thesis statement zootopia

63 Zootopia (2016)

Zootopia (2016): The Diversity in Society

By Prakaydao Chinpinyokul

Zootopia was made by Disney and released in theaters in 2016. Without analyzing it, this movie seems to be an average movie for children to enjoy. Character designs, settings, music, and plot draw children into the colorful world of Zootopia. Enjoying the up and down and thrilling moments as children follow the story of the protagonist, Judy Hopps, a bunny who is full of determination and ambition to pursue her dream of becoming a police officer, starting her new life in Zootopia, and facing the obstacle with optimism. However, as children watch Zootopia , they might have missed the critical detail that the movie tries to tell audiences because they are too young to understand the topic that highlights the issue of difference, power, and discrimination. It is normal for children to categorize animals as one group and overlook the diversity of animals in the movie. The variety of the society that shows different types of animals with different personalities in the film is the key to understanding these issues and how it shapes people in Zootopia.

But first, we have to focus on the settings that show many small details being put in the movie to fit in a world full of many types of animals. Zootopia is known as a city where “Anyone can be anything” (03.00), showing the concept of equality. The movie displays this concept by introducing twelve unique ecosystems in the city. Also, providing facilities for different animals. The scene when Judy says goodbye to her family and leaves for Zootopia at the train station is a good exmple. You can see there are many sizes of train doors for different animals who are big and small. Even the scene when Judy chases after the thief in the small city where mice live, or the scene with a different size of trash can shows the city that treats every animal equally. The city appears to be a perfect place for every animal. However, that is just the outside to make the city look like an ideal city, and we’ll have to look deep into the different groups of animals in the movie that create Zootopia society.

The movie displays two types of animals in the city; the first are herbivores seen as prey, and the seconds are carnivores seen as predators in the movie. The central conflict in the film starts when Judy learns about the missing mammal cases. At first, the case looks like a typical missing animal, but as Judy gets closer to cracking the case. She finds out that all the missing animals turn into savages. She thinks what causes animals to turn savage is because of “biology…a biological component…thousand years ago…predators survived through their aggressive hunting instincts…reverting back to their primitive, savage ways…” (01.11.10)—connecting the dot that all missing animals are predators and only predators can turn savage. The small assumption leads to a tear in Zootopia and uproar diversion between predator and prey. This part of the movie shows the discrimination caused by hatred and fear toward predators. Suppressing and discriminating against other people with cruel words that do not even apply to those people in reality. These kinds of actions affect some of the characters in the movie to grow up with the conflict and fear of being anything other than what people around tell them.

Society in Zootopia is similar to our world. Some animals have jobs, such as constructors, thieves, police officers, secretaries, or a mayor. However, one thing to notice in the movie is that the same animal species or same-sized animals usually work in the same jobs. Zootopia’s society has the stereotype of what kind of jobs this animal can do, which overpowers the animal’s opinion and right to choose in Zootopia. For example, animals that work as police officers are big and strong-looking, sloths work as DMV employees, or bunnies work as farmers. The Mayor in Zootopia, Lionheart, is even a lion, an animal known to be the king of the animal kingdom. This kind of stereotype contradicts the quote “Anyone can be anything” and highlights the true side of Zootopia of people stuck in their stereotypes.

Bellwether is one of the characters sick of society always choosing who can or can not be. Bellwether is a sheep secretary who works under Lionheart, the mayor in Zootopia, and her appearance looks sweet and kind in the movie. Surprisingly, she is the real villain, turning predators into savage predators. The reason behind her villain plan is formed by the hatred that she had toward predators. Her whole career working as a secretary for the mayor has to deal with power suppressing her. She receives terrible treatment from the mayor, who tells her what to do, calling her “Smellwether”, or forcing her to work in a boiling room instead of an actual workplace. Moreover, he gives her a mug that says “World’s Greatest Dad” but crosses the word “dad” with “assistant mayor”—showing Lionheart never respects Bellwether or takes her seriously. It is unfortunate what she has to go through and feel like she is just “a glorified secretary” (01.01.45) used to get the sheep to vote for the mayor. Bellwether is tired of being underestimated and underappreciated by predators who are always in power showing “a grudge against what she saw as an unfair system” (Hassler). She wants to make a world where preys dominate predators. To do that, she needs to become powerful by creating the fear of predators within prey, which makes Lionheart a predator not in a powerful position anymore.

You can see the difference between the pictures of Bellwether. The first picture is when Bellwether still works under a mayor, and a shot is from an angle looking down at Bellwether, making her look weak. The second picture is when Bellwether becomes a mayor, and a shot is from an angle looking up at Bellwether, and her surroundings are dark tone, indicating she is in power and revealing her true self. This is an excellent example of how power can have a lot of effect on our society.

Nick’s character is introduced in the movie as a con artist. He is seen as sneaky and cunning in the beginning. Animals in Zootopia or even Judy see Nick as a sly and mischievous fox, a common trait of all foxes. However, as Judy and Nick work together on a missing animal case, Judy realizes that Nick’s real personality is not like the fake act that he created for people around him to see. In the movie, audiences later learn that the reason behind Nick’s actions is actually a way for him to protect himself from people who discriminate against him for being a fox. He had a dream of joining the Ranger Scouts when he was a kid, but his dream was destroyed when people in the Scout mistreated him just because he is a fox, and the stereotype of foxes can’t be trusted. The scene after Nick ran away to hide behind the side of the building shows him as a victim and no one beside him to stand for him. His mussel symbolizes the violence from the discrimination and his inability to express his true self. He tells his pain to Judy and says, “If the world’s only gonna see a fox as shifty and untrustworthy, there’s no point in trying to be anything else” (59.53). Nick chooses not to fight back the discrimination and accepts the stereotype of a fox. Later in the movie, Judy slowly sees Nick as trustworthy and overlooks his identity of being a predator. Nick also gradually became the person he wanted to be, a kind, gentle person who overcame barriers created by society.

Finally, the protagonist, Judy Hopps, is different from the other bunnies in her hometown. She dreams of becoming a police officer, but her parents, her bully, or people around her think that a bunny can’t be police because “there is never a bunny cop…Bunny don’t do that…never” (03.33). It reveals her parents are stuck in the stereotype that bunnies can only be farmers and are scared of trying a new thing because they know they will fail. With the critical comments from people around her, she didn’t care what people thought and kept working hard until she successfully became the first bunny officer. However, her path to becoming a real police officer didn’t go as smoothly as she thought. Look closely at the shot from Judy’s point of view, looking at enormous police officers, or when Judy is in the same shot with other officers; the film wants audiences to compare Judy with other officers and notice that Judy is different from others. She receives discrimination from the teacher in the police academy, telling her she won’t be able to succeed, or the chief assigns her to parking duty while other police officers work on the missing file case. She receives these unfair treatments because of her small physical appearance, being the only female in a male-dominated workplace, and just because she is different from others. Even the article from the research mentions, “It becomes clear that one’s workplace success depends more…connections, race and/ or gender than their academic achievement” (Beaudine, Osibodu, Beavers). This confirms Judy is being looked down on because she is a bunny; her having a token or writing two hundred parking tickets would not change the point of view of how other animals see her. However, it doesn’t change the fact that Judy still has the privilege of being a prey animal, which gives her a platform to speak on the issue of missing animals that turn into savages. But because she didn’t understand why animals were turning savage, causing her to say something offensive to predators. This “demonstrates how language can be hurtful without being overly aggressive” (Crewe)— causing her to lose a good friend like Nick, who used to be gone through the experience of being discriminated against as a predator. This also shows her unconscious discrimination toward predators when she grabs her fox spray due to her inner fear and reveals she never experience cruel discrimination against predators. Needless to say, Judy’s action was not on purpose. She “recognizes her mistake and expresses regret, thereby models for the movie’s audience regarding him they should respond” (Flory), which is a smart way to teach children about these issues and learn to take responsibility for their actions.

