Caracterización de diferentes homologaciones axiológicas vigentes en los dibujos animados para televisión
American cartoons have been stealthily takihg a place niore and more relevant in the culture industry. So much so, that channels specifically targeted at animation and, at the same time, animation series produced to suit varied audiences ¾ children, adolescents, and adults 3/4 can be distinguishe...
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| Publicado en: | Confluencia |
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| Acceso en línea: | https://bdigital.uncu.edu.ar/fichas.php?idobjeto=3661 |
| Sumario: | American cartoons have been stealthily takihg a place niore and more relevant in
the culture industry. So much so, that channels specifically targeted at animation and,
at the same time, animation series produced to suit varied audiences ¾ children,
adolescents, and adults 3/4 can be distinguished today. Together with this great
diversity and amount of texts, the coexistence of opposed value systems specially
attracts attention. Several cartoon strips, targeted specially at children, help to build
the present child taste (following Calabrese) that does not respond to just a single
unifying value system. That is to say, the pretty or the ugly, the good or the bad, the
shaped or the shapeless, the dysphoric ot the euphoric are not determined today by
just one regnant axiological discourse.
The purpose of this work is to describe, from a semiotic perspective, the special
features that result from the coexistence of different ethical and thymic morphologies.
In order to do so, I will dwell on a group of cartoons that are pictured to us as the
antipodes of the traditional and well-known Disney audiovisual texts and the classic
and successful animated series of the Warner Bross or the Metro Goldw}'n Aíayer.
Since the very beginning, these creations attempt to show stability in the style,
chromatic harmony, and behavioral evenness. Contrarily, the possible worlds that
also shape today's universe of cartoons evidence what Calabrese calls the pleasure of
the imprecise, the undefined, the vague, and the ambiguous. These sincretic
representations exalt notorious differences in their axiological standardizations,
freeing themselves from aspiring to perfection, both in their sceneries, and in their
figurative actors? hybrid beings, aversive animals, accursed children, disfigured
creatures, and diffuse sceneries are some of the characteristics that define the most
recent animated productions made for television.
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