux, 2001; King, 2006). Whether the

messages promote awareness in issues related to the environmental, gender roles, or even

politics, themes in Disney films are often layered and profound.

The purpose of this thesis is to examine more recent Disney films for themes of

environmentalism and spirituality using Kenneth Burke’s dramatistic method. In this

chapter, I will review the literature in two areas, which are articles related to Disney/Pixar

and use of dramatism. At the end of the chapter, I will identify gaps in previous research

and provide an outline of the rest of the thesis. Initially let me begin with the story of

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Pixar, the Braintrust inside the organization, and also introduce Andrew Stanton whose

films will be the texts analyzed in this paper.

The New Brand of Disney Films: The Impact of CGI and the Braintrust at Pixar

While additional meanings can be found through careful rhetorical examination,

common themes in classic 2D Disney films involve a traditional female heroine and her

struggle against various forces of evil. Oftentimes, her reward is true love and happiness

the rest of her days. With the shift in movie technology over the past 20 years, audiences

have been introduced to a different medium (computer-generated imagery or CGI).

Recognizing the shift, Disney (the corporation) secured a company which would add

even more capital to the world of Disney and also offer different plots to examine.

Pixar Animation and other studios producing CGI films have a unique history

which includes some remarkably successful names; until the most recent advance of

technology, these companies and people would not have been well-known within the film

industry. Pixar was originally a division of the Lucasfilm unit. Steve Jobs (of Apple

Computer) agreed to buy, and then rename Pixar Animation Studios for $10 million

dollars. Beginning with Toy Story in 1995, the studio created a string of hit movies,

which rewarded Disney for its investment in producing Pixar films and eventually led to

a merger between the two industry giants in 2006 (Cohen, 2006). Schlender and Tkaczyk

(2006) report that in the historic deal, “Disney CEO Bob Iger and Pixar chairman Steve

Jobs announced a surprise $7.4 billion deal in which Pixar Animation Studios . . . would

become a wholly-owned part of Disney (p. 138). Pixar and Disney were expected to part

ways; however, and in the authors’ terms, in an “amazing plot twist, not only

3
[did] Pixar become part of Disney, but the upstart studio [took] over the creative direction

of Disney’s own flailing animation operations” (p. 138).

It appeared that Iger understood the issues (both financially and content-wise)

with Disney animation, and chose to empower the creative “Braintrust” at Pixar. When

Pixar produced Toy Story, Disney pictures was in the midst of a long streak of 2D

animation success and only distributed the film as a side project; nonetheless, by 2006,

co-founder John Lasseter was in charge of both studios’ animation departments

(Schlender & Tkaczyk, 2006). Weinman (2008) refers to Lasseter as a larger-than-life

creative director and an overgrown kid whose office was full of toys and Hawaiian shirts.

He has also been outspoken with his desire to protect the culture of Pixar.

Though Disney aided in the distribution of Toy Story (often considered the film

which is the genesis of the CGI movement), CEO Ralph Guggenheim and his small

animation studio in San Francisco, named Alligator Planet, produced Toy Story for

Pixar in 1995 (Deutschman, 2005). From a business perspective, animation appears to be

the section of film production where costs are going down, but quality is dramatically

increasing. This made the genre one of extreme interest in the early- to- mid-1990s.

Deutschman (2005) explains that in the early days, techno-whizzes who wrote software

and created computer-generated images with an unprecedented 3-D look were required

by Pixar to create and develop the ideas and stories which were floating around Pixar.

Back then, the animator’s workstation included a $50,000 computer, while today many

animators can purchase 2-D and 3-D software packages (such as Maya and Softimage),

which are utilized by art schools everywhere to instruct and develop the next round of

young talents. These devices can now create effects that Pixar’s Braintrust could only

4
imagine in previous years, on computers that only cost around $5,000 (Deutschman,

2005). “What’s more,” Deutschman continues, “kiddie cartoons are the sweet spot of the

industry. While the average feature film produces $33 million in U.S. box-office

receipts, the average for family films is $90 million, [while] the figure is an astonishing

$225 million for digitally animated films” (p. 60).

Catmull and Wallace (2014) explain the Braintrust at Pixar developed organically

due to the rare, and exceptional, working relationship among five men who led and edited

the production of Toy Story. Those men, John Lasseter, Andrew Stanton, Pete Docter,

Lee Unkrich, and Joe Ranft, also provided a solid model of creative functionality from

Pixar’s earliest days. Throughout media reports, this self-nicknamed Braintrust is

considered more of a group of adolescent boys playing with toys and graphics than an

executive committee in charge of a billion dollar enterprise. In fact, Stein (2012)

jokingly comments that until he visited Pixar, he was unaware that “12-year-old boys

were allowed to run major corporations” (p. 36). At the time of his visit, Pixar’s twelve

films had grossed more than $7 billion at the box office alone. When one factors in toys

(distributed through stores and business relationships with fast-food entities), clothes,

video games, TV shows, and even attractions at Disney theme parks, once again Disney

made a brilliant business decision empowering the Braintrust at Pixar. In addition to

financial success, Ebrahim (2014) notes “Pixar’s films have made motion picture and

animation history, with film after film achieving considerable . . . critical acclaim” (p.

43).

Andrew Stanton (writer, producer, director, actor, and activist) has been

instrumental in Pixar’s success in numerous ways, which include writing scripts and

5
aiding others with plotline construction. The examples are impressive for any fan of

family-related films: all of the Toy Story franchise, A Bug’s Life, WALL-E, Monsters,

Inc., and Finding Nemo, to name a few. In recognition of the number of films that do not

do well at the box-office, Stanton is fond of suggesting that when faced with decisions

people should be wrong as fast as possible (Catmull & Wallace, 2014). Ironically,

however, finding areas in which Stanton and his team have failed is quite challenging

especially concerning financial aspects. And even though Pixar’s films differ from

traditional Disney animation films in storylines and thematic content, the Braintrust

cannot seem to fail, period, let alone fast.

Ramin Zahed, writer for Animation Magazine, interviewed Stanton in 2003 and

reported Stanton’s explanation of the creative and unconventional mode at Pixar. Stanton

explains, “We can’t stand melodrama, manipulation and swelling strings. But at the same

time, we’re obsessive and hungry for very truthful moments. We’re only willing to do it

if it’s the real thing. I have such a low tolerance for overly emotional stuff particularly in

the world of animation” (p. 34). Stanton believes that while Pixar’s films tug at your

heart, they aim to not take advantage of it in the process. In this way, Stanton and his

team continue to depart “from what is frequently seen as the Disney formula—even if

that notion is something of a simplification—of princesses and fairy-tale fantasies”

(Ebrahim, 2014, p. 44).

The stories created and produced by Pixar are celebrated as fresh and innovative

tales, and gather together a unique “assortment of characters, both human and nonhuman,

with technologically sophisticated and artistically acclaimed animation” (Ebrahim, 2014,

p. 44). Traditional female heroines have been replaced by males, cars, robots, astronauts,

6
and even senior citizens. Nonetheless these movies are not difficult to comprehend,

especially considering that Pixar aims to make films which speak both to children and

adults. Jokes targeted at adults are laced throughout scripts and since characters and

stories are new, the entire audience is involved. In fact, Ebrahim (2014) goes so far as to

suggest that, “any study of contemporary Disney and Pixar . . . will reveal that

(Hollywood’s) animated feature films are not so much children’s films as they are family

entertainment” (p. 47).

In Time International (2007) Stanton admits that he continues to write scripts to

tell conventional love stories. Moreover, in many of the screenplays he writes, Stanton

uses the opportunity to outline values presented through the Bible. Stanton is an out-

spoken Christian, and at least two films were meant to disseminate messages that Jesus

gave his followers. In this way, while children enjoy the animation and basic plotline,

adults can often discover more meaningful messages presented during the films. In short,

concepts of spirituality are being presented through Pixar films to audiences worldwide.

But adults in these audiences can relate to characters in these films through other methods

as well.

David A. Price, who wrote The Pixar Touch: The Making of a Company,

explains that Pixar favors appealing to adults by having its characters solve adult-like

problems. Whether fearing for the safety of one’s child, dealing with forced overtime at

work due to an organization’s needs, or bulk shopping to save money, parents and adults

can connect with these films in a way rarely employed in previous Disney films. These

films do not use humans as the main characters, but adults can identify themselves in

situations presented in the films. The spirits and moods of characters are certainly

7
humanlike, so extracting meaning may be easier due to the psychological distance adults

have from robots, fish, monsters, cars, and other protagonists in Pixar films. Even though

advertising efforts and plotlines are obviously aimed at children, it should be noted that

adults can certainly find significance in Pixar’s films.

Purpose of the Project: A Rhetorical Examination of Three Pixar Films

Even if these films may have conventional stories of love, Stanton explains Pixar

chooses to tell stories using very unconventional methods with very unconventional

heroes (Weinman, 2008). Couple this idea with the fact that much academic focus has

been devoted to classic 2D animation films, it stands to reason that future rhetorical

studies should begin to focus on stories presented through by studios such as Pixar. The

following project will analyze three films: Finding Nemo, Monsters, Inc., and WALL-E.

Through describing a common lens of rhetoric (the Frontier Myth) and using Burke’s

pentad to identify dominant themes and ratios, I will analyze messages presented in the

films. This review of literature provides grounding for my analysis by considering

research on the three films and on dramatism.

Review of the Literature

There is value in comparing artifacts which are similar in nature to discover and

identify patterns and themes. Though more in-depth descriptions of the selected films are

included in chapter three of this thesis, it is appropriate to briefly explain the films here

so the reader can understand key components of each film. Monsters, Inc. focuses on a

threat we are too familiar with in the natural world, that of an energy crisis that must be

solved using non-traditional methods (Tranter & Sharpe, 2008). As the title suggests,

monsters are the main characters in this movie and the moral of the story focuses on

8
friendship rather than true love. It received both critical accolades and financial success.

Finding Nemo delivers a well-crafted message of Stanton’s Christian beliefs to an often-

secular audience and contains similar mentions of pollution and the natural balance of the

oceanic world. In the same fashion, WALL-E revolves around the topics of over-

consumption, pollution, and sustainability. In addition to these themes of

environmentalism, Christian themes are present throughout; in fact, themes relating to

spirituality (an actual spiritual and sensuous world) are noticeable in all films.

Reading reviews in order to determine the appropriateness of the films and/or in

order to gauge one’s interest level is common. After review, thinking critically about

such texts is often a source of pleasure for viewers. In Ebrahim’s (2014) words, the

process “enhances, not destroys or reduces, the pleasures of film consumption” (p. 54).

In examining academic texts and popular culture reports of these films, one can easily see

the popularity of Pixar and the format presented to audiences. The following is a review

of literature concerning the films. The order of the films is chronological by date of

release.

Monsters, Inc.: 2001

As previously mentioned, Pixar strives to reverse a familiar perspective. Ebrahim

(2014) discovers this trend in several films created by Pixar. He writes that Disney’s

original heroines who were once “sugar and spice and everything nice” have been

replaced in Pixar films with females who “embody toxicity to varying degrees (though

not always seriously), becoming a source of fear, pain, or humiliation to a number of

male characters” (p. 47). Such is the case in Monsters, Inc. when a female character (a

bright-eyed toddler) becomes the most feared protagonist in the film. In this way, Pixar

9
reverses the children’s fear of monsters; rather, children are feared and only due to an

energy shortage would a monster dare risk an encounter with a child.

Tranter and Sharpe (2008) found a fundamental connection between the energy

shortage within Monstropolis (the setting of much of Monsters, Inc.) and peak oil in

modern times. The authors argue the film can warn children of issues when relying on

one source of energy and possibly lead them to develop “some solutions to the problems

likely to occur when global oil production begins to decline” (p. 296). Just as children

are getting harder to scare in the film, it is becoming much harder to find oil. The

relationship is clearly laid out. By the conclusion of the film, laughter is found to be a

much more generous and efficient form of energy. This creative solution not only solves

the energy crisis, but literally creates some sense of peace between two worlds, once

locked in constant conflict. Considering the current climate and instability concerning

the world’s remaining oil reserves, peace seems only attainable in children’s films.

Tranter and Sharpe (2008) also suggest that Monsters, Inc. offers a grim future for

children unless current environmental practices are curbed, reformed, or abolished. In

addition, the authors suggest children could grasp a sense of vulnerability and energy

stress from themes in the film. As children are being “scared because we care”

(Monsters, Inc.’s motto/sales pitch), a child could easily equate uneasiness with energy

conglomerates. Children assume that at any point, we could be faced with an energy

shortage and adults are simply unequipped to solve the issue responsibly. In fact, the

audience discovers the factory boss knows that children aren’t toxic, but has chosen this

method of energy extraction for profit. It is not much of a leap to think that such crude

business tactics are being used by multi-trillion dollar corporations today.

10
 Pixar’s Braintrust often meets for brainstorming sessions over meals, and the idea

for Monsters, Inc. was introduced in 1994. John Lasseter (chief creative officer at Pixar),

Pete Docter (animator and director of the film), Joe Ranft (screenwriter, animator, and

storyboard artist), and Stanton were having lunch and the idea to create a movie about

monsters was introduced by Docter. During the creation of Toy Story, many fans

suggested they could relate to the film’s plot (toys coming to life). Building on this,

Docter suggests on the Monster Inc.’s DVD commentary he “wanted to tap into a child-

like notion that was similar to that. I knew monsters were coming out of my closet when

I was a kid. So I said ‘Hey, let’s do a film about monsters.’” At the time, the technology

involving CGI began to increase in quality and the art was close to perfected by Pixar,

even early in the medium.

In a review published on November 2, 2001 Roger Ebert, famed film critic of the

Chicago Sun-Times, wrote he enjoyed the typical Pixar formula and gave the film 3 out

of 4 stars and called the film “cheerful, high-energy fun, and like the other Pixar movies,

has a running supply of gags and references aimed at grownups.” Rotten Tomatoes (a

review aggregator) provides a score of 96% based on 192 reviews. Metacritic (another

review aggregator) considers the film “generally favorable” and while not as popular as

Toy Story, though similar themes of male bonding are present, Monsters, Inc. remains a

highly recommended movie. This male bonding occurs between professional partners

and long time friends Mike and Sully, the main characters. Whether encouraging each

other in physical activity, basking in the success of their professional relationship, or

sharing deodorant, it is quite apparent the friendship between the two could never be

broken; unless of course a girl threatens the relationship. Eventually order is restored and

11
the friendship is closer then ever, but the journey leads Ebrahim (2014) to suggest that

Monsters, Inc., and Finding Nemo” may be just a tad afraid of little girls!” (p. 45).