Zootopia is a great movie with many good messages about equality. It displays power, difference, and discrimination issues through characters in the film, making it not too complex for audiences like parents to teach their children. All characters in movies are animals, which makes it hard for audiences to compare the animal species in the film to the human race in real life, thus reaching more audiences from different groups because everyone can feel related to the film. Of course, the city of Zootopia is not like our society. Our society is full of many people that come from different backgrounds. Still, we are all human beings at the end of the day. Like Judy said, “We all have limitations. We all make mistakes which mean…we all have a lot in common, and the more we try to understand one another, the more exceptional each of us will be” (01.33.45)—proving that we can become more than what we are in our own unique way. It depends on you whether you want to accept the system and continue to be what people around you say or fight against the system and make the world a better place, so which path are you going to choose?

Beaudine, Gregory., Osibodu, Oyemolade., and Beavers, Aliya. “Disney’s Metaphorical Exploration of Racism and Stereotypes: A Review of Zootopia” The University of Chicago Press Journals, Feb 1. 2017, www.journals.uchicago.edu/doi/10.1086/690061

Crewe, David. “Animal harm discrimination and difference in Zootopia” Gale Academic Onefile, Jan. 2017, go.gale.com/ps/i.do?id=GALE%7CA485988740&sid=googleScholar&v=2.1&it=r&linka ccess=abs&issn=1449857X&p=AONE&sw=w&userGroupName=oregon_oweb&isGeo AuthType=true

Flory, Dan. “Audience, Implicit Racial Bias, and Cinematic Twists in Zootopia” The Journal of Aesthetics & Art Criticism, Oct 30. 2019, academic.oup.com/jaac/article/77/4/435/5981537

Hassler, Forest, Dan. “‘Life Isn’t Some Cartoon Musical’: Neoliberal Identity Politics in Zootopia and Orange Is the New Black .” Journal of Popular Culture, vol. 51, no. 2, Apr. 2018, pp. 356–78. EBSCOhost, doi-org.ezproxy.libweb.linnbenton.edu/10.1111/jpcu.12658.

Difference, Power, and Discrimination in Film and Media: Student Essays Copyright © by Students at Linn-Benton Community College is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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Article Contents

I. formal and narrative features of zootopia, ii. thematic elements.

• III. ZOOTOPIA'S NONWHITE VIEWERS

IV. CONCLUSION

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Audience, Implicit Racial Bias, and Cinematic Twists in Zootopia : Flory  Audience, Implicit Racial Bias, and Cinematic Twists

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DAN FLORY, Audience, Implicit Racial Bias, and Cinematic Twists in Zootopia : Flory  Audience, Implicit Racial Bias, and Cinematic Twists , The Journal of Aesthetics and Art Criticism , Volume 77, Issue 4, October 2019, Pages 435–446, https://doi.org/10.1111/jaac.12672

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This article argues that Zootopia , while positively exploring implicit racial bias, nonetheless leaves aside a huge swath of nonwhite viewers. By using the vehicle of fear that prey animals have for predators as a metaphor for race, its story primarily caters to white audiences and encourages them to consider what sorts of implications biased presumptions and predispositions might have on one's fellow creatures. Through the use of different epistemological and thematic twists, this movie drives home its point of showing the negative impacts that implicit racial biases may have, even as it sidelines many of its potential viewers.

In a perceptive analysis of how whites are often trained not to see problems of race, Shannon Sullivan argues that “critical philosophers of race need to explore how different white habits might be cultivated in the first place. And this means turning their attention to white children” ( 2014 , 88). Sullivan makes this claim in connection with explaining how racial color blindness fails to produce the ideally just results that many believe it does. Rather than opening whites to a world where race truly does not matter, it enables ongoing racial injustices to persist, grow, and fester by teaching whites (and especially white children) habits that lead them to systematically overlook such inequities and act as if they did not exist. Through racialized habits of perception, thinking, and predisposition, ongoing injustices come to be treated as things whites should not act upon, talk about, or even observe, lest they be accused of being racist because they see the world in racial terms. Rather than achieving equality and justice for all, racial color blindness trains whites to think, perceive, and respond according to an “epistemology of ignorance,” to use Charles Mills's famous phrase, that systematizes local and global cognitive dysfunctions such that whites—even good white people, to use Sullivan's object of analysis—neither see nor understand the racialized social world in which they live ( 1997 , 18). But rather than focusing on adults’ flawed racial habits and how one might go about changing them, Sullivan recommends that we turn our attention to children and how they come to see the world “whitely” in the first place. 1

One of the ways in which Mills observes that the epistemology of ignorance is inculcated into whites is through Hollywood cinema, which crucially helps to shape the white imagination ( 1997 , 19). Thus, it makes sense that, in looking at how white children come to have racialized habits, one would want to look at the movies they watch. This insight raises the specter of examining Disney movies, which have a long and sordid history of using racial stereotypes. From moments of orientalist racism in Snow White and the Seven Dwarfs (1937), Lady and the Tramp (1955), 101 Dalmatians (1961), The Aristocats (1970), and Aladdin (1992), to blackface minstrelsy and stereotyping in Dumbo (1941), Song of the South (1946), The Jungle Book (1967), and The Lion King (1994), as well as Native American stereotypes in Peter Pan (1953) and elsewhere, white children in middle America—long the intended target audience for these films—have learned much about race through moving image art produced by this enormously powerful mass media conglomerate. 2 But rather than examining the works just mentioned, I turn to one of Disney's recent attempts to make up for its sorry history concerning race, the winner of the 2017 Academy Award for Best Animated Feature, Zootopia (2016). I argue that while this work is a modest step forward for Disney movies, it still retains traits that call out for revision and improvement. In this essay I first examine some of Zootopia 's formal, narrative, and thematic features, with particular attention on how the movie offers epistemological as well as thematic twists in its story. I then discuss how nonwhite viewers might see this film and conclude by assessing where Zootopia stands overall in its aim of addressing bias and how that phenomenon might be overcome.

At the outset we should take note of the fact that, as an artwork aimed at a mass audience, Zootopia is not meant to be difficult to understand. Like mass art in general, this movie is designed to provide its meaning accessibly without any special tutoring or in‐depth contemplation. Most of what viewers are supposed to understand and appreciate is there for them to grasp immediately and nearly effortlessly, as Noël Carroll argues in outlining a definition for mass art ( 1997 , 189–190).

