This paper addresses the portrayal of Andean culture in Disney’s animated comedy The Emperor’s New Groove, 2000. It is a morality tale about an Inca emperor named Kuzco who is magically transformed into a llama by a potion originally intended to kill him by his evil advisor and her dim-witted henchman. After a series of comical misadventures, Kuzco is restored to his rightful place as emperor of the Inca dynasty with the help of a kind-hearted peasant named Pacha.
To children and adults who watched it, this film was typical Disney entertainment: colorful animation, David Spade’s hilarious one-liners, John Goodman’s loveable character, and the dynamic duo of Kronk and Izma as the villains, create a memorable film. According to Helaine Silverman, “…visual signifiers in these animated movies…are interpreted uncritically by most viewers in accordance with a culturally sanctioned hegemony.” However, if we dig a little deeper and go beyond the comedic aspect, we may question the cultural insensitivity and possible appropriation of significant aspects of this ancient civilization.
About the presenterAmanda Frantz-Mamani
I am a member of the English, Philosophy, and Modern Languages Department at Pennwest University. My interests include Colonial Latin America, especially the use of imagery in popular culture and the relationships of Power and Identity. I also study Latino/a culture in the U.S., and Women and Gender studies.