Finding Nemo: 2003

Though male-bonding exists in Finding Nemo (2003) as well, the story follows a

father, Marlin, as he searches for his son Nemo, and focuses on the connection between

father and son. Ebrahim (2014) notes the reverse of a familiar perspective in Finding

Nemo as well. In this case, “a child’s fear of loss of a parent becomes a father’s anxieties

and overprotectiveness” (p. 44). Unfortunately this protection actually was the wedge

which unexpectedly drove the pair apart at the beginning of the film. Any parent’s fear is

that of losing his/her child; additionally, this film presents the transitional stage when

parents begin to grasp the maturity of their children and the fear associated with that

acceptance. The film creates that storyline and follows the pair down the long road

toward reconciliation. Stanton admits the story itself has an emotional hold on him as

well, with fatherhood in full swing. Stanton also explains that his overprotective nature

was preventing him from enjoying time with his son (Zahed, 2003). Due to this

epiphany, “I went in wanting to make a very emotional, personal movie that indulged in

deeper issues, but wouldn’t have to sacrifice the . . . charm and entertainment value of the

previous movies” (p. 34). The film was an absolute smash with extreme box office

success and unmatched DVD sales (one of the best-selling DVDs of all time according to

Box Office Mojo); Finding Nemo has grossed almost a billion dollars for Pixar and is one

of the highest-grossing films in history. The film made several top-ten movies-of-the-

year lists and the American Film Institute named it the “10th greatest animated film ever

made.” Obviously an extremely popular film, the film was nominated for four Academy

12
awards, including best original screenplay, and won the Academy Award for Best

Animated Feature. Ebert (2003) stated that Finding Nemo is “one of those rare movies

where I wanted to sit in the front row and let the images wash out to the edges of my field

of vision” before giving the film four out of four stars. Metacritic gave it a rating of 90

out of 100 when compiling 38 reviews from professionals. This rating indicates

“universal acclaim.” Rotten Tomatoes gave the film a 99% approval rating, citing its

“breathtaking animation, talented vocal work, and a well-written screenplay.” But why

fish?

On the DVD’s commentary Stanton explains, “When I was growing up in

Massachusetts, there was a fish tank in my family dentist’s office, and I was fascinated

by it.” The decision to use fish became problematic at times because

anthropomorphizing clownfish was a unique undertaking. Pixar worked over three years

to deliver the film and discussed the impact original Disney movies had on production.

Stanton states, “when you look at classic Disney films like Bambi and Lady and The

Tramp, they make you feel that all those characters are using motor skills particular to

that species of animal, but they are also able to sneak in human gestures” (Zahed, 2003,

p. 30). Obviously, the animator’s attention to detail was well served. The main

characters are clownfish. Though one would expect the name dictated the selection,

Stanton (2010) tells National Geographic, “It was so arresting. I had no idea what kind

of fish they were, but I couldn't take my eyes off them. And as an entertainer, the fact

that they were called clownfish—it was perfect. There’s almost nothing more appealing

than these little fish that want to play peekaboo with you.” Add in their colorful

13
markings and inherent need for security inside an anemone, the perfect (albeit

unexpected) character for a long and dangerous journey was discovered.

Unlike Monsters, Inc., environmental themes do not drive Finding Nemo though

examples exist. The dynamic force in this film is spiritual in nature; more specifically,

the Bible-based concepts such as the God-like ailment of a fish named Dory, who Marlin

befriends at the genesis of his journey. Professor and religious blogger Paul Miller

(2012) explains,

Dory’s amnesia is, believe it or not, a picture of God’s character. When God

forgives our sin, he does not grudgingly keep an eye on that sin, barely restraining

himself from smiting us for it. No, he promises “I will forgive their iniquity, and

I will remember their sin no more” (Jeremiah 31:34). God actually forgets, and

this forgetfulness is part of his forgiveness. After all, love “keeps no record of

wrongs.” (1 Corinthians 13:5)

Due to her memory issue, Dory is constantly excited by the world and her surroundings.

She is grateful for each moment and is absolutely fearless throughout the film. She is a

true rock for the uneasy Marlin as he searches for his son, even when they are trapped

inside of a whale (a parallel to the story of Jonah).

During this scene, Dory is the one urging Marlin to “let go.” Marlin refuses for

fear of being eaten, but in this instance he understands his need to let go of the

overprotection habits which accidently drove his son towards capture. Lannon (2010)

finds a connection here to ideas of redemption and salvation, if we (as flawed humans)

are only willing to let go. “The very thing he thinks is keeping him alive is killing him,”

he writes, “this holding on, the thing that we think is saving us, is actually killing us. It is

14
keeping us from our Savior. Letting go, giving up, and succumbing to certain death is the

only way we can live.” The religious and spiritual overtones are so evident, one can find

that Bible studies have been created and disseminated for public consumption” (as one

example, refer to

http://www.spiritualjourneys.org.uk/pdf/dream_films_findingnemo1.pdf).

WALL-E: 2008

Similar to Finding Nemo, WALL-E touts spiritual themes throughout the film.

Some are obvious while some are subtle. In a 2008 interview in World Magazine, a

religious publication for a non-profit organization, Megan Basham quotes Stanton,

suggesting “the greatest commandment Christ gives us is to love, but that’s not always

our priority. So I came up with this premise that could demonstrate what I was trying to

say—that irrational love defeats the world’s programming.” WALL-E’s love interest is

named EVE because the loneliness displayed by WALL-E was a parallel between

Adam’s lack of connection in the Garden of Eden . . . until Eve arrived, of course (2008).

Christian journalist Rod Dreher (2008) adds that EVE also encourages humanity

to move away from the false-God like corporation Buy N Large and the slothful life it

promises. In fact, during production, a Pixar employee suggested that EVE could be

viewed as the dove with the olive branch (from the telling of Noah’s Ark). The script

was adjusted to have EVE discover a plant and free humanity from its destructive path.

Basham (2008) believes the film condemns humanity’s pursuit of leisure through

technology, whereas “WALL-E in his stewardship learns to truly appreciate God’s

creation.”

15
 Tranter and Sharpe (2012) find several warnings directed at the audience

throughout the film. Considering the representation of humans in the film, children are

provided a grim view of a life with little physical activity. In addition, we find Earth

destroyed through over-consumption and pollution. Similar to Monsters, Inc., the use of

thematic images may “motivate changes in values and behavior to enhance children’s

independent mobility and active transport” (p. 34). Moreover, environmental awareness

would ideally be raised by viewers of WALL-E.

Like Finding Nemo, WALL-E won the Academy Award for Best Animated

Feature. Additionally, it was nominated for Best Original Screenplay, as well as several

other nominations for sound. After considering 234 reviews, Rotten Tomatoes reported

that 96% of critics gave the film positive reviews. The sites reports the film is

“Charming, audacious, and timely, WALL-E’s lighthearted magic and stellar visuals

testify once again to Pixar’s ingenuity.” Similar to Finding Nemo, Metacritic assigns a

score which indicates “universal acclaim.” WALL-E was on 162 top-ten lists of film

critics in 2008. Josh Hurst (2008), film critic for Christianity Today, reports WALL-E is

“arguably the purest work of hard science fiction to appear on the big screen in ten or

fifteen years, and the world that it creates is bleaker and more dystopian than in any

American animated film you care to name” (p. 1).

Ironically enough, the film was a technological masterpiece for Pixar even while

it cautions us about the use of technology. Mattie (2014) writes that the film “vividly

imagines Francis Bacon’s ambition for technology to relieve humanity of all the

inconveniences of life” (p. 12). The film presents a dystopian society built on the

convenience of technological advancements. In fact, humans must struggle to free

16
themselves from these bonds. Herhuth (2014) summarizes, “the film exemplifies themes

of modernization and subversion, and it demonstrates how a playful alienation of

naturalized norms can distract from the narrative’s perpetuation of specific cultural

values and practices” (p. 53).

Stanton admits WALL-E aimed to open up the audience’s experience (Schlender

& Tkaczyk, 2006). As WALL-E is delivered through methods typically reserved for art-

house-type films (little dialogue with characters driving thought using motion and facial

expression), Stanton is not only asking much from the audience, but also from his staff at

Pixar. Stanton addresses the thought that he would have to convince the Braintrust to

create such a film. Asking animators create characters that express human emotion

without dialogue and do not display common facial features was a challenge. The

animators would soon realize the difficulty in discovering a grammar which would work

for robots (Solomon, 2008), but the results speak for themselves.

Stanton and Spirituality

The belief that the act of loving truly changes people is common throughout

Stanton’s work and many environmental ideas have firm foundations in the Christian

faith. The teachings of Jesus have often been the genesis of these scripts and have been

woven together in several successful Pixar features. Through the aforementioned

writings and subsequent interpretation of the films, I hope not only to discover common

environmental themes in the work of Stanton, but also other connective themes. Ideally,

these connective themes can aid in exploring how these animated films send messages

about responsibility toward the environment. At the same time, and maybe more

17
importantly, how can Christians and other spiritual viewers derive meanings from such

films?

Concerning the concept of redemption, in the artifacts being reviewed the

audience can discover a son who earns back the trust of his father (Finding Nemo),

humans are once again gifted Earth to act as stewards over the planet (WALL-E), and

even Monsters can gain back the trust of the children they once scared for vicious

purposes (Monsters, Inc.). Certainly then, one could find spiritual themes present within

these films related to redemption and even salvation.

Though Stanton relates and recounts the parables of Christ to craft films, the

messages are often hidden. In short, though some will instantly recognize the religious

messages, some may not. Furthermore, these ideas are appreciated not only by

Christianity. In fact, many organized religions teach and value similar messages.

Moreover, even those who do not associate with organized religion understand the

messages to love one another (WALL-E), be kind to the meek (Monsters Inc.), and honor

your father and mother (Finding Nemo). It is evident these ideas are not reserved by one

religion (or even religion at all); instead, they simply promote a general sense of positive

community and spirituality. Additionally, one does not have to be religious in order to

grasp environmental responsibility.

To examine these films, I will use the dramatistic method described by

philosopher Kenneth Burke. Using this method is beneficial in cultural criticism because

Burke “bridges the disciplinary gap between cultural studies and rhetoric” (Holterhoff,

2010, p. 51). While authors who engage in rhetorical criticism often focus on persuasive

language and techniques that are employed in order to get specific results (such as the

18
frames a rhetor aims to develop), Burke’s ideas also include Humanist and philosophical

elements.

Understanding Representations of the Environment within Popular Culture

Once upon a time, the frontier myth represented Americans moving to the West to

colonize the vast wilderness. The East was considered cramped and crowded, old and

stuck in tradition, and dirty and grim with few positive possibilities for many of its

citizens. Since the historic settling of the west has begun to subside, space now appears

to be the future expression of the frontier myth. Nonetheless, another possibility remains

for those settlers who wish to remake their surroundings. Rather than moving to another

location and beginning the process again and again, citizens can look at their current

location and begin to examine unique possibilities to adjust their status while remaining

close to home, as evident in WALL-E, Finding Nemo, and Monsters Inc.

In order to grasp potential environmental themes which exist with the Pixar films

selected, I will look at the most common myth presented within environmental rhetoric.

Dorsey (1995) writes, “myths . . . constitute an essential community-building force. They

bridge differences and promote commonality among human beings by framing their

everyday reality in an almost mystical way” (p. 3). The most popular of these myths is

the frontier myth (also known as frontier thesis). All three films employ elements of this

myth, a helpful method to express environmental themes and visions.

Anderson (2007) explains the frontier myth as “a cultural narrative that, to

varying degrees, recapitulates the mythical frontier, which has been central to the

American imagination since the time of the Puritans” (p. 1). In fact, America has built its

mythic identity upon the frontier (Rushing, 1986). “The Myth,” Dorsey (1995) affirms,

19
“offers an account of how the constant challenge of an unknown and limitless frontier

turns some individuals into martial heroes who, because of their epic struggles, come to

symbolize American values such as progress and prosperity” (p. 2). Simply stated,

advancements through struggles represent American development (Short, 2004). Tirman

(2009) recounts that the myth includes feelings of limitless possibilities of the American

Dream, the expansion of both citizens and American values, and domestication of the

West and other faraway places. This stabilizes the “essential virtue of the American

people who explore and settle these frontiers” (Tirman, 2009, p. 30).

The validity of this myth in these films relates to a lack of migration between

locations (East to West); in fact, in Monsters, Inc. and WALL-E we discover that rather

than leaving and settling elsewhere as previous humans have done, settling and altering

paradigms to sustainable environmental practices humans can achieve limitless

possibilities, expansion, and domestication. There are three essential structural elements

of this myth. These include, “the conqueror (hero), the frontier (universe), and their

interaction (narrative)” (Dorsey, 1995, p. 5). When these three parts are present, the

myth imparts concepts of American’s moral right to resources, cultural superiority in

comparison to the “other”, and limitlessness in any challenge we choose to accept

(Tirman, 2009). For this project, it is important to note Rushing’s (1986) idea that the

frontier narrative can adjust potential destinations for travelers.

One of the most popular science-fiction television programs ever made was Star

Trek. Before each episode, the captain of the ship narrated a monologue proclaiming

space as the final frontier. Nowadays, it appears we are less enthusiastic about the

rangeland of the West and genuinely excited by the stars and the Universe, and “unlike

20
the city, space again seems infinite” (Rushing, 1986, p. 266). Rushing (1986) also

attributes the increase in the public’s imagination with space when John F. Kennedy set a

goal of space exploration and referred to space as “the new frontier” (p. 266). WALL-E is

partially set in space (especially during the dystopian portions of the film), Finding Nemo

is set in the Oceanic world, and Monsters, Inc. takes place in a fictional world of

Monsters. Perhaps the Myth can even extend to fictional settings within films?

Moreover, Dorsey (1995) posits newer versions of the Myth undertake new frontiers

which provide “never-ending progress, infinite challenges, and, paradoxically, the

potential to reach those goals; the point being that the cycle never ends” (p. 17). Even

though a frontier, place, or space may switch locations, the lure of the frontier myth still

occupies rhetoric.

The Tragic and Comic Frame

Foundational concepts of his theory of Dramatism, Burke’s ideas deal with the

tragedy and comedy of the theatre through a focus on frames and these will be discussed

in detail. In Attitudes Toward History, Burke (1984a) relates the comic and tragic frames

to rhetorical artifacts. In its most simplistic form, comedy offers hope through discovery

to an audience, while tragedy essentially suggests humans are all doomed (Burke, 1984a).