However, we should also note a point that Carroll does not, namely that mass art can also be targeted at specific mass audiences. In the case of Disney and its aim to appeal to children, various critics have observed that its movies further presume that their primary viewers are white. Dorothy Hurley ( 2005 ) notes in particular how these films do not cater to black children, and other critics indicate how nonwhite viewers are often ignored, excluded, or sidelined by Disney movies (for example, Giroux and Pollock 2010 , 108–111). Sarita Gregory, for example, argues that The Princess and the Frog (2009), one of Disney's earlier attempts to escape its racist history, nonetheless has a “possessive investment in whiteness” that “does not … [challenge] racial hierarchy” but rather “continues to reinforce” it ( 2012 , 177–179, 189, 190). In the interest of advancing a racially color‐blind narrative, this work instead renders “invisible” the very ideas that would enable children to understand race more accurately, as Mary Bloodworth‐Lugo and Carmen Lugo‐Lugo note ( 2013 ), thereby instilling in white children the very habits of color blindness that Sullivan criticizes ( 2014 , 85–115). More generally, Hurley points to the way that Disney's animated characters are literally colored and how that colorization “subtly promote[s] an ideology of White supremacy” by acculturating children into existing forms of racism (2005, 225, 229), and Henry Giroux and Grace Pollock assert that Disney films generally teach children that “anyone who does not bear the imprint of white, middle‐class ethnicity is likely to be inferior and unintelligent at best, if not also deviant and potentially threatening” ( 2010 , 110). More broadly, these critics point to a racial dimension regarding much of Hollywood cinema's production of mass art that Carroll overlooks but that we should keep very much in mind.

At the same time, I want to acknowledge that what Zootopia does far more daringly and successfully than most if not all of its Disney predecessors is directly confront implicit racial bias. Its narrative explicitly poses the social problem of what it might mean if individuals presumptively and unthinkingly imposed negative, false stereotypes on a minority of their fellow citizens. What if many people reflexively feared some subgroup of their compatriots, not due to justified true beliefs regarding their moral character, but because they possessed nonconscious, deep‐seated, and negative affective responses to that subgroup over which they exerted little or no control? How would such reactions influence their overall attitudes and behavior? Could they still be fair and just toward those they feared? In the current climate of Black Lives Matter and ongoing police killings of unarmed black men and women, these are not innocent questions, and Zootopia aims to offer its viewers surprisingly accessible and yet thoughtful ways regarding how they might best think through these questions and what might be the best way to respond.

The vehicle through which Zootopia aims to offer viewers this opportunity is the fear that prey animals have for predators. Instinctual fear of predators, of course, has a distinct evolutionary advantage in the sense that it permits greater overall survival rates for those creatures who possess it. But what Zootopia does is take that fear and repurpose it for the sake of social critique. By clothing and anthropomorphizing its animal characters, this movie permits filmmakers to use prey, predators, and their relations to offer social commentary on how humans act. This aim is even the stated intention of the artists involved. One of codirector Byron Howard's ( 2016 ) ideas from the very beginning was to explore the idea of “bias.” As the feature developed, fellow director Rich Moore ( 2016 ) said that one key insight they hoped to convey was that “even the most good‐natured person can be susceptible to putting stereotypes on another person,” a character dimension they build into their good‐girl, police officer, bunny protagonist, Judy Hopps (voiced by Ginnifer Goodwin).

The idea that people of good will are capable of indulging in unfair racial stereotypes has been developed not only by Shannon Sullivan, but also Janine Jones ( 2004 ), and Daniel Kelly and Erica Roedder ( 2008 ). These philosophers argue that even well‐meaning whites who wish to do the right thing may nonetheless harbor nonconscious racial biases and that these unthinking sensibilities can have deeply negative effects for those on whom they are imposed. Consistent with this line of thinking, the artists involved in creating Zootopia deliberately set out to focus on such biases by means of their story. Citing Disney antecedents such as Robin Hood (1973) and The Wind in the Willows (1983), codirectors Howard ( 2016 ) and Moore ( 2016 ) said they hoped to convey something socially critical about contemporary human society through their clothed, human‐like animal characters.

We should note here, however, a presumption that these codirectors do not, namely, that the form of the bias that they depict and aim to criticize in Zootopia is one that most predominantly and problematically resides in whites, thereby indicating that Howard and Moore, for all their positive aspirations for their film, still implicitly assume that their movie's primary target audience will be white. This racial category is, after all, the one containing those who most urgently need to understand the lessons that Howard and Moore hope to convey—as well as being one of the most lucrative markets at which Disney movies could aim in the United States and the one they have traditionally aimed at in any case.

The film wastes no time in building its story world around the aim of providing social commentary by means of its anthropomorphized animal characters, for the second sound that the audience hears is an aggressive, predatory roar, sandwiched between ominous kettle drumrolls, and the first words spoken on the soundtrack are Judy telling viewers in voiceover, “Fear! Treachery! Bloodlust! Thousands of years ago these were the forces that ruled our world! A world where prey were scared of predators! And predators had an uncontrollable biological urge to maim, and maul, and [kill]!” This very first scene thus offers a stereotypical depiction of predator–prey relations, which takes pains to underscore the viciousness of predators and the meekness of prey, away from which the present‐day animals in the story world “evolved, and moved beyond [their] primitive, savage ways,” as Judy informs us. Of course, the scene turns out to be a skit that she is performing as a child with some friends at a talent show, but the presentation of predatory instincts being in the biology of predators and fear in prey has nonetheless been depicted and is further elaborated by means of a sequence that soon follows, where Judy shows a seemingly instinctual fear that rabbits have for foxes, here in the form of the class bully, Gideon Grey (voiced by Phil Johnston). Taking advantage of what David Bordwell calls the “primacy effect” ( 1985 , 38), through which filmmakers can raise viewer expectations by means of opening sequences, Zootopia encourages its audience to anticipate that the issue of predator–prey relations and the presumptions that go with them will be of telling significance in the story that follows and that the fear manifested in prey for predators will have a particularly crucial role to play.

Fifteen years later in the story world, as Judy's parents see her off at the train station as she travels to her first job as an adult, predators are subtly coded as “urban”; that is, they are coded as raced and creatures to be feared. Judy has grown up in the rural community of Bunnyburrow, more than two hundred miles from the metropolis of the title, and her parents openly express fear and terror over Judy moving to the big city. They describe Zootopia as dangerous because it is full of predators, and worst of all for these bunny characters are foxes like the old schoolyard bully Gideon Grey. “It's in their biology,” Judy's mother (voiced by Bonnie Hunt) warns, implying that predator treachery and savagery are hardwired in them and therefore unchangeable. Consistent with this way of thinking, Judy's father then offers his daughter going‐away gifts of fox deterrent, fox repellant, and a hilariously powerful fox taser, of which Judy reluctantly takes the repellant in order to make her parents stop worrying. Significantly, and even though Judy seems to be free of her parents’ explicit prejudices, as she prepares for her first day on the job as a police officer she takes the fox repellant with her.

The film regularly reminds its audience of its stereotyping theme, as when Judy meets the flabby, doughnut‐loving cop who occupies the front desk at the police station, Clawhauser (voiced by Nick Torrence), or when Judy protests to her new boss, Police Chief Bogo (voiced by Idris Elba), that she is not just a token bunny when he assigns her parking duty rather than a real policing job. The narrative also keeps us guessing with regard to whether our stereotypes will be confirmed or denied. For example, Clawhauer really is a flabby, doughnut‐loving cop, even if he is also a leopard, while Judy does her best to show Chief Bogo that she is not merely the meek and unqualified product of the mayor's affirmative action‐like Mammal Inclusion Initiative. We also see various other prejudices about animals confirmed or denied, as when lion and polar bear police officers aggressively arm‐wrestle each other as Judy enters the briefing room, or when a rhinoceros cop gently fist‐bumps her in world‐weary agreement that as police officers they really are trying to make the world a better place.

