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ENG 101: Project 3 - White 1 Ashley White Eng 101 Sec-055...

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White 1 Ashley White Eng 101 Sec-055 Ms. McKinney November 12 th , 2007 Project 3 Colors of the Wind In 1995, Disney brought the world a new kind of film that was very unique from all their other typical fairy tale movies. It was a film that became an anthem for almost every young female of color, but also stirred up controversy among the Native American community. The Disney filmmakers decided to tell the story of Pocahontas, a young Native American girl in the 1600’s whose tribe was threatened by European settlers. Like every other movie produced in Hollywood, Pocahontas had its share of critics and journalists that expressed their opinions and interpretations of the film. The journalists in this paper, Jacquelyn Kilpatrick and Gary Edgerton et al., are just some examples of journalists that convey their views of Pocahontas and many features of the film. Kilpatrick is the author of “Disney’s ‘Politically Correct’ Pocahontas” and Edgerton et al. are the authors of “Disney, the ‘White Man’s Indian’, and the Marketing of Dreams”. In both articles, Kilpatrick and Edgerton et al. focus on Pocahontas’ appearance, the accuracy of her life, and the evident offensiveness that has impacted the Native American community, but they still maintain slightly different opinions on the topics shown in the film. Kilpatrick and Edgerton et al. both claim that the film makers envisioned Pocahontas’ appearance to be more Caucasian than Native American, but Kilpatrick puts more emphasis on
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White 2 how filmmakers decided to change her looks to appeal to the general American audience. In the article by Edgerton et al., they basically state that Pocahontas looked more Caucasian than Native American and the authors also continue to say, “[The filmmakers] started with Native American faces but eventually gravitated to the more familiar and anglicized looks of the statuesque Turlington” (96). In the article by Kilpatrick, she agrees with Edgerton et al. about Pocahontas’ appearance but argues that the film producers knew how Pocahontas looked but they believed she needed a new impression to fit what they thought would be most appealing to audiences. Kilpatrick illustrates this point when she states, “Glen Keane, the film supervising
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