Obviously then, American animated films aimed at children (even if adult themes are

present) utilize comedic elements. Considering this, the review of literature will include

information pertaining to comedic frames; more important, it will address the ways in

which animated films have been examined.

Burgchardt (2005) writes, “Dramatism is more concerned with the philosophical,

psychological, and sociological questions” (p. 187). Considering these concerns,

21
rhetorical motivation(s) of the rhetor are worth investigating. Art forms, such as the

previously-mentioned tragedy and comedy, in addition to epic, satire, and so on, provide

individuals and groups with the symbolic assets and approaches to undertake and

(ideally) resolve problems they face, both in the personal and historical sense (Burke,

1984). Moreover, the realities rhetors try to represent in texts are quite valuable when

gauging the overall impact of a rhetorical situation. Burke (1966) defines the terministic

screen as the reality that an audience brings to the situation based on its particular use of

particular language, or terms. This screen functions as a kind of filter that often

determines an individual’s perception of symbolic action in the world and aids us in

understanding a symbiotic relationship between language and ideologies. Such screens

could certainly influence an audience as all language is strategic and rhetorical. When

considering these animated films are aimed at children, the terministic screen each

individual brings when viewing the film could influence the acceptance of a rhetor’s

message.

Sociologist Erving Goffman (1974) describes framing as a construction of reality.

In social sciences, these concepts and theoretical perspectives are influenced by social

constructions; such as mass media, social movements, politics or politicians, or other like

actors. Communication from these entities can aid in an audience’s construction of

reality. Goffman (1974) felt individuals cannot fully understand the world; therefore,

each person struggles to interpret life experiences and constructs reality in order to make

sense of the world. Cunningham (2007) writes, “we all frame things, often

unconsciously—it is how we organize and comprehend reality” (p. 37). Scheufele and

Tewksbury (2007) report that issues of framing in more recent times are “based on the

22
idea that mass media has potentially strong attitudinal effect, but also depend[s] heavily

on predispositions, schema, and other characteristics of the audience” (p. 11). In popular

culture, including Pixar films, the way a message is framed can affect the perception an

audience may have on the message. As one would expect Pixar to do, films are framed

using elements of comedy.

In Language as Symbolic Action (1966) Burke concludes, “Mankind’s only hope

is a cult of comedy . . . . The cult of tragedy is too eager to help out with the holocaust”

(p. 20). Considering this, understanding elements of comedy in the actions of characters

may in turn aid in the very survival of humans. Even though they often present unique

concerns and propose tragic consequences that popular culture can envision, comedic

elements create comedic frames. It should be noted Burke’s reference to “comedy” does

not promise an event is humorous rather than serious. Instead, “the comic frame is

defined by a posture of humility, gentle prodding, and optimism for a better shared future

through a repaired social order” (Olson, 2007, p. 268).

Burke describes the comic frame in Attitudes toward History (1984a). “Human

enlightenment,” he writes “can go no further than in picturing people not as vicious, but

as mistaken. When you add up that people are necessarily mistaken, that all people are

exposed to situations in which they must act as fools, that every insight contains its own

special kind of blindness, you complete the comic circle, returning again to the lesson of

humility that underlies great tragedy” (p. 41, emphasis in original text). And though

Burke notes that dramatic productions warn viewers that pride often comes before the fall

of actors, we see a shift as the emphasis in comedy is on stupidity rather than criminality.

It becomes clear then that missteps are innocent and often fixable, depending on the

23
realities of the viewers. One philosophical concept which is present in religion considers

humans as fallible and often unworthy of spiritual reward. In addition to the use of the

comic frame by Pixar, it may be safe to assume that spiritual messages may enhance on

our ability to recognize faults, and aid us in remedying such issues. In fact, examples

exist in Wall-E, Monsters, Inc., and Finding Nemo.

Burke and Terministic Screens: Our Impact, Our Nature, and Outline of Thesis

Though individuals reside in the same community, many have different visions of

how society should exist. Whether looking at segregation, women’s rights, or marriage

equality, the Bible can be used to support causes that are in opposition. In many cases it

could be due to citizens’ perceptions of social problems which forges such disconnects.

Using Burke’s (1966) words, individualism is a terministic screen through which we

comprehend and communicate social issues. We “select” certain portions of our reality

based upon common terms and perceptions; moreover, since we can select portions of

reality, Burke suggests we can “deflect” others (Burke, 1966, p. 45). As an example, the

term “parking garage” may invite different thoughts in men and women. As these are

often used at sporting events, men may associate the term with positive feelings.

Women, on the other hand, may consider parking garages dark, empty, and unpatrolled

which develops feelings of fear and insecurity. Burke (1966) writes that our realities are

created for us through our symbol systems. For instance, if we remove books from

schools, then what is really known of history? Even through personal experience, which

can add such a tiny perception of the big picture, the overall picture we envision is

created through symbols. Due to this, we can more easily understand one perception

while other kinds become more difficult to gauge. As Rockler (2003) writes, “Americans

24
who operate within the terministic screen of individualism may share a vocabulary that

allows them much insight into individual behavior, but they may lack insight into the

complexities of social problems” (p. 100). Every word we choose also says something

about the society in which we reside. In order to explain acceptance of one reality over

another, we rely on our symbols to explain our decisions. Stob (2008) explains,

“Language reflects, selects, and deflects as a way of shaping the symbol systems that

allow us to cope with the world” (p. 139). This coping requires an action of some sort.

In this way, Burke feels our observations are shaped by our nature and when we look at

societal issues, we also develop frames.

For instance, in Attitudes toward History (1984a), Burke asks that his audience

reframe ideas of “efficient” farming practices. As opposed to the scientific and/or

technological frame, rethinking efficient practices through the lens of ecologic balance

doesn’t promote a feeling of progress, but rather exploitation (Siegel, 2004). As ecology

relates to the relationship between living organisms, humankind can be viewed as

manipulating many living things to support survival. It becomes challenging to recognize

humans working as a positive when one factors in the massive destruction and dominance

we still enact today. Such effort to rethink current situations, and even revisit previous

successes in sustainable practices will also be an important contemplation for this thesis,

especially with the grim future which is painted in WALL-E.

Four research questions will guide the thesis and in order to answer these research

questions, I will analyze three films created by Pixar using the dramatistic pentad. The

second chapter will present the research questions and the method of analysis for the

study. Chapter three will analyze the three texts and chapter four will discuss the

25
implications of the study. This chapter has reviewed the literature related to Disney,

these specific films, and the role of the comic frame in dramatism. This review of

literature suggests a need for a rhetorical analysis of these films, particularly as it related

to the link between environmental and spiritual themes. It is clear that Stanton, the writer

for the films, believes they are linked, but this has not been explored in the scholarly

literature. Though these films have been reviewed for potential environmental themes

(particularly WALL-E and Monster Inc.) and even subjects of Christianity/spirituality

(WALL-E and Finding Nemo), little research has tried to connect the two. I intend to

examine this gap.

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 CHAPTER TWO: DISCUSSION AND METHODOLOGY

While Disney/Pixar films have been the subject of rhetorical criticism for some

time, previous research has not focused on spirituality or environmentalism. In the

previous chapter I described Pixar’s evolution and its eventual connection to Disney.

This ushered in new types of characters, plotlines, and themes in the films. While these

themes may be unique to the typical Disney movies, Pixar and the Braintrust in the

organization, especially in the ideas and roles of Andrew Stanton, have adjusted ideas

and formats slightly without sacrificing the financial success Disney is accustomed to. In

addition, three films have been introduced and briefly outlined so the reader can begin to

gain a general understanding of their plotlines. Literature pertaining to these films has

been reviewed as well. Considering the gaps discovered through the review of literature,

four research questions will guide this thesis. These are:

RQ1: What kinds of environmental themes emerge in the animated films written

by Andrew Stanton?

RQ2: What kinds of spiritual themes emerge in the animated films written by

Andrew Stanton?

RQ3: Do the films link attributes of spirituality and

conservation/environmentalism?

RQ4: Does the dramatistic method allow insight into the philosophical structures

of the films?

Given Stanton’s beliefs and goals, as described in chapter one, I will examine the films

for themes related to spirituality and environmentalism. To examine the films, I will use

Burke’s theory of dramatism and analyze the main components of the film using the

pentad.
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 The Method

Using the Pentad to Examine Artifacts within Popular Culture

Rhetorical critic Sonja Foss (2004) explains, “pentadic criticism is rooted in

Burke’s notion of dramatism, the label Burke gives to the analysis of human motivation

through terms derived from the study of drama” (p. 383). There are two basic

assumptions that are important to an understanding of dramatism. First, the use of

language constitutes action rather then motion (Burke, 1969). Burke explains that motion

deals with bodily processes, such as growth, respiration, digestion and other like

procedures which maintain biological needs of organizations. Many of our choices are

because of biological needs, such as seeking food to nourish our bodies. On the other

hand, action relates to neurological beings, and requires intention. In short, without

intent, there is no action, only motion. In Burke’s concepts, the ability to develop

language or acquire a system of symbols used to communicate ideas begins to form

action.

Action involves three conditions. One is choice or the freedom to choose. As

Foss (2004) writes, “if we cannot make a choice, we are not acting but are being moved”

(p. 384). Certainly humans can never achieve complete freedom, but action does involve

some choice by individuals. Another condition suggests that a purpose is a necessity for

action to exist. We must be selecting at least one option of available choices and that

becomes our purpose in an action. Finally, action cannot exist without motion (Burke,

1969). While motion exists without action (through gravity a tree falls down), the

opposite is not true; action cannot exist without motion (Foss, 2004).

Burke’s ideas regarding motion and action focus on the development of a symbol

system (letter, words, pictures) which humans use to communicate and express ideas.

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Once an agreed-upon symbol-system is in place, it becomes virtually impossible to

accomplish anything simply in a motion phase. Foss (2004) outlines an example using

cooking. While we could look at the act of eating as motion since it does accomplish a

biological need for nourishment, “creating a meal is impossible without the involvement

of our symbolic concepts of eating” (p. 384). As food is selected based upon preferences

and tastes and a group sits down to a table which has been set in an aesthetically pleasing

manner, preparing and serving food becomes an action in which participants can discover

meaning through the symbolic processes as we consume food (a biological need).

In addition to these observations, Burke believes that humans create and deliver

messages through means which are similar to the way theatre is presented. How we

receive messages while viewing a play will also affect the way we describe the choices

and action in a similar context. Considering this, “our language, then, provides clues to

our motives or why we do what we do” (Foss, 2004, p. 384).

Burke (1966) identified five elements of drama that can help critics understand

what is going on in the rhetoric; these elements include act, agent, agency, scene, and

purpose. The agent is the actor, often considered the protagonist. The act would be the

major action taken by that agent. The agency is the means the rhetor uses to perform the

act. The scene includes the location and/or situation in which the act is taking place. The

purpose deals with what the agent intends to accomplish by performing the rhetoric

(Burke, 1966). When used by a critic, these elements are similar to a reporter asking

questions relating to who, what, when, where, why, and how. Obviously, it is the critic’s

responsibility to identify and pair these elements in order to conduct a rhetorical analysis

and gauge a speaker’s intention or a text’s perception.

29
 Ling (1970) writes, “the pentad evolved out of Burke’s attempts to understand the

basis of human conduct and motivation” (p. 81). While discovering the terms is the first

step, discovering what element dominates the rhetoric is vital to providing insight for the

text and discovering the motivation of the rhetor and what potential action he/she hopes

the audience will enact (Foss, 2004). Ling (1970) argues that “it is possible to examine a

speaker’s discourse to determine what view of the world he would have an audience

accept” (p. 82). Foss (2004) explains that once one discovers the dominant term(s) in

rhetoric, “they can be used to identify the philosophical system to which it corresponds”

(p. 389). The philosophical system can lead a critic to determine definitions of a situation

a rhetor is aiming to present to an audience, what it can mean for both parties, as well as

its possible consequences (Foss, 2004).

The process to discover these dominant terms involves applying ratios. Foss

(2004) suggests that, “application of the ratios involves the systematic pairing of the

elements in the pentad to discover the relationship between them and the nature of the

influence each has on the other” (p. 387). Each element may be paired to create 20

unique ratios (scene-act, act-scene, agent-purpose, agency-agent, as examples). After the

pairing, the critic looks for which elements dominate the rhetoric and what persuasive

components are present in the artifact. The value of this process is to determine what

situation a rhetor hopes to persuade his/her audience to believe. Burke (1969) suggests

the important aspects of rhetoric can only be discovered through an examination of the

ratios. Gauging effectiveness of an artifact remains critical for a critic, so too is

analyzing ratios to discover effective rhetorical strategies which can be employed.

The key is to determine whether the first term affects or guides the nature of the

30
latter. Foss (2004) explains that this work is done behind the scenes by the critic.

Comparing each term to the other is critical because it leads a critic to the dominant term

or terms in an artifact. Each term is connected to a different philosophical system;

therefore, through determining ratios within each selected artifact, a critic will also

discover philosophical concept which is presented to an audience.

If the artifact features act, the corresponding system is realism, which Burke

(1966) suggests that “universal principles are more real than the objects as they are

physically sensed (Foss, 2004, p. 389). If the artifact features agency, the corresponding

system is pragmatism, which Burke (1966) felt is the means necessary or needed in order

to accomplish some sort of goal. If agent is highlighted it suggests a philosophical

system of idealism, which Burke (1966) felt “views the mind or spirit as each person

experiences it as fundamentally real, with the universe seen as mind or spirit in its

essence” (Foss, 2004, p. 389). If purpose is featured, mysticism is the philosophical

system that is highlighted. Mysticism supports unity over individuality and some type of

universal goal or cosmic purpose is supported. Finally materialism is a philosophical

system present when scene is the dominant term. Materialism suggests that “all facts and

reality [are] explainable in terms of matter and motion or physical laws” (Foss, 2004, p.

389).

In terms of the films for this thesis, what philosophical construct is being

presented to children when viewing Monster, Inc., Finding Nemo, and WALL-E and why

is that important to the effectiveness of the message? As an example, if Stanton hopes to

deliver Christian messages through his films, perhaps featuring artifacts which focus on

scene and a philosophical system of mysticism would be beneficial because the construct

31
features identification with a universal purpose. Through analysis of dominant elements

and similar philosophical themes are present, perhaps we can also discover if spirituality

and environmentalism are connected as well and the potential impact this connection

could have on children.