Zootopia is able to keep us off balance regarding how it will affirm or contradict our biases and stereotypes in part because, while watching the movie, we have available to us two distinct “realistic heuristics” that we import from the actual world in order to make sense of the movie's fictional world: one for animals and one for humans. By “using what we believe about the actual world and how it works,” we fill in gaps in the storytelling and “make sense of what is onscreen,” as Carroll describes it ( 2013 , 110; see also Robinson 2005 , 117–122). In the case of Zootopia the two heuristics available to us frequently offer conflicting possibilities regarding how characters might act, so we are often unable to predict what the characters will do until the movie resolves it for us. Because these characters are anthropomorphized animals, in other words, we are often uncertain whether they will act like animals or humans. Time and again this dilemma is resolved in delightfully amusing ways, as when the workers at the DMV (Department of Mammal Vehicles) all turn out to be sloths, which both confirms an animal stereotype and our typical experience in trying to obtain any sort of service at most Departments of Motor Vehicles in the real world. However, the dilemma can also be resolved in different ways to comic effect, as when we encounter an elephant who remembers nothing or a stoned hippie character who remembers everything. These comic effects depend largely on incongruity, which Carroll has recently argued explains an enormous number of cases of what we find to be funny ( 2014 , esp. 16–37, 48–54). Moreover, these comic effects are compounded by the fact that, as soon as the audience begins to expect such incongruity, Zootopia switches back to offering them traits that are consistent with their normal expectations.

The matter of negative bias against predators seriously reenters the narrative when Judy encounters Nick, a fox (voiced by Jason Bateman) whose behavior triggers Judy's predisposition to see foxes as untrustworthy and up to no good. The movie again plays with audience expectations here, first showing Judy (and us, the audience) that Nick seems to be a kind, devoted father, then revealing that he actually runs elaborate and clever scams. He is, by his own admission, a hustler, someone who lives by his wits in the shadowy regions between legal and illegal commerce, much to Judy's frustration. He confirms the negative biases that Judy has about foxes as clever, treacherous, and untrustworthy, even as he manages to stay just barely on the unprosecutable side of the law with his hustles. He also gives Judy a cynical lecture about how we can only be what we are and not what we aspire to be and in the process stereotypes himself as a “clever fox” and Judy as a “dumb bunny.”

In terms of implicit bias, it makes sense to observe here that Nick has given in to what, in the last two decades, has been named “stereotype threat,” a widely confirmed psychological phenomenon whereby individuals feel themselves at risk of conforming to the negative stereotypes about their social group (see, for example, Steele and Aronson 1995 ). Faced with the prospect of being seen primarily as untrustworthy and treacherous, Nick has embraced the image of what foxes are supposed to be and made it a touchstone for how he sees himself. Judy, on the other hand, emphatically rejects the scared and “dumb bunny” stereotypes, even as she worries sometimes that her behavior might confirm them.

Keeping us off balance with regard to stereotypes pays a different sort of dividend when Judy takes part in a press conference after having successfully solved a major case. With Nick's help, she has discovered that fifteen “missing person” animals have been secretly locked away in an old hospital because they have “gone savage.” Earlier in the narrative we had found out that a mystery facing the Zootopia police department was that a number of creatures had inexplicably disappeared, and Judy becomes involved when the wife of a missing otter (voiced by Octavia Spencer) personally appeals to Judy and Chief Bogo to find her husband. Judy then discovers that the last person who saw the missing husband was Nick, so she coerces him into helping her solve the case. At first reluctant, Nick eventually warms to Judy and her quest, in the process becoming her de facto partner. As they bond we find out why Nick has given in to stereotype threat as well as that he is by no means as bad as we originally thought he was. We discover that poverty, lack of opportunity, disappointment, and out‐and‐out prejudice against foxes have contributed to him becoming a hustler, not merely biological predilection. Given different circumstances, we come to understand that Nick's life could well have turned out very differently. In essence, Judy forcing him to help her gives him the chance to see himself more positively, and as a character he blossoms from being a low‐level wheeler‐dealer exploiting the margins of the law to being someone who we (as well as Nick himself) could imagine upholding it. The latter possibility is even exemplified by Judy suggesting that Nick apply to be a police officer because he was so resourceful in solving the missing animals case, which turns out to have been instigated by the city's leonine mayor, who was trying to hide the fact that all the missing animals were predators (like him) who had inexplicably “gone savage.”

When a reporter at the press conference following the resolution of the case asks Judy why some of the city's residents have regressed to a state from which it was assumed they had evolved long ago, she reaches back to ideas learned in her childhood and speculates that it may be due to their “biology … a biological component … something in their DNA.” She then elaborates in a way reminiscent of her grade school skit about predator–prey relations: “thousands of years ago predators survived through their aggressive hunting instincts,” she tells the press conference, and they now “seem to be reverting back to their primitive, savage ways,” a possibility that she darkly warns may happen again and about which “we must be vigilant.” Significantly, as Judy recites these ideas, the film switches from her to Nick's point of view in order to show us how such stereotypes have an impact on predator characters in the narrative. As we overhear Judy detail this alleged biological theory and its social consequences, we see Nick first identifying with the predators who have gone savage, then becoming angry at the accusation that due to unchangeable traits coded into their DNA all predators could potentially be threats to the public.

After the press conference Nick points out the negative dimensions of Judy's presumption that any predator could revert to “their primitive, savage ways” due to a “biological component” and thus thinking that all such individuals have in them inherent, violent instincts that they cannot change or control. Judy responds that she has merely stated the “facts,” and notes rather smugly that bunnies cannot go savage, something she presumes is a fundamental biological difference between predators and prey characters like her. She also talks about predators as “them,” clearly “othering” them, even as Nick, himself a predator, stands before her. When Nick protests, she argues he is not “ that kind of predator,” as if one could distinguish between “good” and “bad” predators, in response to which Nick notes that he is no different from the other predators who have gone savage. Then, as Nick grows increasingly agitated over Judy's smug ignorance and myopia, she shows a reflexive fear of foxes when he feigns a quick move toward her and asks whether she is afraid of him, startling her when he asks if she thinks he might go nuts and eat her, at which point she reflexively reaches for the fox repellant strapped to her hip. Judy's reaction is clearly depicted as a nonconscious, automatized reaction, which reveals to the audience that, in spite of being a morally good character, a devoted police officer, and someone consciously committed to the ideals of justice and fairness, as well as fighting implicit biases herself, she has a deep‐seated, implicit bias against predators.

Suddenly many audience members realize that what had earlier seemed like a relatively unremarkable, apparently empirical claim about predators has taken on a different quality. The presumed truth of the claim that predators have an uncontrollable, biological component that predisposes them to “go savage” and maim or kill their fellow creatures goes from being a presumption about the characters as animals to being one about humans. Moreover, changing the status of this fundamental presumption in the story amounts to a substantive change in its status as knowledge. Such changes in status are what George Wilson ( 2006 ) has dubbed “epistemological twists,” radical narrative turns that, in this case, cast the allegedly biological component of predatorship in an entirely different way. Namely, what had earlier been perceived as a factual statement about predatory animal characters suddenly becomes an implicit bias about human‐like characters, which completely alters the way many viewers see its role in the narrative. Moreover, the valence and allusions for this claim fundamentally change along with the radical modification in this presumption's status as knowledge.

