Two articles in Religion Dispatches give me reason for pause in seeing the film, or at least to watching it more critically if I do decide to see it. The first is an article by Anthea Butler titled “Disney’s Lump of Coal.” The author’s displeasure with the film may be summarized with the words, “I’m going to go all out and say that the entire movie is a wholesale desecration of New Orleans, Creole culture, Cajun Culture, religion, zydeco music, the Evangeline story, and Louis Armstrong..”. In the second article, Michelle Gonzalez Maldonado focuses her displeasure with the film specifically on its treatment of Haitian religion in a piece titled “Bad Magic: Voodoo According to Disney.” Maldonado feels that “this film perpetuates offensive stereotypes about Voodoo.” As the author concludes the analysis she writes:

I did not expect critical race analysis or a sophisticated presentation of Voodoo when I walked into the theater. It is, after all, Disney. I did not expect such a blatant, racist, and misinformed presentation of Voodoo, however. The reduction of religion to magic is also reaffirmed in the curious absence of Catholicism in the film. My son is correct, Disney Voodoo is bad magic; it just doesn’t have anything to do with the authentic African Diaspora religion.

But how should audiences react to elements of race, culture, and religion as portrayed in a fantasy cartoon? Even Butler writes, “Yes, I know, it’s just fantasy, right?”

On the one hand, elements within a fantasy film take on the meaning given them by the writer of the story. This is a basic principle of literary, and by extension, cinematic interpretation. So it would be inappropriate to critique Harry Potter for providing “inaccurate” portrayals of witchcraft, since J. K. Rowling was creating a contemporary fairytale form of witchcraft rather than a representation of Wicca outside of her fantasy context.

But on the other hand, it would be a mistake to give fantasy a pass in terms of being divorced from the social and cultural context in which it is produced. Josha Bellin, author of Framing Monsters: Fantasy Film and Social Alienation (Southern Illinois University Press, 2005), reminds us that in addition to entertainment and escapism, fantasy has a dark side that is often missed because it is held to be separate from reality:

But of course, that’s what makes these films particularly powerful vehicles of social alienation, the phrase I use to suggest the whole range of processes by which marginalized groups are stereotyped, victimized, and scapegoated: fantasy films’ resistance to critical scrutiny enables them to perpetuate loathsome social ideologies under the guise of “harmless entertainment.”

My previous interview with Bellin on this topic as the thesis of his book can be found here, along with a second interview contrasting the original King Kong with Peter Jackson’s more recent version. Both interviews shed light on the need for a more critical reading of fantasy films that will enable viewers to gain a deeper appreciation of the many facets of fantasy and how they reflect social and cultural contexts. I offer this as food for thought for those who want to probe Disney’s latest cartoon offering beyond holiday cinema escapism.

I begin with two classics that became part of annual television viewing in October for many years. I refer to It’s the Great Pumpkin Charlie Brown (1966). I literally grew up with this program and looked forward to it each year. It still airs from time to time, but for whatever reason it appears to be more difficult to find as an annual program.

Another cartoon is less known, but it too became a cartoon that I needed to see each Halloween season. Garfield’s Halloween Adventure debuted in 1985, and each year we had the opportunity to watch that loveable feline dress as a pirate for his Halloween adventure with his sidekick Odie.

Looney Tunes provided several contributions to my Halloween cartoon habits. These include Scaredy Cat (1948)

Bewitched Bunny (1954),

Hyde and Hare (1955),

Broom-Stick Bunny (1956),

and the especially enjoyable Transylvania 6-5000 (1963).

Walt Disney Studios must also be acknowledged as incorporating a wide body of material that is horror and Halloween related. Several observers have credited Disney cartoons with making a significant impact upon popular culture related to the celebration of Halloween (as exemplified in these sample clips). Some of these cartoons include Lonesome Ghosts (1937),

Fantasia‘s (1940) “The Sorcerer’s Apprentice”

and “Night on Bald Mountain”,

“The Legend of Sleepy Hollow” from The Adventures of Ichabod and Mr. Toad (1949),

Trick or Treat (1954), which was made part of a very successful Halloween album for children that was part of A Spooky Night in Disney’s Haunted Mansion dramatization feature the voice talents of a young Ron Howard,

For many seasons now The Simpsons have produced a “must see” collection of “Treehouse of Horror” episodes. The only drawback is that these episodes do not air until the Sunday after Halloween, but at least this helps draw out the enjoyment of the season for another week.

Finally, my Halloween animation collection would not be complete without the addition of two stop-motion animation gems, both from Tim Burton, The Nightmare Before Christmas (1993)

and Corpse Bride (2005).

I hope you find these animated Halloween treats as enjoyable as I do, and I’d like to hear what else you might include on your list.