Certainly, dominant themes can overlap as well. Burke (1969) refers to this as

“Ubiquity of the Ratios.” In short, any two dramatic elements can be examined

concerning their relation to each other. As an example, a scene can have restrictions on

the agent which in turn influences scenarios within a narrative. In Finding Nemo, the

ocean is relatively free of human life. When humans capture fish (as pets or food) or

pollute the ocean, the ideas and perceptions that marine life has about humans are

dramatically affected. So while analyzing the major elements in the three films will be an

important first step, understanding the ratios present in each film could easily offer

insights into the rhetor’s (in this case Stanton and others at Pixar desired outcome or

effect. Likewise the frame, whether comedic or tragic, in animated features can also

affect an audience’s perceptions of the messages presented in an artifact.

Since there is value in researching artifacts which are similar in nature in order to

find common themes, the films should be considered part of a larger genre; analysis of

this sample will provide appropriate insights into the larger body. In addition to Stanton

having a hand in the creation of the screenplays for the selected films, all were produced

through Pixar. Therefore, these films can be related in terms of content (story structure

and elements of theatre) and capitalistic (profit-seeking) methods.

Pentadic criticism was selected due to its intense focus on the elements of drama.

In addition, cluster analysis will help determine whether a connection between spirituality

32
and environmentalism exits, at least theoretically. In Attitudes toward History (1984a),

Burke presents ideas about how certain terms mirror individual’s motives as well as their

approaches to action. When rhetors use such terms, they form into what Burke called

clusters. Burke (1941) defines clusters as vocabularies which begin to be associated with

another during a rhetorical act. In order to perform cluster analysis, three steps are

necessary. First, the critic must identify key terms. These key terms are topics, subjects,

and even arguments that are present in a text. After this step, the critic should identify

clusters based upon associations. In this process, surrounding elements are

related/associated with the aforementioned key terms; again, this collection is referred to

as a cluster (Foss, 1996). The final step of the process involves a critic studying each

cluster to signify its denoting key term. Through this process, a rhetorical critic can

understand how an artifact may present a key idea (Foss, 1996). The term which emerges

from the analysis often aids interpretation of the artifact.

The use of comedy can often inspire connections with the audience and also aid in

the development of self-awareness. Lewis (2002) writes, “comedy shows a view of life

issues and existence through the lens of laughter, as well as humor-filled commentary

concerning traditional community values” (pp. 154-155). Through comedic acts, an

audience can connect and find humor in their shortcomings. Such concepts will be

paramount in determining the potential impact of these films. If it is fair to assume that

these films are aimed at children, it is also fair to assume that adults would watch the

films with children. This leads us to speculate that a child’s belief in a specific theme

presented, in this case environmentalism, may directly affect the adult’s behaviors. For

instance, after the release of Finding Nemo, children’s interest in fish rose dramatically

33
(Osterhoudt, 2004). Though the film’s message seems easy enough to grasp (fish

confined in a tank is bad for the species), children may have missed the point.

Osterhoudt, (2004) writes, “although this clownfish-buying fad seems innocent, it poses

real harm to tropical reef ecosystems—the natural home of Nemo and his friends” (p. 10).

Obviously after a piece of art is introduced and viewed/consumed by an audience, each

person can develop meaning which may contradict the rhetor’s goal. In a case such as

this, what influences do adults have on children in promoting the meaning of the film?

Any criticism requires an in-depth examination of specific artifacts. In addition

and as previously outlined, using a pentadic method requires labeling the elements of

each selected text (step one), identifying the dominant element or elements using ratios

(step two), and analyzing the terms to determine a philosophical construct or meaning

(step three). In order to accomplish this task, each film will be viewed by the author and

coded for the parts of the pentad (act, agent, agency, scene, and purpose). Themes will

be identified and grouped in order to identify appropriate clusters, especially as related to

environmentalism and spirituality. This follows the basic format of a cluster analysis as

outlined by Burke. Again, considering the ostensible target audience here is children, the

philosophical constructs should offer unique insights into potential action which the

audience may enact. Judging the long term impacts of these films for environmental

consciousness could be interesting. Whether the topic is reliance on one form of energy,

the need to recycle and limit overconsumption, or supporting a natural habitat for all

living things, these films are valuable to rhetorical scholars for addressing effectiveness

of environmental arguments directed at children.

34
 Ironically, Finding Nemo was so immensely popular that clownfish were

threatened with extinction. Shaye Wolf of the Center for Biological Diversity released a

statement for the press on September 2, 2014 which read, “The United States is the

world’s largest importer of ornamental marine fish, and clownfish are among the most

commonly traded species worldwide. Studies suggest that clownfish and other

anemonefish are suffering population declines in the wild because of overharvesting for

the aquarium trade” (see

http://www.biologicaldiversity.org/news/press_releases/2014/clownfish-09-02-

2014.html).

Burke’s (1966) fascination with rhetoric dealt with his interest in discovering

symbolic ways to bring people back together. In fact, he considered the connection to be

the goal of rhetoric. Humans strive for order in their World; so much so in fact, humans

naturally struggle to restore order during times of disarray and tragedy. Burke calls this

process victimage, which is one method of purification. Through his discussion of

victimage and redemption, Burke pointed out that spiritual purification is an important

and symbolic gesture in religion. The idea of aiming for purity, or receiving through

various acts, often demonstrates the connection a person has with faith; and if not

connection at least a commitment towards a belief structure. Could such films spark an

interest in youth to connect with the sensuous and spiritual world and strive to be what

God anticipated (see Genesis 1:26), his stewards of the Earth? Certainly, long term

influences of these films in relation to environmentalism and spirituality could prove

exciting.

35
 The Texts

Though not critically acclaimed, Monsters, Inc. (2001) was a financial success for

Pixar. For this, Pixar’s fourth major release, Stanton took the screenwriting duties with

the aid of Daniel Gerson. Though not credited with the original idea of the text, Stanton

was no doubt instrumental in the final project. The film is set in a parallel universe

inhabited by monsters. These creatively animated creatures face a problem in common

with the human world, an energy shortage.

Finding Nemo (2003) was another massive success for Pixar, also winning an

Academy Award for “Best Animated Feature” in 2004. Taking place in the vast and

often unknown ocean, the story follows a father as he searches for his son who has been

kidnapped and placed in an aquarium at a dentist’s office. The animation is nothing sort

of spectacular as we are treated with a glimpse of a natural setting humans have not yet

completely destroyed.

WALL-E (2008) won numerous awards, including both the Academy Award and

the Golden Globe in the category of “Best Animated Feature” in 2009. The movie

employs elements of fairy tales, dystopian science fiction, classic musicals, and

traditional love stories.

The next chapter will examine these three films through the pentadic method, and

discover the dominant terms in each. In addition, ratios will be discussed to provide

ideas to the dimension of situations outlined in the films and what Stanton and his team

(as the authors of the texts) considered more important. Philosophical systems

(pragmatism, realism, idealism, materialism, mysticism) will be identified and analyzed

to discover what worldview an audience may be led to accept. Finally, I will consider

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whether each film promotes the same philosophical construct to an audience.

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 CHAPTER THREE: DATA ANALYSIS AND FINDINGS

At this point, I have introduced the films I intend to analyze, which include

Monsters, Inc., Finding Nemo, and WALL-E, and have also outlined the method which

will be utilized in order to complete this rhetorical criticism. In the previous chapter, I

reported on Burke and his concepts of action vs. motion and the necessary elements a

critic must identify in a pentadic examination. In this chapter, each film will be

introduced and, as before, the order of the films is chronological by date of release. Each

element of the pentad will be discussed and the dominant terms in the films will be

analyzed, with examples of ratios included in the discussion. This process will prepare

the reader for chapter four, which will discuss the implications of the study.

Monsters, Inc.

In Monsters, Inc. the main characters are working-class factory employees. James

P. Sullivan, nicknamed “Sully,” is a massive, blue-furred beast with expressive eyes and

small white horns on his head. Aided by his assistant and roommate Mike Wazowski, a

short green monster with a lanky frame and one giant eye, Sully is the top employee at

Monsters, Inc. A unique energy crisis is currently being avoided by hiring “scarers” who

are responsible for creating a solution to the massive blackouts that loom over this World.

The fear and screams of a child can be converted into energy through a technological

process, which is good news for the monsters. Entering through closet doors into the

world of humans, scores of “scarers” sneak into children’s rooms at night in order to

prevent any shortage of power. The bad news for Monster Inc.’s chairman Henry J.

Waternoose III, a spider-like aristocrat, is children’s ability to withstand previously

successful scare tactics. Adding to this insanity, humans are thought to be toxic and one

touch could be fatal for a monster. Even a sock causes a stoppage on the “Scarefloor”
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and the silliness of the CDA (Children Detection Agency) arrives to disinfect and cleanse

the toxicity of the human artifact.

Since the team of Sully and Mike are the most successful energy producers at

Monster Inc., this creates a schism with Randall Boggs, who is a great scarer in his own

right but does fall short of Sully’s ability. A slimy, chameleon-type monster, Randall

becomes instrumental in the plotline when he leaves a closet door still activated and a

young girl named Mary Gibbs wanders into the World of Monsters. Sully, his heart as

big as his stature, finds her and cannot in good conscience give her to the CDA. In a

scene of contradictory comedy, the two-year-old scares both Sully and Mike as they try

to find a solution to the new-found problem without risking both their positions in the

community and their possible freedom from breaking Monster Law. It becomes obvious

the child is not toxic, so Sully begins to question the solution to the energy crisis and

becomes attached to new child, nicknaming her “Boo.” In a failed attempt to get Boo

back to her bedroom, Randall comes across the child and tries to kidnap her to solidify

his own solution to an energy crisis. Though he fails and captures Mike instead, he

reveals his plan. In line with the previous practices of big business and Monsters, Inc.,

Randall has created a “Scream Machine,” which is a crude torture machine that extracts

screams from helpless children for the benefit of an over-consumptive society. With this

invention, Randall aims to make previous tactics and practices useless and also relatively

kind compared to the “Scream Machine.” Sully rescues Mike and quickly informs his

boss of the extreme tactics Randall aims to implement; nonetheless, Waternoose banishes

the two as the audience discovers he and Randall have stooped to illegal measures to

provide society with the energy it desires.

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 Sully, through his relationship with Boo, discovers another resource that has been

unutilized by previous leadership at Monsters, Inc. In a wonderful and friendly twist, as

it turns out, a child’s laughter and joy produces far more energy than fear and screams.

After Mike and Sully cleverly get Waternoose to admit to the aforementioned tactics, the

CDA arrests him. This ends a long investigation into the company and the leadership

provided by Waternoose and his cronies. These tactics, at the least illegal and at the most

evil, halt and a new solution to the energy shortage begins.

Ironically, the most successful scarer at Monsters, Inc. saves the company and

solves the energy crisis through his gentle intelligence, his forged relationship with a

toxic child, and his willingness to question the status quo. The future for both Worlds

looks bright and full of hope, as scarers and previous power-generating tactics become a

thing of the past and human children can sleep easy in their beds. That is, of course, after

the retrained Monster arrives and entertains him or her and harvests laughter to power

society.

The film concludes as Sully saves Monsters, Inc., all while reducing the workload

and stress and increasing the workers’ satisfaction and enjoyment. Having smashed

previous assumptions about power shortages, consumption, and human toxicity levels,

Sully rewards himself with a trip to his true inspiration’s home . . . a young child named

“Boo.”

The Five Terms: The Basic Elements of Theatre in the Film

The agents, or protagonists, of Monsters, Inc. are Sully and Mike. In fact, Sully

and Mike (though not always together) are in all but one scene presented to the audience.

The first exception to this is the opening scene in which Waternoose outlines the need for

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employees like James P. Sullivan; workers who are “confident, tenacious, tough, [and]

intimidating.” The viewers are given a grand introduction to one of the agents before he

has even been introduced visually, which may also explain why he is constantly fawned

over by lower employees (who giggle when Sullivan asks they refer to him by his

nickname Sully) and has won “Scarer of the Month” for eleven consecutive months.

Though Mike is not mentioned by Waternoose, in the next scene we see him waking

Sully and putting him through various exercises. This morning work-out involves

various activities which aid in his tactics to scare children, avoid parents, and work off

the “flab hanging over the bed.” If Sully is the model employee at Monsters, Inc. then

Mike is the ultimate motivator.

The act of the story is for Sully and Mike to provide energy to Monstropolis and

the major action taken by the two deals with their responsibility at Monsters, Inc. In the

beginning of the film it becomes obvious that an energy shortage is wreaking havoc on

Monstropolis. Headlines in the local newspaper read, “Rolling Blackouts Expected” and

the evidence mounts that Monstropolis is under an extreme scream shortage. Sully,

through scaring children, and Mike, through providing resources to Sully, are responsible

for providing a service to the citizens of the Monster world. Even by the end of the film,

when employees discover that laughter is a more viable and abundant source of energy,

Mike is viewed performing standup comedy for a child to utilize laughs for future use.

The means and instruments (the agency) used by Mike and Sully to accomplish

the aforementioned act include elements of fear, ingenuity, and even comedy. Sully

consistently practices baring his teeth, growling, grunting, and startling children.

Obviously he understands his role to provide energy to the city and takes it quite

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seriously. Interestingly, the largest impact that Sully has on his duty is when he discovers

that Boo’s laugh creates a power surge. Rather than through brute force and fright, his

resourcefulness in discovering the power of laughter eventually leads to removing the

crisis and restoring the city’s power for generations to come. In terms of Mike and his

ability to gain energy by the end of the film, the mood alters to much more silliness and

comedy. He stands with a microphone to simulate a stand-up comedy act. When things

don’t go well, he resorts to making bodily function noises in order to make the child

provide resources for the city.

The scene is Monstropolis, the city/world where Monsters live; but the scene

involves an energy crisis. In this situation, the audience can also see parallels with our

own environments. The human world is mentioned and even visited briefly by Sully and

Mike. Obviously, each goes to extract energy from children, but their stay is brief. In the

beginning of the film, neither Sully (no matter how brave) nor Mike chooses to loiter in

the human world due to their fear of children’s toxicity. The audience quickly learns that

“there is nothing more toxic, more deadly than a human child” when Waternoose

explains the need for employees. Even though rhetorical acts do take place in the human

world, the scene is Monstropolis and the film begins to take shape when a child enters

into it.