Viewer understanding of the epistemological structure of the narrative as a whole is thus decisively altered, requiring many audience members to fundamentally recast what they thought they knew about this fictional world. Whereas they had at first plausibly imagined the story of Zootopia in one way, through this sequence they come to realize that such an understanding was deeply flawed and requires revision. Their basic comprehension of the narrative is “twisted” such that how they understand the story must be radically restructured. As I have argued elsewhere (Flory, 2010 ), this turn in the narrative functions by means of a misconstrual of sociopolitically inflected or saturated shots that, once revealed, strongly encourage viewers to substantively reimagine the story's meaning. In Zootopia , Nick's identification with the creatures who have “gone savage,” his subsequent explanation of what Judy's biased presumption means, and Judy's own unconscious reaction of reaching for her fox spray jolt many viewers into realizing that they have profoundly misconstrued what many earlier scenes meant sociopolitically in the story world, confronting them with the realization that they have misunderstood a crucial piece of knowledge regarding the film's narrative and placing before them the task of reformulating their understanding of it—as well as offering them upsetting grounds for thinking that they may possess presumptions about race that are analogous to those Judy has about predators.

By switching to Nick's point of view during the press conference, offering his explanation of why such blanket presumptions amount to negative, biased stereotypes and having shots of Judy's automatized response confirm it, Zootopia twists many viewers’ basic comprehension of its story. What they had plausibly imagined earlier as an unobjectionable part of the narrative, predatorship as biological, turns out to be a negative prejudice against the predator creatures that is a direct analogue to implicit racial bias. The idea that a certain group of fellow creatures have a biological predisposition to “go savage” thus becomes a metaphor for race. The opening sequence depicting Judy's play about “meek” prey and “vicious” predators, for example, becomes a scene in which an out‐and‐out bias is being presented to the film's audience, rather than a biological “fact” about the story world; and Judy's suspicions about Nick earlier in the film become inflected as motivated by a prejudice against foxes that is directly analogous to implicit racial bias. To put it in blunt terms, in the scene in which Judy first sees Nick, she racially profiles him.

Moreover, as the film proceeds after the press conference it underscores this newly revealed meaning of biases against predators. Judy begins to see the story world according to the idea that such an attitude is morally objectionable, as when she identifies with a peacefully protesting leopard rather than an irate pig spewing ignorant insults at a diversity rally, or when she is riding home on the subway and sees a bunny mother draw her daughter closer in fear when an unthreatening lion sits next to them. This kind of epistemological twist thus encourages viewers to substantively reimagine major components of the story's structure and meaning, an encouragement that is consistently reinforced by a variety of shots that model how we should perceive the story in the last quarter of Zootopia . 3

Part of what makes this epistemological twist possible is the dual availability of the animal and human realistic heuristics mentioned earlier. Because the creatures who populate this film are anthropomorphized animals, viewers bring in one or the other heuristic, depending on which direction the narrative guides them. The presumption about predators as biologically destined to potentially become savage, however, turns out to have an unclear status with respect to what we are invited to imagine about this story world. The seemingly plausible way of imagining according to the animal realistic heuristic that many viewers initially use turns out to be flawed and in need of revision, while the human realistic heuristic that these viewers had earlier presumed to be irrelevant turns out to be of paramount importance. In short, the real epistemic status of the predators‐as‐potentially‐savage presumption is, narratively speaking, not transparent for them. Rather, its real status within the story world is withheld until the press conference, at which point its significance is fully revealed and thereafter reinforced during the remainder of the film, necessitating a reconstrual of the narrative for many, but, in particular, white viewers. Thus, they are strongly encouraged to rethink what they have imagined to be true about the narrative of Zootopia and how to understand it—as well as encouraged to rethink the role of implicit racial biases, both in their imaginings and (because many of the presumptions at work are shared) in their actual lives in the real world. 4

Philosopher Michael Brownstein tells us that, “[r]oughly speaking, implicit biases are evaluative thoughts and feelings about social groups that can contribute to discriminatory behavior even in the absence of explicitly prejudiced motivations” ( 2018 , 2). These biases often amount to forms of embodied social cognition that involve nonconscious and automatized attitudes, assessments, and social behaviors that are negatively prejudiced. Moreover, the link that Zootopia draws between predator prejudice and implicit racial bias is, as noted earlier, intentional. While the filmmakers do not use these specific terms, it is clear from their comments that they want their audience to attend to and think about the ways in which people can put negative stereotypes on others, even when they harbor the best of intentions. As Judy later admits, for example, her prejudice about predators was “unforgiveable”: “ignorant, and irresponsible, and small‐minded.” Once she fully realizes what she has done, she is very humble about her shortcomings in unthinkingly embracing this implicit bias against predators because she has come to recognize how damaging it can be both to the profoundly diverse city she has idealized since she was a child as well as to her fellow citizens like Nick. Her blind assignation of blame for latent violence and aggression based on the socially ingrained presumption that all predators, biologically speaking, are potentially vicious, dangerous, and to be feared is indeed morally, socially, and politically irresponsible in this story world, and the cartoonists who made Zootopia , by having Judy recognize her mistake and express regret thereby offer models for the movie's audience regarding how they should respond, while also further implicitly urging viewers to reflect on whether something similar might be true about themselves. Yet it is also clear by virtue of Judy's expression of regret who is primarily supposed to find these story elements impactful—namely, white children and their parents—thereby confirming the main target audiences that this film is designed to reach.

As Wilson has noted, epistemological twists are changes in content affected by formal means: that is, certain shots come to shift audience perspective regarding what has happened in the film and what these events mean by compelling them to admit the importance of knowledge that they had not previously noticed or sufficiently appreciated (2006, esp. 84–89, 91–92). Epistemological twists thus differ from thematic twists in the sense that the latter are about initial interpretive assumptions that are decisively subverted by the story's content, rather than a misconstrual and reinterpretation by means of formal elements like cinematic shots. Thematic twists are thus more directly content based; the narrative itself provides grounds for radically changing our perspective about an apparent central theme in the film, whereas epistemological twists are affected formalistically (Wilson and Shpall 2012 , 98). Although these two types of twist can and often do parallel one another and may sometimes even intertwine, one (thematic twist) lacks thematic transparency, while the other (epistemological twist) lacks narrative transparency (Wilson and Shpall 2012 , 95).

Thematic twists, for example, frequently offer successive initial solutions to a thematic question but then show through content that these initial solutions are not workable (Wilson and Shpall 2012 , 102). Accordingly, Wilson and Shpall argue that the movie Fight Club (1999) offers a number of initial solutions to its protagonist's (Edward Norton) psychological difficulties. However, the content of the movie then explicitly demonstrates how each of these possible solutions is unworkable. First, for example, Fight Club 's protagonist finds resolution to his emotional difficulties in the support groups for incurable diseases that he attends. Then, as that apparent solution crumbles, another is offered—his imaginary friend, Tyler Durden (Brad Pitt), who leads the protagonist through the Fight Clubs referenced in the title and the nihilistic Project Mayhem, which proposes to blow up currently existing society and replace it with a primitive hunter–gatherer social order (Wilson and Shpall 2012 , 102). As the Project Mayhem solution goes awry, the protagonist then turns to Marla Singer (Helena Bonham Carter), who, according to Wilson and Shpall, is presented as “the film's suggested solution to the problems it treats” ( 2012 , 97). In short, the content of Fight Club suggests at its conclusion that “real human connection” and a “capacity for love” are what the protagonist needs in order to resolve his difficulties with “isolation, boredom, and disengagement,” not disingenuously attending support groups for diseases he does not have or acting out Tyler's destructive masculinist fabulations (Wilson and Shpall 2012 , 97). But again, this thematic twist fundamentally depends on the content of the film and its reinterpretation, not formal elements like epistemological twists do.

Consistent with Wilson and Shpall's explanation of thematic twists and in addition to using a sociopolitical epistemological twist to reveal its insights about implicit racial bias, Zootopia reveals its protagonist, Judy, to be what I have elsewhere described as a sympathetic racist character (Flory 2008 , 39–64; see also Flory 2006 ). Like Sal (Danny Aiello) in Do the Right Thing , Judy is the character with whom white viewers most closely engage sympathetically as well as empathetically, especially in the first three‐quarters of the film, and yet, hidden within her character, they find the story world analogue to implicit racial bias. In addition, just as Sal curries the racial allegiance of white mainstream audience members due to their shared race, so too does Judy, insofar as she is characterized as presumptively white by means of her voice, the cultural markers that surround her, and her general demeanor. For example, the way in which actress Ginnifer Goodwin intones, inflects, and enunciates her words in her vocal performance of Judy leads audience members to presume that her character is (metaphorically speaking) racially white, a presumption that is reinforced by the particularities of Judy's rural, small‐town upbringing, her parents, and other signifiers of whiteness that are associated with her in the movie.

As Richard Dyer has noted, racial whiteness is a stand‐in for the human universal in most mainstream viewers’ perceptions, and that observation remains true now nearly as strongly as when Dyer made it over two decades ago ( 1997 , for example, 2, 4, 11–12, 70), and it remains true particularly regarding the presumed primary audience for animated Disney features aimed at children. 5 Thus it makes a certain amount of sense for the filmmakers to have exploited their primary audience's racial allegiance to Judy by showing that even she, a metaphorical good white person, could possess implicit racial biases. Doing so made the movie that much more powerful for white viewers and amounts to a thematic twist on par with that explained by Wilson and Shpall in their essay regarding Fight Club . Moreover, compounding this white racial allegiance are the narrative, content‐based details that encourage audience sympathy and empathy by showing that Judy really is trying to do the right thing by being a police officer who enforces the law and treats everyone as fairly and equally as she can as well as by the fact that she possesses admirable traits such as the virtues of perseverance and ingenuity that help her to do her job. These details help to further strengthen the allegiance white audience members have for Judy by making her still more sympathetic and the character to whom white audience members most readily give their allegiance, especially in the first three‐quarters of the film.

Nevertheless, these details and the initial interpretation of Judy are greatly complicated for white viewers once her bias against predators is revealed, for now they have to reinterpret her character in a way that, thematically speaking, twists it. Whereas at first white audience members interpreted Judy as a character who was the most sympathetic character in the film (for the reasons just elaborated), they later come to realize that they need to interpret her differently, for she is not simply a sympathetic character, but a sympathetic character that also harbors (metaphorically speaking) implicit racial bias—in short, a sympathetic racist character. While she is by no means as racist as Sal in Do the Right Thing , with this change in Zootopia 's central narrative figure's character comes a thematic change in the film itself, namely, from the film being about a plucky female character fighting against implicit gender biases to being a film about that same character having implicit racial biases herself. This twist significantly complicates Judy as a character while also commensurately complicating and twisting the themes that Zootopia explores.

At the same time, these narrative elements also further reveal how Zootopia remains aimed primarily at white audiences— their concerns, their feelings, their prejudices. However, that specific focus is partly what makes both the epistemological and thematic twists possible as well as powerful: the filmmakers’ presumption that the primary viewing audience for Zootopia would be, racially speaking, white allows them to target their message about implicit racial bias in a particularly forceful way. This film's design is directly addressed at this audience's specific prejudices, biases, and forms of ignorance and uses these elements to make Zootopia more accessible and understandable for them.

III. ZOOTOPIA 'S NONWHITE VIEWERS

Of course, there remains the question, what does Zootopia offer nonwhite children and their parents? As secondary audiences, what might be in this feature for them? There are several possibilities here. One is that this movie can serve as a cautionary tale for nonwhite viewers, such that they can see depicted in compelling and extended detail how as well as why many whites fail to see race as a problem, how, for example, even good (symbolic) white people might operate under an epistemology of ignorance that prevents them from seeing that, for all their efforts be fair and just, they nevertheless fail to see how they continue to act in the grip of white habits, predispositions, and other aspects of implicit racial bias that often nullify their best efforts not to be racist.

Zootopia might also offer nonwhite viewers the opportunity to consider what many whites see as a viable solution to implicit racial bias, for the epilogue of the film offers Judy explaining what might be done in light of realizing that one possesses implicit biases. She notes that real life is far messier than slogans that fit on bumper stickers would suggest. She argues that we all have limitations and make mistakes, which implies a commonality that offers grounds for better understanding each other as well as becoming better morally. “Try to make the world a better place,” she exhorts, and elaborates by noting that “change starts with you, its starts with me, it starts with all of us.” In other words, Judy outlines a very individualistic solution that aims to be the satisfying end of a Disney children's film, something that children (as well as their parents) can readily grasp and feel they can achieve. She calls for a realization of individual human fallibility that is crucial to whatever solution to implicit racial bias might be offered. She concludes by encouraging us to change ourselves for the better, all exhortations that are further emphasized by Shakira's song “Try Everything” that plays as the credits begin to roll.

Some nonwhite viewers (as well as a few thoughtful white ones) might feel that these suggestions, while not inconsiderable, are far from dealing adequately with the whole of the problem of race. Perhaps one of the most troubling aspects of Zootopia is that there is inadequate stress on systemic disadvantages and the need to change them. 6 Except for a brief mention of Nick's poverty growing up as a child and a few moments of background depicting a bad neighborhood while Judy is looking for Nick late in the story, nothing is made of how some of Zootopia 's problems concerning bias could be ingrained into the very social systems that structure its characters’ existence. Allusions to structural inequalities, where the misery of life and lack of opportunity might breed criminality and encourage some to embrace stereotype threat, are only fleetingly depicted. Otherwise, the city seems prosperous and virtually everyone appears solidly middle class, a trait that establishes its de facto urban character and apparently allows its occupants to access its opportunities in comparably equal ways. Also, there are virtually no equivalents to insulting racial epithets that would signify how predator bias had worked its way into the very language that Zootopians speak. While it is true that the term “fox” is used as a quasi‐racial epithet when Nick is introduced and occasionally crops up elsewhere, and the term “preds” is used once late in the film to refer to predator creatures, Zootopia is remarkably free of denigrating language directed at its characters that could be taken as comparable to racially biased discourse. There are numerous epithets thrown at Judy (for example, “farm girl,” “carrots,” “bunny bumpkin,” “flopsy the copsy”), but these do not carry a racial charge so much as a gendered one. These details tend to push viewers toward imagining that bias is a problem involving only individuals and their prejudicial views, not something built into sociopolitical or linguistic structures that severely restrict how the film's characters might live their lives in comparably equal ways.

The solution proposed by Judy follows suit: the changes she advocates in the epilogue aim at personal, not systemic, change. Judy talks about what we must do as individuals to eliminate biases within ourselves, not what systematic transformations might need to be made to make that world a better place. Existing power structures that perpetuate predator bias (and analogically, racial bias) are not addressed. Zootopia's police force, for example, is not indicated as a problematic sore spot for implicit bias in the way that law enforcement all too often is in the real world. Surely these dimensions of the film would jump out at nonwhite viewers and perhaps even some white viewers as something elided and issues that would need to be addressed in order to achieve a proper solution to problems of race.

The epistemological and thematic twists explained earlier might moreover not work for many nonwhite viewers. Since they would most likely have seen them coming, given their greater sense of what race‐based biases look like and entail, the twists would not be twists so much as further narrative developments that confirmed suspicions or expectations that they already had. For example, nonwhite viewers (even children) might in general transparently see the sociopolitical inflection or saturation of earlier shots or narrative details, thereby obviating the need to have their nontransparent meaning revealed to them. Still, they might plausibly be engaged by these developments to some extent as modestly satisfying dimensions of Zootopia 's narrative.