Finally, the purpose of many characters’ behavior in this film deals with the

concept of duty. On one hand, we have employees’ responsibility when at work. Both

Mike and Sully made a commitment to Monsters, Inc. and complete assigned tasks well.

Sully is more than a model employee; he is a legend at the company for his commitment

and his results. At the end of the film, he is also the company’s new CEO, leading

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Monsters, Inc. into an exciting and optimistic future. He is committed to his duty in the

organization, as is Mike. But by the end of the film, a higher obligation presents itself to

the agents.

As an overview of the five pentadic terms in Monsters, Inc., the film is presenting

this situation to the target audience of children. Since there is an energy shortage in

Monstropolis (scene), a company must rely on ideal employees (agents) to provide

energy to the Monster World. Two model employees are remarkably successful

throughout the film, whether scaring children or making them laugh (agency), in aiding

the company. Though committed to the organization and willing to carry out cruel tactics

at times and humiliating performances in other circumstances (act), the end of the film

proves the commitment of the two was a sense of duty (purpose) to all kind, whether

monster or human.

The Dominant Elements of the Film: Monstropolis and Duty in Monsters, Inc.

Through analysis, I have discovered two dominant terms in Monsters, Inc. First

and foremost, the scene of an energy shortage influences many of the decisions made by

the agents in the film. In fact, as far as ratios are concerned the scene directed the nature

of the each remaining element throughout the film. Examining scene-agent, Sully, being

the face of the organization, and Mike, his friend/trainer, each were dramatically affected

by their place of employment and the monster world in general. Certainly in the

beginning of the film, the lack of viable energy determined many choices of the pair.

The scene also affected the agency in Monsters, Inc. Agency includes both

scaring children and making them laugh to draw energy to be used in Monstropolis and

the scene aided in the instruments used to accomplish tasks. As previously mentioned,

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whether the means involved teeth (Sully used to scare children) or a microphone (Mike

used to entertain children), the scene directly influences the agency within the film.

Adjustments within the film (scaring vs. laughter) made to the scene further demonstrates

how agency was adjusted. Looking to scene-purpose, we find similar results. The goal

to provide energy to the masses and fulfill a sense of responsibility remains the same.

The scene, then, influences the idea and conception of duty.

After the pair discovers the evil intent of Waternoose, as aided by Randall, the

duty becomes to protect and shelter Boo from such forces. In this sense, the duty to

complete a job at any cost shifts to protect a child regardless of personal safety,

professional risk, and even stress on a stable friendship. While Mike seems to spearhead

and drive the idea of returning Boo to the human world as soon as possible, Sully begins

to question the propaganda pushed on monsters that human children are toxic and deadly.

Sully, above all others in the film, completes his duties and is often rewarded; whether

with fame, success, or a reservation at a hip restaurant. As further evidence of Sully’s

commitment to duty, during the energy shortage he forces Mike to walk to work. While

Mike lunges to the car and even whispers sweet-nothings about missing “her”, Sully

simply responds that each monster needs to do his part and make sacrifices during the

scream-shortage. Though considered a model employee in the organization, Sully never

lets his fame influence his sense of duty. This is a common theme throughout the film

where the scene of an energy shortage directly affects the other elements.

In addition to the scene influencing other elements, so, too, does the previously-

mentioned purpose of duty. After analyzing the film, the concept of duty resonates in the

main characters. Mike, with his constant support of Sully, satisfies his need for

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recognition through an understanding of his role in the friendship and the organization.

As an example, during a new commercial touting the efforts at Monsters, Inc., the

audience views Mike waving and smiling briefly before being covered up by the

company’s logo. While Sully is quick to apologize to him for the lack of

acknowledgment, Mike happily jumps up and down and becomes excited about the single

second he was shown on television. In this the audience understands that Mike not only

understands his role as a side-kick, he relishes his sense of duty and completes each task

with his best effort.

Additionally, when Sully begins to formulate his own opinions about human

children, due to constant and friendly interaction with Boo, he understands his need to

protect the child. He hides her and quietly searches for a way to return her to the human

world. Sully, with the aid of Mike, designs a costume and hides the child in plain view,

helping her to pass as a monster child. The two are banished because of their sense of

duty to report findings and possibly save the company through new and efficient

methods. Near the end of the film, the two risk safety to rescue Boo and fulfill a new

sense of responsibility of protecting someone who cannot protect herself. In this sense of

sacrifice and love, the audience understands a noble and spiritual duty: love others as

you love yourself.

Looking to purpose-scene, many of the characters in the film are influenced by

what they deem to be their purpose. The antagonist, Waternoose, believes that the need

for profit and growth far outweigh the need for responsible business practices. Ignoring

the obvious fact that children’s laughter provides cleaner and stronger energy, the CEO

decides to direct company’s resources to “new energy techniques” which involve

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monsters scaring children through virtual technology, rather than risking a monster being

exposed to the human world. As opposed to being wrong and admitting his false views,

Waternoose doubles down and invests heavily in fear tactics, going as far as to suggest he

“would do anything to keep [the company] from going under.” The audience should

clearly understand his purpose and soon realize the lengths he travels to accomplish this

ill-fated duty, which also adds evidence that a character’s purpose affected act and

agency in all situations.

Other elements, such as the act, do affect the nature of other elements in

Monsters, Inc. Using act-agency as an example, the work needed to provide energy to

Monstropolis is altered by the conclusion. The means to accomplish this goal certainly

changes by the conclusion of the film, but this is one general example of how another

non-dominant element affects another. In the end, though, and as discovered through

analysis, the dominant ratio is scene-purpose and the dominant elements are scene and

purpose.

Finding Nemo

The next film made by Pixar was Finding Nemo. The first sequence focuses on a

young clownfish couple, Marlin and Coral, who proudly and excitedly look over their

eggs and the new home they have selected for their soon-to-be-large family. Quickly,

their excitement changes to fear as the unforgiving ocean reminds the viewer that there is

often a bigger fish. A barracuda wreaks havoc and destroys not only the new habitat, but

also most of the family. Only Marlin and one damaged egg remains. Coral liked the

name Nemo, so it becomes only fitting to honor his wife, use this name, and protect his

son as well as possible.

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 Several years (in terms of a fish’s life anyway) pass, and Marlin is readying Nemo

for his first day of school. While Marlin still carries emotional scars from the attack,

Nemo bears the physical ones and the viewing audience discovers Nemo’s right fin is

much smaller than the left, which impairs his swimming ability. Marlin’s protection goes

way past the normal fatherly concern and shortly into Nemo’s introduction at the school,

Marlin embarrasses Nemo as he explains to the class instructor, a massive stingray, about

his son’s limitations while explaining to classmates that the dwarfed fin is his “lucky”

one. Though Marlin reluctantly agrees to let his son join the class on a field trip, his last

words to his son are a soft and sweet, “be safe.” He soon discovers the teacher plans to

venture close to “the drop off” and Marlin quickly swims to stop his son from potential

dangers beyond from the protection and population of the reef.

The trip atop the teacher’s back offers Nemo a look at the amazing world that he

has inhabited, but never been given the opportunity to enjoy. Though this is a reasonable

step of exploration, Nemo is dramatically surprised and the audience feels his excitement,

eagerness, and extreme enjoyment. While the rest of the class listens and learns, a few

fish friends Nemo connects with roam off to where the reef ends.

Challenges between one another ensue as the classmates dare one another to

wander further from safety over the edge of the reef. Though Nemo refuses because of

his father’s fear-based teachings, Marlin approaches and embarrasses his son for going

near open water. Nemo loses his temper and swims directly towards an anchored boat

several hundred feet from the edge of the reef. Shortly thereafter, a scuba diver blinds

Marlin with a flash from a camera and captures Nemo. His worst fears have become

reality as the speed boat races away with his one and only son.

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 Through his trip to save his son, an incredibly cheerful regal tang fish named

Dory helps Marlin. Though she suffers from a case of short-term memory loss that often

drives the comedic tone of the film, her effort and willingness to aid Marlin never fades

even though they continually face danger in the form of sharks and other violent fish.

Fortunately, Dory can read the only clue left behind in the form of goggles with “P.

Sherman” penned on them with an address underneath the name. Now the pair have a

destination in mind as they continue to search the ocean and beyond for Nemo.

Meanwhile, Nemo certainly has a tough time as he tries to adjust to the new

surroundings. Having been captured and placed on display in an aquarium with other

tropical fish, he immediately panics and crashes into the walls while trying to swim away.

He soon realizes that being trapped under the protection of one’s father is much more

comforting than inside a simulated environment constructed for the enjoyment of

humans. Several funny fish are inside with him though including another fish from the

ocean named Gill, ironically an angelfish, who soon becomes his new father figure.

Basically the opposite of Marlin, Gill has battle scars and damaged fins from his

adventures both in and out of the aquarium. Although he appears selfish, cold, and short

with his patience, the audience understands that Gill has the other inhabitants’ best

interests in mind though his methods are quite different from Nemo’s father Marlin.

In one particular scene, Nemo (unfamiliar with his surroundings) becomes stuck

in a filter and begins to beg for help, scared that he will be unable to free himself. Gill

refuses to let other members of the “tank gang” help and even goes so far as to tell Nemo,

“You got yourself in there, you can get yourself out.” Once free, Nemo begins his

journey towards self-reliance and confidence. We understand that he will need this, as

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even his time in the aquarium is temporary. Sherman plans on gifting Nemo to his niece

Darla, who has a less than favorable reputation among the non-human characters in the

film.

News of Marlin and Dory’s journey spreads throughout the oceanic world, and

even birds are aware of the father’s commitment to rescue his son. Wise sea creatures,

including whales and turtles, offer Marlin advice and aid the team with directions in an

attempt to try and reunite the lost boy and his father. In a classic narrative story arc, one

final stressful scene ensues before the pair is reunited and able to live happily ever after.

Marlin lets go and accepts Nemo as a fish progressing towards adulthood and Nemo

realizes that while protective, a father’s love is never replaced.

The Five Terms: The Basic Elements of Theatre in the Film

The agents, or protagonists, of Finding Nemo are Marlin and Nemo. To be

honest, an argument could be developed to include Dory as well; however, whereas

Marlin is alone several times throughout the film, Dory is constantly paired with him and

mainly aids his progression towards finding Nemo. Marlin and his long mission to find

Nemo obviously drive the plotline of the film; Nemo certainly develops into a strong

agent while stuck in a fish tank separated from his father. In addition to Marlin, he is

aided by other fish along his journey to redemption.

Considering the agents in this film, water is an obvious necessity for survival. In

this case, the scene of the film could be somewhat limited through writing; in short, how

many places can these agents perform their acts other than the ocean? Painted by Marlin

as dangerous and unstable, the ocean is the true natural scene in the film. However, the

ocean is also vast and can be understood as “the unknown” or “unpredictable,” which

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also aids in developing the scene. The aforementioned fish tank provides the only other

environment where fish can survive and soon becomes the unnatural and harmful setting

from which to escape, even though this scene is controlled and maintained through

various actions. In short, both the ocean and the tank provide a setting for the agents in

Finding Nemo.

The act, or the major action, taken by Marlin in the film involves protection. Due

to the tragic situation in which he lost all but Nemo, Marlin will go to extreme lengths to

protect Nemo from predators and various harmful situations. Whether telling other

characters about Nemo’s “special fin” or refusing to let Nemo gain a sense of

independence, the audience soon grasps that protecting his son is Marlin’s main act

throughout the film. Certainly we protect someone out of a sense of duty or a sense of

love, or in this case, a sense of fear. In this film, Marlin displays all of these attributes

and on a basic level, unconditional love drives most of Marlin’s actions in the film.

Nemo’s need for independence and desire to earn his father’s trust influences many

actions he takes. Whether it is getting caught due to his misplaced bravery or his need to

escape the tank and find his father, his actions are affected by his need for a specific type

of love within their relationship.

The purpose in Finding Nemo revolves around several concepts of love. In

Marlin’s case, his love is so strong he often forgets to enjoy moments with his son

because protecting Nemo is his main goal. Marlin does not have faith in his son and

Nemo strives to find trust through extreme tactics. Faith and trust are closely related and

both are characteristics of love. In this aspect as well, one could suggest that

independence is a purpose for Nemo; however, considering the pair’s relationship at the

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end of the film, I argue that trust is more apparent. Even the supporting cast, Dory and

other marine life, display attributes of love throughout the film. At a very basic level,

love drives the story and the action of agents. I also argue that the duty Marlin holds as a

father drives his choices throughout the film. Likewise with Gill, his burden to live free

or die trying directly influences Nemo’s time inside the tank.

With regard to agency in the film, Marlin’s need to find Nemo causes him to

place himself in various situations he previously considered too risky. Whether

befriending sharks, introducing himself to turtles, or swimming through jellyfish, Marlin

uses several characters and instruments to accomplish his goal of finding Nemo.

As an overview of the five pentadic terms in Finding Nemo, the film is presenting

this situation to the target audience of children. In the vast and often unsafe oceanic

world (scene), a small fish (agent) feels extreme pressure by a loving but over-protecting

father (act and agent). Unfortunately, through an ill-advised decision (act) this child is

captured and placed in a fish tank (scene). Each must go to extreme lengths (agency) to

reunite and experience a love that only father and son can share (purpose).

The Dominant Elements of the Film: The Ocean, the Fishtank, and the Need for

Love

Through analysis, I have discovered two dominant terms in Finding Nemo. First

and foremost, the purpose to love unconditionally influences every other element in the

film. Looking first to purpose-act, Marlin’s idea of love affects and explains much to the

audience. In the beginning of the film when picking out a safe place to raise his family,

Marlin brags to his wife about the location of his home. His wife asks, “do we really

need this much space?” Marlin responds quickly, “these are our children I’m talking

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about . . . they deserve the best.” In this circumstance the audience is introduced to

Marlin’s nature and his duty to love and provide for his children, no matter how

materialistic the need may appear to outsiders. After the loss of his family, save Nemo,

one can justify Marlin’s over-protective nature of and relate it to his love for his one and

only son. In addition, the viewing audience can grasp the guilt he must endure having not

protected his lost loved ones.

This love also explains and justifies the means Marlin must use in order to find

Nemo. In this case of purpose-agency, Marlin swims frantically after the boat which

snatched Nemo. Without hesitation, Marlin begins to search for his son naturally and

without pause. As purpose is the reason for action by an agent, in this case Marlin and

his unconditional love justifies the vast and daunting search. Looking to other

circumstances in the film, Gill’s purpose is to return to his natural habitat and be free

again. Using all available means such as rocks to clog a filter, asking other tank-friends

to signal when humans are out-of-sight, and even pictures of other humans to motivate

his extreme tactics to escape, Gill’s purpose to live free (or die trying) becomes obvious

and this purpose directs the nature of Gill’s methods to escape. Through these examples,

we can also note the influence that purpose has on various agents in the film, both for the

main and supporting characters.

When reviewing the purpose-agent, the previous examples will help indicate how

purpose influences agents in various ways. As another example, Darla (Sherman’s niece)

wants a pet fish terribly. So much so in fact that when previously given a trophy fish by

Sherman, she shook the bag with excitement and inadvertently killed the gifted pet. Her

purpose is also love, but the negative version of love—love that does not want the best

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for someone else but only love of possession, love of self. This selfish love causes

Sherman to catch Nemo to replace the one she destroyed. This purpose drives her

decisions so that the actual existence and long-term health of the fish falls in comparison

to the actual act of receiving. She pouts when it doesn’t go well and pounds the tank

causing stress to the inhabitants.

As previously explained, scene was also a dominant term in Finding Nemo. At

the genesis of the film, the audience is introduced to a vast and beautiful imagery created

in the ocean. Certainly our agent is introduced, but the scene quickly affects the entire

film as Marlin, his wife, and their litter of eggs is attacked and virtually slaughtered. The

scene affects the plotline of the film and the fact that the main agents are small clownfish

makes for interesting struggles. Obviously, survival of the fittest exists in the ocean. In a

place where there always seems to be a bigger fish, a clownfish is often at the bottom of

the food chain. In this case, we discover scene affecting the safety of our agents.

Similarly, as another kind of scene, the tank drives the nature of all who enter.

Whether it is a crab that has apparently lost his mind, a starfish who has become familiar

with the owner’s bathroom habits, or Gill’s drive toward freedom, none would exist if the

tank was not present. Since Nemo is so small, Gill convinces him to aid the tank fish in

escaping. Through this example, one can discover the scene affects all who enter.

Nemo’s adventures ultimately aid in him earning independence and freedom. Who

knows if these attributes could have been earned in the unforgiving ocean?

In terms of scene-agency, Marlin meets various characters throughout his journey.

One such character, voiced by Stanton himself, is Crush the turtle. The two connect

when Marlin, in need of serious rest and healing, awakes to find himself traveling inside

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the East Australian Current (EAC). Crush, being an aged sea turtle, has taken this “ride”

several times. On this trip, Crush and his son Squirt are heading home, which I assume is

to Hawaii or California, which is where all the American surfers dudes seem to reside.

Squirt, while playing, is shot out of the current and disappears briefly. Being the

protective fish that he is, Marlin panics and yells to Crush. Calm and laidback, Crush

trusts his son and is rewarded:

Squirt: Whoa! That was so cool! Hey dad! Did you see that? Did you see me?
Did you see what I did?
Crush: You so totally rock, Squirt! So gimme some fin.
[They slap fins]
Crush: Noggin’.
[bump heads]
Crush, Squirt: Dude!

Impressed by the level of engagement with his son, Marlin questions Crush:

Marlin: How do you know if they’re ready?

Crush: Well, you never really know, but when they know, you know, y’know?

Here we discover scene directing the nature of two minor characters, but also beginning

to influence Marlin and his future trust in Nemo. Though he may never know if Nemo

can survive both the ocean and the fish tank, Marlin’s assumptions about Nemo would be

proven incorrect and a paradigm shift occurs in the film; a different form of love having

been learned. Through much visual evidence and examination, the film’s scene affects

every other element.

Similar to Monsters, Inc., act is another element which directs the nature of other

terms. As an example, Marlin’s over-protective nature (act) does affect Nemo

consistently and even drives Nemo away to captivity. But act was not a dominant term

when compared to purpose and scene. Whether the purpose is Marlin’s goal to find and

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love a lost son, Dory’s unconditional love through act of service and helping others, or

Nemo’s efforts to gain independence, each character’s purpose influences the film. In

addition, the scenes, the ocean and the tank, influence the other terms in Finding Nemo.

WALL-E

When the audience is introduced to the beginning of WALL-E, we see a prediction

about planet Earth that could ring true for much of the audience, at least the ones over the

age of 12. Pollution is thick and dust hangs in the atmosphere just under the thousands of

satellites that are permanently positioned in orbit, completely unused and wasted as the

advancements of technology have long been abandoned and they gently crash into one

another. The viewing audience sees vast skyscrapers and immediately associates the

scene with a thriving metropolis of industry, advancements, and population. However, as

the camera angle zooms closer to Earth we discover that the buildings are massive stacks

of compacted trash, piled in a feeble attempt to remove the eyesore of over-consumption

and garbage. Earth has long been deserted and the dust storms of the 1930s are back in

full force. The viewing audience soon discovers that humans left due to deadly toxicity

levels and over-pollution. Though a massive company named “Buy N Large” seems to

be the representation of the “enemy,” the audience should understand that humans in

general are to blame as we begin to follow a robot named WALL-E. Programmed to

restore the Earth humans destroyed, the obvious hero is introduced as a lunch pail-

carrying worker, never questioning his duty to aid those who created him.

WALL-E stands for “waste allocation load lifter Earth-class.” Although he (for

the sake of recognition) is the only one still able to work, his job is to construct those

skyscraper-like columns of trash and arrange the piles which now tower above the tallest

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structures that were once home to office buildings and residential venues. Wainer (2008)

suggests that WALL-E’s initial programming must have been damaged at some point,

due to the robot’s ability to collect human mementos, such as a Rubic’s Cube, a light

bulb, and even examples of art such as the film Hello Dolly. It appears any human

example of creative thought that produced a recognizable invention receives attention

from the robot. As he passes through the once- populated streets and observes other

broken down WALL-E units, he harvests pieces to continually repair himself and

maintain his usefulness. A conservationist would be ever so proud.

It could be due to the lack of dialogue and human involvement, but the loneliness

and disconnection of purpose in the film is palpable and we soon discover that though

WALL-E remains full of effort and ability, it is wasted on the forgotten planet that

humans determined to be more of a burden than a blessing.

One day, a spacecraft lands and another robot dubbed EVE (extra-terrestrial

vegetation evaluator) appears. WALL-E, starved for companionship and attention,

begins to follow EVE, even though he is unaware of her mission to search for evidence

of sustainable life on Earth. After their introduction and occasionally odd, sometimes

sweet, and often funny courtship, WALL-E manages to entice EVE to his home. Once

she discovers a living plant inside a boot WALL-E collected, her programming takes over

and shuts down interaction to wait for the spacecraft to arrive. WALL-E somehow

manages to hitch a ride to a giant spaceship called the AXIOM, where humans have

resided for the past 700 years.

At this point, we see the “advancements” humans have made over their tenure in

space. In a comic display of Huxley’s Brave New World, humans have abandoned all

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connection to relationships and the natural world for a life of convenience, slothfulness,

and lack of freewill. These flabby giants hover around in electronic chairs to

predetermined sites where computers perform all activities, including preparing and

serving food and drinks so humans do not even have to move their heads, applying make-

up, and even hitting golf-balls to simulate activity. Though they “speak” to others, it is

done through a video screen placed directly in front of their faces. Losing all personal

contact with others and options to make decisions, humans have completely chosen a life

of pleasure over any small threat of passion or pain. Indeed, the only choice this

population appears to have is which color suit to wear, unquestioningly switching from

red to blue when a massive public announcement system pronounces, “try blue; it’s the

new red.” Almost instantly, characters happily push buttons and a new track-type-suit

covering the men and women changes color, momentarily pleasing the docked

inhabitants.

WALL-E upsets their natural order and predictable comedy ensues. Eventually,

these humans must make a choice to “stay the course” aboard the AXIOM and be

victimized by the utopia of technological advancements, or return to Earth and begin to

reclaim the environment and reconnect with the natural world. As one can understand

and Colson (2008) wrote, despite the fact “WALL-E has a plot that even a child can

follow doesn’t mean it’s juvenile” (p. 1).

In addition to the religious overtones of the film many examinations relating to

the various messages have been completed. In a blog focused on women’s issues,

Kristen Cervantes (2014) relates the film to themes of feminism as EVE shares heroic

status with WALL-E. Additionally, the film demonstrates that emotional acquaintances

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can re-establish the excellence of life (Altamirano, 2014). Written for studentpulse.com,

Cassandra A. Clarke (2014) discovers strong elements relating to ecofeminism. In this

construct, the dominance over nature ensures the promotion of dominance of all living

things. Grounded in Marxist thought, “eco-social feminists believe that it is through

reestablishing the connection between people in considerate terms that nature can once

again be valued” (p. 1).

Through nontraditional means, a traditional (albeit improbable) love story

emerges between WALL-E and EVE. If the audience cannot yet see themselves within

such a love story, Stanton wanted “WALL-E and EVE’s relationship to inspire humanity

because he felt few films explore how utopian societies come to exist” (Prokopy, 2008).

This certainly appears to be a deliberate attempt by Stanton to attach Biblical messages to

film; he suggests the Bible outlines ideas relating to Utopia and it is human responsibility

to follow the outlined commandments and parables within the text (Prokopy, 2008). On a

much smaller scale, one can look at the reward provided to the characters of WALL-E

when repentance occurs; true love conquers all.

The Five Terms: The Basic Elements of Theatre in the Film

WALL-E has unique elements which are different than the other films being

reviewed in this thesis. The film lacks dialogue and the audience must rely on facial

expressions and sounds to understand the emotions of certain characters. However,

labeling the pentad in this film reveals similar findings. Though not human, the agents

of this film are WALL-E and EVE, the unlikely pair who become star-crossed lovers.

This could pose a challenge to find auditory material as each is quite limited concerning

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the English language. Nonetheless, it is remarkably obvious that both are the

protagonists of the film.

Concerning act, the two directives programmed into the agents to clean up

(WALL-E) and find life on a planet (EVE) are the major actions performed. As

previously mentioned, it could be argued that WALL-Es programming was somehow

compromised along the way because he begins to take interest in creative artifacts

developed by humans. His desire to connect and possibly learn from EVE certainly

could be considered important as it differs from his initial objective to clean up and to

stack garbage. So in addition to the undoubtedly programmed objectives of both WALL-

E and EVE, I would offer the goal to connect as another force which drives action by the

pair of agents.

After analyzing the film, the agency or means to perform acts or instruments used

to accomplish the act, are interesting and uncommon. Consider the directives of our

agents; WALL-E uses ingenuity to fix himself up and complete his programmed tasks.

As an example, he sees other WALL-E robots which have broken down and harvests

useable parts of machines to prepare for his own aging. In one scene with EVE, WALL-

E fixes his eyes so he can see her more clearly—cute, but resourceful nonetheless. EVE

uses much more violent tactics to discover life (sad, but true), such as a laser and

continually throws things aside when her directive does not progress positively.

Additionally, and this is where the connection come into play, EVE uses WALL-Es help

to discover life. Taking her back to the safety of his home, WALL-E shows her various

trinkets he has collected throughout his clean-up time. These and other acts aid in

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forming the bond between the two. EVE discovers a boot with a plant growing and her

directive is almost complete.

Focusing on scene, two obvious ones exist in the film. First and foremost is

Earth; but more specifically, an abandoned, polluted, and toxic Earth where life forms

have not grown successfully in generations. The important trait about this scene is that

humans (one of the agents) have destroyed the planet through over-consumption,

pollution, and laziness. Another scene in WALL-E occurs on board the AXIOM, the

massive ship floating humans through existence. An important attribute of this scene is

humans’ ridiculously slothful behavior and attitude. These characteristics should

influence my analysis, but if we remember that most astronauts are presented as fit, then

it becomes obvious that this scene is inaccurate and short-sighted.

Finally looking to purpose, similar to Monsters, Inc., the agent’s drive involves a

sense of duty and responsibility. Especially for our non-human agents, directives in the

beginning of the film deal specifically with programming design by humans. As worker

robots, they are tied to a sense of blind duty, not ever grasping impact, effectiveness, or

even if they are actually completing their tasks appropriately; especially WALL-E whose

task seems ridiculous and unattainable. Fortunately for the audience, the scattered

programming of the two introduces a beautiful love story. Driven by the apparent need to

connect with others, the closest human emotion one can relate to the feelings expressed is

the concept of true love. Looking at the captain of the ship as the main human character,

his purpose is also one of duty—at first to stay the course and by the conclusion of the

film to return to a planet that can support life—a task he never imagined undertaking.

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 As an overview of the five pentadic terms in WALL-E, the film is presenting this

situation to the target audience of children. In the over-polluted and toxic world (scene),

a robot (agent) understands his duty (purpose) to aid in the clean-up process (act) by

piling trash and collecting spare parts (agency). Missing connection and curious about

human’s conceptions of love (purpose), “he” is excited to meet another robot visitor

(agent) who also has a directive (purpose) to discover sustainable life on Earth (act).

Unfortunately, the two must travel to space and inform humans (agents) of the discovery

of plant life on Earth. The humans and the robots travel back to Earth and begin to farm

(agency) and responsibly plan for the future through stewardship and love (purpose) for

the once-abandoned planet.

The Dominant Elements of the Film

In contrast to the previous films, three dominant terms exist after analyzing

WALL-E. While scene and purpose are similar, this film has another dominant term

which includes the agents. Since it is different from the other examined films, I will

report findings about agent and its influence over other terms in the film. To begin, let’s

look at the robot for which the film is named.

WALL-E certainly influences both scenes provided in the film. Beginning with

Earth, his ability to reuse parts from other broken-down units secures the future for all

involved. In this aspect, he is a true conservationist in an environmentally charged film.

Certainly stacking trash appears silly, especially considering the actual shape the planet is

in, but piling trash enables WALL-E to collect items and learn about humans and

concepts of love, art, and creation. Moreover, he is the one who discovers life on Earth,

though EVE’s directive brings the evidence back to the humans aboard the AXIOM.

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While on board, WALL-E manages to get humans moving, even if by mistake, and frees

other robots whose programming has been compromised. Comedy ensues, but humans

actually experience true elements of life rather than a well-planned-out computer

program.