Nonwhite viewers would probably also readily detect that the voices of the two leads (Goodwin and Bateman) sound white, thereby appealing more to white audiences than to them. No doubt this would have a distancing effect on nonwhite viewers (including children) that the filmmakers did not necessarily intend but that nonetheless would affect this part of the movie's overall audience.

Related to these differences between white and nonwhite audiences is the possibility that filmmakers Howard, Moore, and their collaborators may have cannily aimed their movie primarily at whites. As the part of the movie's audience that would most urgently need to know about the damage that implicit racial bias can do as well as being the traditional primary audience at which Disney children's movies aim and therefore the ones most likely to line up to buy tickets, DVDs, or stream Zootopia upon the film's various release dates, perhaps in designing the story as they did the filmmakers primarily addressed precisely those who most needed to have the insights that Zootopia has to offer. While there is something to say in favor of this argument, the fact remains that Zootopia still sidelines, overlooks, undervalues, or otherwise distances a good number of viewers by primarily addressing an audience of white viewers and thereby in that sense continues to maintain a tradition of Disney as well as Hollywood cinema that it would have done better to abandon.

While Zootopia represents a positive step forward regarding its innovative treatment of a real‐life problem concerning race in the form of a children's film, in other ways this work does not progress as far as it might initially seem. Despite being an advance in Disney films that honorably seeks to deal with implicit racial bias, this movie remains hampered by not more inclusively addressing an audience that is nonwhite as well as white. In particular, this film should have taken more seriously appealing to nonwhite children and their parents.

Zootopia also offers too individualistic a solution to the social problems it depicts. Some greater acknowledgment that structural changes are needed would have enhanced its power as a social critique. As is, the film comes off as arguably too forgiving of whites, granting that “we all make mistakes” without also noting that some mistakes are far more grievous and damaging than others and therefore need to be addressed more urgently. In short, it lets whites off the hook a little too easily by implicitly pleading for patience when it comes to waiting for whites to learn not to be racist. Especially to those on the receiving end of such treatment, that would seem too tall an order.

At the same time, I do not want to lose sight of the fact that Zootopia does in some respects effectively depict problematic aspects of racial color blindness and through its epistemological and thematic twists arguably shocks some white viewers into realizing that they, too, might possess implicit racial biases and might see the world in a way that blinds them to how their automatized responses have deeply negative impacts on their fellow human beings. The animators have done something to be commended here, even if they could, as well as should, also have done more.

Is such a demand too much to ask of a children's film? Does it inject too much politics into mass art aimed to engage children? I would argue no. As Sullivan notes, “adults’ racial habits, including those that function unconsciously, have their beginnings in childhood” ( 2014 , 87). Thus, it is only appropriate that we turn our attention to Disney films like Zootopia , where many problems—as well as potential solutions—would arise. While this movie offers a modicum of encouraging progress, more still is needed, making the analysis of children's films by critical philosophers of race and philosophical aestheticians focusing on this issue all that much more imperative. In speaking more generally about raising nonracist white children, Sullivan argues for a “need to create a critically raced home space that is allied with people of color's struggles for racial justice,” one that emphatically rejects neurotic white needs for purity and superiority, including the perceived need to not see anything in racial terms (2014, 113, 114, 115). As an integral part of that home space, we should demand no less of the movies as well as other moving images that our children watch. 7

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Regarding how people come to see the world “whitely,” see Frye ( 1992 ).

For more discussion of these and related issues, see Byrne and McQuillan ( 1999 , esp. 7, 73–84, 94–110), Wasko ( 2001 , 139–142), Hurley ( 2005 ), Giroux and Pollock ( 2010 , xiii‐xvi, 108–111), King, Lugo‐Lugo, and Bloodsworth‐Lugo ( 2010 , 79–82, 86–91, 133–143, 155–170) and Gregory ( 2012 ).

For more on shots that model how viewers should perceive a cinematic story and the sociopolitical uses of epistemological twists, see Wilson ( 2006 , esp. 91–92) and Flory (2010, esp. 380–382).

For an explanation of how a similar sociopolitical epistemological twist operates in Do the Right Thing (1989), see Flory ( 2010 , 380–387).

For more regarding the audiences of Disney animated features, see Giroux and Pollock ( 2010 , xiii–xvi, 110) and King, Lugo‐Lugo, and Bloodsworth‐Lugo ( 2010 ).

Something like this objection was suggested to me by Lissa Skitolsky at the “Exploring Beauty and Truth in Worlds of Color” Conference, Oberlin College, September 30, 2017.

I would like to acknowledge here the many comments and criticisms that I received at the “Exploring Beauty and Truth in Worlds of Color” Conference, Oberlin College, September 29–30, 2017, where I presented an earlier version of this essay. I realize that I have come nowhere near speaking to all the issues raised, but I hope that the foregoing essay addresses some of them. I would also like to thank Alexandra Flory for suggesting that we see Zootopia in the first place.

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Home — Essay Samples — Entertainment — Animation — Prejudice and Stereotypes in the 2016 Disney Movie “Zootopia”

Prejudice and Stereotypes in The 2016 Disney Movie "Zootopia"

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Social Problems Reflected in Zootopia

This essay will discuss how the animated film “Zootopia” reflects social problems such as prejudice, stereotyping, and discrimination. It will analyze the film’s portrayal of these issues through its characters and plot, and how it addresses themes of diversity, tolerance, and social justice. The piece will consider the film’s impact on audiences, particularly children, in understanding and discussing societal issues. Additionally, PapersOwl presents more free essays samples linked to Discrimination.

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When people mention animated films, they often assume those films are for children. However, in 2016, Disney produced an animated comedy called Zootopia which both adults and children could enjoy, and it ultimately won the 2017 Oscar for the best animated feature film. In the film, directors Byron Howard and Rich Moore created an imaginary world called Zootopia as a metaphor for New York City. In Zootopia, animals from different species lived together peacefully in superficial harmony; however, various social problems continued boiling under the surface.

Foxes were discriminated against as having sticky fingers, and female bunnies were stereotyped as too weak to be a cop. For young children, Zootopia is a fairy tale, but for adults, it has some hidden meanings involving social situations, 112which evoke deep thought. Although the slogan of Zootopia is “Anyone can be anything,” it turns out that this imaginary perfect city still has serious social problems such as sexism and racism that contradict the slogan and reflect the real world.

Zootopia begins with the story of Judy Hopps, a bunny that dreamed of becoming a cop. After years of effort, she realized her dream in Zootopia. However, after being stereotyped, she quickly found that the city was not that perfect. To prove herself, she took a mysterious case to find 14 missing predators and mistakenly solved it together with a sophisticated fox called Nick Wilde. By investigating the case, Judy found that the missing animals had become savage. Her finding caused a panic in the city since the residents were afraid that the changes in those animals occurred naturally because of their DNA of predators. Suddenly, the harmony of the city, together with the friendship between Judy and Nick, was broken. After accidentally finding a clue, Judy finally unveiled the truth that the whole scandal was schemed up by Bellwether, a sheep and the vice president of the city who wanted to control it and gain power for the prey animals.