Looking at humans as agents, their impact on scene and agency is remarkably

critical for the conclusion of the movie. First, the captain (the variable clown of the film)

must make a decision, using the film’s terms, to “unstay the course” and return to Earth

to begin life anew. In order to prepare for this trip, the captain must research common

elements needed to farm (water, plants, etc.) before discovering the damage previous

generations enacted on Earth. Upset and surprised, he uses several tools and tactics to

return to Earth (agency) and ultimately when the audience views the next generation of

farmers returning home, the human’s impact (both positive and negative) have been

displayed.

EVE’s impact is that she actually adjusts the purpose for another agent, her love

interest WALL-E. Before meeting, he was comfortable—maybe not satisfied—

implementing his program and the directive toward duty, though silly and unorthodox,

was strong. After discovering EVE and beginning the courtship stages of love, his

directive adjusted from duty to love. In this case, the audience finds an agent controlling

purpose. This is an important unique discovery considering the two previously examined

films. On the other hand, scene and purpose remain dominant elements as well.

In analyzing scene-agent, neither one of the robots would exist were the situation

on Earth not so miserable. As noted several times earlier in this section, and

programming issues aside, these characters exist and were programmed by humans with

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specific directives to accomplish tasks. The scene drives the nature of each agent in the

film. Even human willingness to vacate the planet proves that scene is no doubt

dominant in WALL-E.

Looking to humans as agents in the film and focusing on the ratio of scene-

purpose, once personal discovery and responsibility begin to spread through the ship fun

and interesting circumstances begin to unfold. As an example, the captain’s only purpose

was to keep the AXIOM on autopilot, eat, grow, and “stay the course.” After research he

begins to look at historical records of Earth, and his purpose adjusts because of his

complete distaste for the current scene aboard the ship. As the captain rethinks his

mission, the onboard computer (AUTO) suggests that life on Earth is toxic and, therefore,

return is impossible. He responds:

Captain: No wait a minute, Computer, when was the message sent out to the
Axiom?
AUTO: Message received in the year 2110.
Captain: That’s . . . That's nearly 700 years ago! Auto, things have changed.
We’ve gotta go back.
AUTO: Sir, orders are do not return to Earth.
Captain: But life is sustainable now. Look at this plant . . . green and growing.
It’s living proof he was wrong.
AUTO: Irrelevant, Captain.
Captain: What? It’s completely relevant.
[moves toward the window]
Captain: Out there is our home. *HOME*, Auto. And it’s in trouble. I can’t
just sit here and—and—do nothing.
[moves back toward Auto]
Captain: That's all I’ve ever done! That’s all anyone on this blasted ship has
ever done. Nothing!
AUTO: On the Axiom, you will survive.
Captain: I don’t want to survive. I want to live.

In this way, the scene aboard the AXIOM and the new scene available on Earth force and

direct the nature of the agents. No longer a slothful clown, the captain becomes hero and

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uses all available means (scene also influencing agency) to override AUTO and return

home to live.

Turning attention to purpose and examining the ratio of purpose-agent, the most

obvious manner in which an audience can discover a purpose influencing an agent occurs

when EVE arrives and WALL-E somewhat abandons and delays his directive to duty in

favor of his desire for connection and love. In typical relationship fashion, the beginning

courtship phase comes with small fights, miscommunication, and a genuine lack of

interest that EVE displays towards WALL-E. Though his feelings and purpose have

adjusted, her directive is still strong and unflappable, until she views the means WALL-E

went to in order to connect with her while she waited for a ship to retrieve her and her

plant life to the AXIOM. WALL-E holds an umbrella over her in the rain, provides

entertainment, and just spends time with the frozen robot (agency influencing agent). At

this point, EVE begins to develop a new level of understanding of WALL-E’s true

intentions. Only when faced with losing him, does his purpose of loving her force her to

adjust her commands as well.

While this summary of WALL-E shows connection with both Monster, Inc. and

Finding Nemo, in terms of the dominant terms being scene and purpose, the film does

add the dramatic impact that agents can have on the situations in the film. In the next

chapter, I intend to take these findings and begin to discuss the implications of the

analysis in this chapter. Additionally, I will address each research question. The

connections between the films, the themes presented, and the philosophical structure

when the dominant terms include scene, purpose, (in the case of WALL-E) agent should

aid in presenting interesting findings in this pentadic criticism of this genre of films.

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 CHAPTER FOUR: CONCLUSIONS AND IMPLICATIONS

Using the pentad, I have identified elements as well as the dominant terms of

Monsters, Inc., Finding Nemo, and WALL-E. Additionally, some similarities between the

films have been discovered concerning these characteristics. The purpose of this final

chapter is to discuss the implications of my research and discuss potential limitations of

the study. This chapter is laid out in the following fashion. Each film (chronological by

date of release again) will be examined for the messages which Stanton and other authors

are presenting to the audience. Next, the philosophical system associated with these will

be considered as each of the dominant terms is analyzed. Finally, the chapter and project

will conclude with limitations and possible ideas to continue research on Disney/Pixar

films and the presence of environmental and/or spiritual themes. Each research question

will be answered throughout this chapter to determine and possibly guide future research

as well. To begin, I will briefly discuss comic frames. As each of the films target

children, comedic elements are used throughout the pictures. And this use of a comic

frame can also explain an audience’s perceptions and willingness to act.

Discussion

Rhetorical critic A. Cheree Carlson discusses the benefit of presenting social

issues using a comic frame. Carlson (1986) also suggests the comic frame remains “the

most human frame for understanding and acting in society” (p. 448). When an exigence

is offered using comedy, this frame assumes that “humans eventually will recognize their

shared social identifications and will respond in a moral manner” (Christiansen &

Hanson, 1996, p. 160). Perhaps this is why framing issues using comedic elements is a

particularly appropriate model for actors who wish to adjust, not displace, a social order

(Murphy, 1989; Toker, 2002). Furthermore, since comic strategies provide the potential
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to change losses into assets, “they are particularly useful for a citizen wishing to make the

scientifically based processes characteristic of the moral arena of environmental . . . risk

more inclusive of substantive community values and interests” (Toker, 2002, p. 55).

To expand his original thoughts of comedy, in Attitudes Toward History Burke

(1984a) explains the comic frame “is neither wholly euphemistic, nor wholly

debunking—hence it provides the charitable attitude towards people that is required for

purposes of persuasion and co-operation, but at the same time maintains our shrewdness

concerning the simplicities of ‘cashing in’” (p. 166). The middle ground between

euphemistic and debunking is important. As Madsen (1993) suggests, the issue with

debunking is that it is often carried out to an extreme and greatly hinders the possibility

for a creative, cooperative, and constructive solution to a problem in society. Actually

for some scholars, the unification of society is considered the telos of rhetoric, and this

frame is perceived as unique due to its ability to enable synergy in difficult circumstances

(Schwarze 2006). Burke (1984a) summarizes that the comic frame “considers human

life as a project in ‘composition,’ where the poet works with the materials of social

relationships” (p. 173).

In reality, rhetoric in a comic frame can amusingly point out issues within social

relationships and joke about the failings of the status quo or a present system (Powell,

1995; Toker, 2002); through this, “[it] urges society to correct them through thoughtful

action rather than tragic victimage” (Christiansen & Hanson, 1996, p. 161). With that

suggested, I return now to my original research questions.

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 RQ1: What kinds of environmental themes emerge in the animated films written

by Andrew Stanton?

RQ2: What kinds of spiritual themes emerge in the animated films written by

Andrew Stanton?

When answering the first research questions, through examination using the

pentadic method we find both direct and subtle messages in each film. Beginning with

the direct messages, we find an energy crisis as the primary exigence in one film and

over-consumption and pollution as the cautionary vision of another. In both Monsters,

Inc. and WALL-E, the problem which drives action and is meant to be remedied addresses

common platforms in environmental and conservation movements. In Finding Nemo, the

drive to return to one’s natural habitat (and of course the family and support system

which comes with it) becomes the mission of the main character. Many environmental

themes are embedded throughout these films and these messages can influence an

audience in a number of ways. Whether using less electricity, walking instead of driving,

reducing, reusing, recycling, farming, not polluting the ocean, respecting all creatures’

freedom, admiring animals only in their natural habitats and so on, some message are

obvious in these films.

Looking to the subtle messages, one can begin to discover spiritual themes in the

films. The idea of protection and stewardship over creation can be discovered when

viewed through a religious lens in all three films. In the New International Version of the

Bible, Genesis chapter 1, versus 27-28 reads:

God created man in His own image, in the image of God He created him; male

and female He created them. God blessed them and said to them, “Be fruitful and

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 increase in numbers; fill the earth and subdue it. Rule over the fish of the sea and

the birds of the air and over every living creature that moves on the earth.

Much discussion and deliberation has gone into defining man’s role when “ruling” and

“subduing” the natural world. In small examples, the audience views the destruction that

can enter when an animal is taken away from its habitat. Additionally, the pejorative

impact that can come from the same audience’s goal to own their own “Nemo” is

currently playing out many years after release. One can only imagine the results when

the sequel is released.

Concerning action in the movement of ecology, in Monsters, Inc. the audience is

introduced to a fictional place with quite a realistic issue; an energy shortage. Only

through intelligent responses can the shortage be resolved using comedic elements. In

Finding Nemo, the audience is introduced to potential issues which occur when animals

are forced to live outside their natural habitat. In WALL-E, the audience sees a robot

acting more humanely about sustainability and environmental stewardship than the actual

humans. Societal issues, while presented through elements of comedy, are not only less

depressing for families from a pure entertainment factor, but also promote that we can

learn the error of our ways and work toward a solution.

This is why the comic frame can be so effective. Carlson (1986) states “a

movement arising from a comic frame would not accept naively the flaws in the present

system; it would change or even overthrow the system if necessary” (p. 448). It

accomplishes this through a consistent method and uses certain tools. But this also

requires the audience to take part in, if not lead, the reform. As people begin to recognize

flaws and also grasp that they are (in some ways) responsible for the issue, they also are

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more open to suggestions to remedy problems. Thus becoming part of the solution not

only appears reasonable, but it is mandated through self-awareness.

Likewise in many organized religions, a fundamental standpoint accepts that

humans are inherently flawed. Referring to Christianity specifically (as this is the

religion that Stanton associates with and often speaks to), humankind and God are so

separated, that God sent his only son to bridge the gap and provide a true spiritual

connection. Jesus Christ, as described and manifested through generations, is God-in-

human-form created so “whoever believes in him shall not perish, but have eternal life”

(John 3:16 New International Version). The first step to achieving forgiveness is to

understand that we, as humans, are not perfect. If we understand that we are not perfect,

it stands to reason we must have an internal and natural understanding of perfection.

That perfection is God or other deities one associates with, connects to spiritually, and

chooses to worship. But humans must understand they are lost without the aid of this

higher power.

Throughout this thesis, Stanton’s beliefs have been discussed. Obviously, when

one crafts films released for a secular audience with plotlines created using non-secular

ideals, morals, and parables the results should be examined for effectiveness. Through a

rhetorical analysis, it might be possible to discern if a Christian author/artist is sharing the

word of God to create interest in Christianity or leading a spiritual life. Perhaps Stanton

is finding the most natural way he can to express his beliefs and “make disciples of all

nations” (Matthew 28:19 New International Version). After all, comedy also accepts that

humans are blemished and promotes discovery through self- actualization. In these films,

this process is undertaken and completed by human clowns acting through a comic frame.

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 Comic rituals such as laughter, jokes, and irony are tools of the rhetor and

examples of a comedic expression in rhetoric. These rituals aid in the creation of a

“social distance between reformers and a ‘clown,’ so that the clown’s faults first may be

recognized, then chastised” (Carlson, 1986, p. 448). Carlson (1986) concludes that an

audience is shown the clown’s faults from a reasonable distance. This distance enables

the audience to not immediately associate with the clown. Then the ritual requires a

renewal of friendly relations through communication and the audience recognizes that

due to their clown-like characteristics, the possibility of damage exists. It is important to

note Comedy “must keep convictions about social means and ends open to reason . . .

seek[ing] belief, but never at the price of banishing doubt and question” (Duncan, 1962,

p. 406). Carlson (1986) explains the critical aspect of enabling the clown to return and

states, “The properly chastised clown is allowed to return to the social order . . . thus,

order is restored not by tragic separation, but by joyful reunion” (p. 448). Therefore, a

comic attitude enables for the alteration of losses into assets (Burke, 1984a).

Both Mike and Sully represent the clowns in Monsters, Inc. Their blind faith in

the toxicity of human children instantly establishes the ridiculous nature of the characters.

Through the comedic process of caring for Boo, each begins to understand the falsities of

their previous paradigms. This self-realization adjusts their understanding and begins the

journey to redemption. Through discovery of their previous perceptions, each is able to

adjust and redeem himself. In addition, the assets gained through this process of

redemption are numerous. Obviously the energy crisis is averted and resolved. No

longer are monsters forced to scare children for the betterment of the monster world, and

no longer are monsters scared of “toxic” children. A true symbiotic relationship can exist

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between the two worlds where children are entertained and monsters have power. Sully

becomes CEO and no doubt Mike remains his second-in-command. In addition and in a

more spiritual sense, each clown also gains a true conception of love and sacrifice. The

conclusion of the film shows Sully visiting Boo, which is a tear-inducing moment to say

the least. The only way this visit was possible is due to Mike’s efforts, as he collected

fragments of Boo’s door to fix the portal to Boo’s world. Seeking happiness, each is

aiding others and acting responsible to all.

In Finding Nemo, Marlin is the clown who realizes that all love must include

elements of trust and faith. By accepting his own responsibility in pushing Nemo away,

redemption can be earned through self-discovery. Certainly the journey is challenging in

and of itself, but Marlin gains a true understanding of trust in one of the final sequences

of the movie. Nemo, Dory and several other fish are caught and being pulled to the

surface in a large net. Nemo understands that by working as a group, the fish can all

swim in the same direction and break the net. After revealing this plan to his father,

Marlin is initially resistant to the idea of his son risking death to save others.

Nemo: Dad! I know what to do!

Marlin: Nemo! No!
Nemo: We have to tell all the fish to swim down together!
Marlin: Get out of there, now!
Nemo: I know this will work!
Marlin: No, I am not gonna lose you again!
Nemo: Dad, there’s no time! It’s the only way we can save Dory! I can do this!
Marlin: You’re right. I know you can.

In this moment, the clown accepts responsibility and finalizes his journey to redemption.

Through trust and faith, his reward is his son and a better understanding of the

components of love outlined in the Bible (1 Corinthians 13: 4-8). Marlin forgot all

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previous mistakes and trusted his son, turning the previous loss of Nemo into an

enormous gain for the future.

When the captain, who is the main human character in WALL-E as well as the

acting clown, first discovers the plant on the ship, he is supposed to begin actions to lead

humans back to Earth. One main issue is that he doesn’t know what Earth is. He asks

the computer to “define: Earth.” Furthermore, the comedy continues as he continually

needs definitions for basic human knowledge. He asks, “define: Seas,” “define:

Dancing,” and “define: Hoe-down.” Apparently simply reviewing a sensuous world

sparks his relationship skills because he begins to research farming. After his exploration

slows, he begins to examine a globe that is nearby, pretending to land on Earth and return

the Human race to their natural environment. When EVE breaks into his chambers and

delivers the plant to him, he is given the ability to turn previous losses into future assets.

“We can finally go home,” he exclaims “for the first time!” Excitedly, as he begins to

look at current pictures of Earth, he disappointedly admits, “that doesn’t look like Earth.

Where are the blue skies? Where’s the grass?” He sadly looks at the plant as if he had

begun to realize the errors of previous generations. Soon after, the captain waters the

plant, comforts it with his voice, and then says, “You just needed someone to look after

you, that’s all.” He trails off, pauses slightly, and looks out at the stars (a natural setting).

With that statement he looks down at the globe on the floor, making a connection

between the lonely plant life and the massive planet. His expression changes from sad to

determined and he silently says to himself, “we have to go back.”

Toker (2002) wrote, “by unmasking vices, the comic rhetor exposes unjust

practices” (p. 55). In this scene from WALL-E, the audience is reminded not only of

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fictional characters’ faults within the film, but also personal faults in real life concerning

environmental responsibilities. The captain begins to argue with the main computer

(AUTO) about life being sustainable on Earth. “That’s our home AUTO and we have to

take care of it. I can’t do nothing,” he pleads. “That’s all I have done . . . that’s all

anyone on this blasted ship has ever done.” Moore (1992) stated, “while the comic frame

may enable people to maintain social balance, it also illuminates the shrewdness and

simplicity of those who benefit at the expense of others” (p. 111). These benefactors

were previous generations of humans who profited and promoted extreme consumerism

that nearly destroyed Earth. AUTO, which was given a directive to “stay the course”

from this group and the original programmers, explained that on the AXIOM, humans

will survive. The captain recognized the order was given some 700 years ago.

Obviously the more vocal clown at this point proclaims angrily, “I don’t want to survive;

I want to live.” The clown, and the audience, is shown the previous mistakes concerning

the treatment of the environment on Earth. In this moment, the clown has been self-

reprimanded and can begin his journey back to social order, and redemption.

Through a comic frame, the audience is offered a view that enables personal

observation to distinguish failures and limitations. Because of this personal construction

by the audience, the comic shows appropriate and inappropriate responses to social

situations and permits individuals to decide between the two (Madsen, 1993). “The end

of a movement from this perspective,” Carlson (1986) concludes, “is to free society by

creating a consciousness of the system as a system, revealing its inherent weakness, and

preparing an aware populace to deal with them” (p. 447).

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 In the case of the environment, movements using a comic frame identify “social

ills as arising from human error, not evil, and thus uses reason to correct them” (Carlson,

1986, p. 448). Furthermore, ecology (like the comic frame) can work to correct

imbalances that are caused by human and/or social efficiencies; it makes these visible by

confronting them using a humorous stance rather than using tragedy to debunk them

(Seigel, 2004). Considering the recent social, political, and even economical concerns

with environmental issues, an interest within society and local communities has been

growing concerning the value of alternative energy, preservation, conservation,

sustainability, and other like topics. Considering this, current green movements might

employ a comic frame since it “offers hope to society because of the efficacy of human

agency, reason, and community are affirmed” (Christiansen & Hanson, 1996, p. 160), and

currently the community’s interests and goals often pertain to environmental issues.

Green movements using comedy will focus on the relationships that exist between and

among people (Moore, 1992); again, hoping to connect and build relationships through

communication by pointing out appropriate responses to current environmental problems.

Moreover, this could lead to the assumption that whatever separates a community (the

problem) is evil (Duncan, 1968). All in all, social order in reference to environmental

responsibilities “does not depend on terror or mystery, but on mutual belief in the power

of reason” (Moore, 1992, p. 110). In a similar manner, so too does spirituality which

leads into the next research question.

Q3: Do the films link attributes of spirituality and

conservation/environmentalism?

As offered in chapter three, Stanton and other writers in Monsters, Inc. present

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this situation: Since there is an energy shortage in Monstropolis (scene), a company must

rely on ideal employees (agents) to provide energy to the Monster World. Two model

employees are remarkably successful throughout the film, whether scaring children or

making them laugh (agency), in aiding the company. Though committed to the

organization and willing to carry out cruel tactics at times and humiliating performances

in other circumstances (act), the end of the film proves the commitment of the two was a

sense of duty (purpose) to all kind, whether Monster or Human. Additionally, the

dominant elements of the film are scene and purpose. Considering this, my analysis

suggests that Stanton and team introduce descriptions of reality in the film which, if

accepted by the audience, leads the audience to two conclusions:

1. The energy crisis in Monstropolis mirrors present-day society’s environmental

concerns.

2. Through duty, sacrifice, and love we each play a part in the resolution of energy-

related issues.

Acceptance of the first conclusion would lead an audience to realize we have, at a

minimum, the potential for an energy crisis. Moreover, this situation is unavoidable due

to previous practices and will only get worse. That is, of course, if we accept the second

conclusion which is to realize we are to blame. Through acceptance, we will begin to

learn and create responsible solutions for this concern, including innovative ideas to

supply energy for the masses.

Turning attention to Finding Nemo and as offered in chapter three, Stanton

presents this situation to the audience. In the vast and often unsafe oceanic world

(scene), a small fish (agent) feels extreme pressure by a loving but over-protecting father

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(act and agent). Unfortunately, through an ill-advised decision (act) this child is captured

and placed in a fish tank (scene). Each must go through extreme lengths (agency) to

reunite and experience a love that only father and son can share (purpose). Additionally,

the dominant elements of the film are purpose and scene. Considering this, my analysis

suggests that Stanton introduces descriptions of reality in the film which, if accepted by

the audience, leads the audience to two conclusions:

1. No matter the situation, one must endure.

2. Follow your heart and never give up.

Acceptance of the first conclusion would lead an audience to agree that challenging

situations are simply a part of life. If an audience accepts the second conclusion, they

would realize that when motivated by love, it is best to persevere and grasp a deep

understanding of the concept and characteristics of love. Connecting the two conclusions

leads to the claim that in the difficult journey of life, love conquers all.

Finally, in looking at the film WALL-E, Stanton presents a situation to the

audience where in an over-polluted and toxic world (scene), a robot (agent) understands

his duty (purpose) to aid in the cleanup process (act) by piling trash and collecting spare

parts (agency). Missing connection and curious about human’s conceptions of love

(purpose), “he” is excited to meet another robot visitor (agent) who also has a directive

(purpose) to discover sustainable life on Earth (act). Unfortunately, the two must travel

to space and inform humans (agents) of the discovery of plant life on Earth. The humans

and the robots travel back to Earth and begin to farm (agency) and responsibly plan for

the future through stewardship and love (purpose) for the once-abandoned planet.

Additionally, the dominant elements of the film are purpose, agent, and scene.

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Considering this, my analysis suggests that Stanton introduces descriptions of reality in

the film which, if accepted by the audience, leads the audience to three conclusions:

1. Accept the obligations in your life, follow your heart, and never give up.

2. The polluted and desolate picture of the future is a direct result of present day

society’s lack of environmental consciousness.

3. The future is grim, unless we accept our faults.

Acceptance of the first conclusion leads an audience to accept that each has duties

to complete, as well as a right to seek happiness. If an audience accepts the second

conclusion, they would realize that environmental issues have been caused by us and,

therefore (third conclusion) we must accept responsibility to resolve the problems we

created. Connecting the three conclusions tells us that humans are meant to love all

living things and by acting as stewards of the Earth, we can ensure that future generations

can seek happiness and love.

All of these films could be viewed by an audience as connecting environmental

platforms to a sense of spirituality. After analysis, the overall value of all life in these

films suggests that understanding the natural world also connect one to a spiritual world.

A push to promote more environmentally-friendly surroundings and for citizens to seek a

connection with nature is a feature of many (for lack of a better term) green movements.

This is interesting because as Abram (1996) wrote, “a genuinely ecological approach

does not work to attain a mentally envisioned future, but strives to enter, ever more

deeply, into the sensorial present” (p. 272). In other words by focusing on the sensuous

world now, humans begin to develop connections to the natural world in which they

inhabit. As opposed to paving the way to the future, attention to our present surroundings

77
promotes connection to the natural world. Ideally then, this connection will also

promote a relationship which seeks understanding rather than dominance.

In WALL-E we view a society where stewardship only occurs through a

reinterpretation of the frontier myth, when humans return to Earth and distance

themselves from the spoils of technology. In the opening scenes, however, we realize the

failure that previous generations had when ruling the Earth truly meant subduing all

living creatures . . . for generations. This visions clearly rejects the Judeo-Christian

philosophy that, “The earth is the Lord’s, and everything in it, the world, and all who live

in it; for he founded it upon the seas and established it upon the waters” (Psalm 24: 1-2

New International Version). Obviously this vision when presented through a comic

frame can influence a direct message of environmentalism, but maybe not the subtle ideas

relating to spirituality. From a critic’s perspective, maybe looking into the philosophical

structures can further aid in determining effectiveness.

RQ4: Does the dramatistic method allow insight into the philosophical structures

of the films?

In all examined films, the dramatistic method does allow insight into the

philosophical structure the films. This indicates that the method was useful in analysis

for each artifact. Additionally, the next few paragraphs focus on the philosophical

system, as outlined by Burke, which are introduced to an audience viewing these films.

Foss (2004) writes that the philosophical system aids to generate ideas “about the

definition of a situation, its meaning for rhetors and audiences, and its possible

consequences” (p. 389). Ideally then, as the films display similar dominant themes and,

therefore, express parallel philosophical visions then conclusion about effectiveness can

78
be connected.

Through examination of these films, the spiritual themes, though often the muse

through which Stanton designs the story, are not as noticeable as the environmental

concepts. When an artifact features scene as the dominant term, the philosophical

construct highlighted is materialism. In this context, materialism is the system which

“regards all facts and reality as explainable in terms of matter and motion or physical

laws” (Foss, 2004, p. 389). Through this context, every situation which occurs in the

universe can be explained through conditions of matter. The key addition to this

paradigm suggests that since all can be explained and all occur due to discoverable and

definable conditions, then anything unexplainable does not exist and is therefore false. It

could be argued then that as the presence of God or immaterial soul is not provable, it is

therefore not possible. Interesting enough, scene was a dominant term in each of

Stanton’s films in this thesis. So while Stanton’s driving force behind much of the work

in the films relates directly to elements of spirituality through Christian messages, the

rhetoric when delivered to an audience is focused on the material world. This could be a

reason why religious discussion of the films has been reserved for secular publications or

when introduced by Stanton. The materialism system does not align well with a spiritual-

themed message. This could influence the impact on the audience. Nonetheless, this

system could define an environmental perspective quite well and deliver a message which

aligns with its philosophical system. Matter is valuable because it creates the conditions

of life. Since protecting life is critical, so too is protecting matter.

When an artifact features purpose as the dominant term, the philosophical

construct highlighted is mysticism. In this context, the concept of unity is valued and

79
promoted so highly that individuality often disappears. Moreover, Foss (2004) explains

that in mysticism, “identification often becomes so strong that the individual is unified

with some cosmic or universal purpose” (p. 389). This philosophical system can explain

why the film’s plotline and messages often relate to an environmental movement. In

such a movement, the goal of the group is valued more than the individual’s efforts.

Depending on the religion an audience member practices, a collectivist culture could be

promoted more than individual choice of freewill. However, a larger question remains:

Is it even necessary that spiritual aspects are clearly defined in the films?

In analysis of these films, the viewing audience can find messages addressing

love, duty, sacrifice, trust, and patience; moreover, we see positive results of each when

agents accept, adhere, and admire these concepts. Additionally, we can view the negative

impacts which result from greed, power, slothfulness, selfishness, dominance, and even

hate. Considering the films do link environmental responsibility to spiritual

responsibilities, conceivably the intention is not to show people how to be spiritual;

rather, what traits spiritual people demonstrate. Since these films do show the viewing

audience how to act environmentally conscious, the message could be taken two ways by

Christians. First and foremost, humans are messing up the greatest gift ever given by

God to humankind. Secondly though, if one calls one’s self a Christian, these films

demonstrate how s/he must act in order to carry out the commitment to the faith. Only

audience members can truly determine whether these messages are impactful to his/her

daily life.

80
Limitations and Ideas for Future Research

At a minimum, the same process can be duplicated with these three films using

the same method; however, results may still vary. This could be considered a limitation

as results may adjust. The way in which an audience is affected has long been of interest

to rhetorical scholars. They ponder why some may take a specific action while others in

the viewing audience remain dormant. Perhaps the individualities that each person brings

to a viewing should be considered. Moreover, being a white, Christian, heterosexual

male who is married with two children, I obviously bring in my own preconceived

notions and my own set of beliefs about spirituality and environmental issues. Each

author who aims to duplicate this study should also check the privilege and eccentricities

s/he may bring to the film. These certainly add to the limitation of both my and future

examination(s). Future research pertaining to either spirituality and environmentalism or

green Christian rhetoric could find this thesis of use, especially when trying to gauge an

effective message to disseminate to mass audiences.

Considering the research conducted in this project, while Stanton is remarkably

outspoken about his intentions, perhaps many who view his films may simply see non-

humans acting as clowns trying to solve a social issue. Perhaps this could be why the

Christian message must be addressed by Stanton through non-secular publications.

Perhaps the terministic screen that Stanton holds affects the way he perceives the world.

Perhaps he is a savvy business man who understands the Christian lifestyle may not play

well with the entire audience. Perhaps he is just a storyteller living in a world which

provides him so much material, he naturally weaves together brilliant parables through

socially conscious platforms. In any case, much more research is needed and more films

81
could be analyzed through similar methods. In addition, gauging the actual long-term

influence of these films could prove interesting. Certainly the impact will be financial for

some, but will the spiritual and environmental themes affect many? In the end, maybe

the individual responses that audience members display remain critical to truly determine

effectiveness. And if anything can be presumed about Disney/Pixar, more examples are

on the way.

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