In the film, Zootopia reflects the problem of sexism in society using the contrast between female animals and male animals, especially in the job field. Although female animals get the same job as males, they are always underestimated and fail to be treated fairly. Take the main character, Judy Hopps, as an example. When Judy realized her dream in Zootopia and entered the police station, she seemed like a dwarf who fell into the giants’ world. All the other cops in the station were large and strong, and, most importantly, they were all males. Although Judy had proven her ability by graduating as the top student from the police academy, her appearance still gave her boss a feeling that as a female, she was too small, too weak, and too emotional to be a real cop. Therefore, the chief of the police, Bogo, only let her work as a meter maid. He said “get back on the carrot farm where you belong” to Judy which was similar to “get back in the kitchen,” an extremely sexist phrase that came from Batman Beyond. To achieve the same level of acceptance, Judy had to work harder than male cops which brought audiences to think of the real-life experience of women in the job field. In the real world, researchers from Yale University once made a study about sexism in the job field. By analyzing the data, researchers found that when science faculty members face two identical resumes with a male name and a female name, they were more likely to choose a man as the employee, offer him a higher salary, and more willing to offer him mentoring opportunities (Moss-Racusin). This fact testified that gender biases truly affect how women were evaluated and treated. In the end of the film, the plot showed that as the first female cop, Judy was finally accepted by the society. Her experience pointed out the sexism in the real society as well as an ideal social condition which all females would urge for.

In Zootopia, directors not only talk about sexism, but also magnify stereotypes and discrimination against different species which reflects the racial problems in the real world. In the film, different species represent the different races and ethnicities in our society. By using tokenism, the directors reflect racial problems, but, at the same time, prevent the movie from hinting at any direct correlation for racism in our real world (“Zootopia”). When Nick, a fox, entered an ice-cream shop, he was immediately expelled by the store owner with a sign of “we reserve the right to refuse service to anyone,” because the owner thought all foxes will steal things. However, discrimination toward a specific species was not the worst problem in Zootopia. There was discrimination toward whole groups of animals, and this discrimination started at a very young age. In the film, DNA was mentioned frequently. In Zootopia, animals were either predators or prey depending on their DNA. When Judy was a child, she was bullied by a fox because that fox thought prey cannot become cops due to their DNA. However, Nick, as a fox, had the same experience. When Nick was 8 years old, he wanted to join the Junior Ranger Scouts; but during the initiation, he was bullied and forced to wear a muzzle simply because he was the only predator in the troop and other children did not trust predators. Nick said that this lesson taught him “if the world’s only gonna see a fox as shifty and untrustworthy, there’s no point in trying to be anything else.” Both Judy and Nick were deeply affected and hurt by their childhoods’ experiences. After being bullied, Judy was afraid of foxes, and Nick started to abandon the idea he had of himself, which indicated the serious negative effect that discrimination caused him at a young age, and this effect happens in the real world. A new UC Riverside study found that children were sensitive to and suffered from it at ages as young as 7 years old, which had negative effects on their development. Among black and Latino teens, these impacts manifested in the form of substance abuse, depression, and risky sexual behavior (Warren). Related with the real world, the film not only reflects the racial problems in society, but also shows how discrimination would ruin an innocent life in childhood, which is a serious problem that needs to be solved.

In addition to dealing with racism and sexism, Zootopia inspired thinking about the relationship between minority groups’ rights and power. Michel Foucault once explained the relation of rights and the power of speech. If one does not have rights, then he or she does not have the power of speech. They can only get the knowledge that was defined by those who have the power of speech; however, since they do not have the power to define themselves, they have to live under the definition from others. Thus, rights and power cannot be separated (Kennan). In the film, the assistant mayor, sheep Bellwether, was the best example of Foucault’s words. As a female prey, she was discriminated against and underestimated by the mayor, a lion named Lionheart. She worked like Lionheart’s secretary, and her words had no power. However, after Bellwether took the job of Lionheart to be the mayor by plotting a conspiracy, she successfully gained power for prey although using an extreme method—she made all predators be discriminated against. Bellwether’s example proved that power and rights were closely associated with each other. Since she did not have the same rights in the job field before, she did not have the power to defend her rights. Bellwether’s experience indicated that in real life, the formation process of social problems was a vicious circle. It was important to find the interrelationship between different social problems in order to solve the problems thoroughly.

Like every other Disney films, Zootopia has a “happy ending”. The harmony of the city was restored and the discriminations were reduced. The film ends with the speech from Judy, “Real life is messy. We all have limitations. We all make mistakes. Which means?hey, glass half full!?we all have a lot in common…Try to make the world a better place. Look inside yourself and recognize that change starts with you. It starts with me. It starts with all of us.” … In Zootopia, directors not only use allegory to shadow the problems from the real world, but also point out the solution of these problems. Disney was saying that it is not hard to solve sexism or racism as long as everyone opens their mind; then, the vicious circle will be ended and the world will be better.

Works Cited

• Moss-Racusin, C. A., et al. “Science Faculty’s Subtle Gender Biases Favor Male Students.” Proceedings of the National Academy of Sciences, vol. 109, no. 41, Oct. 2012, pp. 16474–79. Accessed 28 Nov. 2018.
• “Zootopia Uses Metaphors in an Imaginary World to Explain Real Problems.” The Tartan, https://thetartan.org/2016/3/21/pillbox/zootopia. Accessed 28 Nov. 2018.
• Warren, J.D. “Study: Children as Young as 7 Suffer Effects of Discrimination.” UC Riverside, https://news.ucr.edu/articles/2018/10/22/study-children-young-7-suffer-effects-discrimination. Accessed 27 Nov. 2018.
• Keenan, Tom. “I, The ‘Paradox’ of Knowledge and Power: Reading Foucault on a Bias.” Political Theory, vol.15, no.1, Feb 1987, pp 5-37. Accessed 27 Nov. 2018.  

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WOMEN DISCRIMINATION AS REFLECTED IN ZOOTOPIA ’S FILM BY BYRON RICH AND HOWARD MOORE

Submitted to the Board Examination In Partial Fulfillment of the Requirement For Literary Degree at English Literature Department

PINA PITRIA NIM: AI.140258

ENGLISH LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SULTAN THAHA SAIFUDDIN JAMBI 2019

يَا أَيُّ َها ال َّنا ُس إِ َّنا َخ َل ْقنَا ُك ْم ِم ْن ذَ َك ٍر َوأُ ْنثَ ٰى َو َجعَ ْلنَا ُك ْم ُشعُوبًا َو َقبَائِ َل ِلتَعَا َرفُوا ۚ إِ َّن أَ ْك َر َم ُك ْم ِع ْندَ ََّّللاِ أَتْ َقا ُك ْم ۚ إِ َّن َّ َّللاَ َع ِلي ٌم َخبِي ٌر

The Meaning : O mankind, indeed we have created you from male and female and made you people and tribes that you may know one another. Indeed, the most noble of you in the sight of Allah is the most righteous of you. Indeed, Allah knowing and Acquainted.1 (QS. Al-Hujurat 49: Ayat 13)

Terjemahan : "Wahai manusia! Sungguh, Kami telah menciptakan kamu dari seorang laki-laki dan seorang perempuan, kemudian Kami jadikan kamu berbangsa-bangsa dan bersuku-suku agar kamu saling mengenal.Sungguh, yang paling mulia di antara kamu di sisi Allah ialah orang yang paling bertakwa. Sungguh, Allah Maha Mengetahui, Maha Teliti."

dandipikullahamanatituolehmanusia.SesungguhnyamanusiaituAmatzalimdanAmatbod oh. (QS. Al-Ahzab: 70-72)2

1Al Kalam Digital Versi 1.0, 2009, Bandung: Penerbit Diponegoro, Surat Al-Hujarat ayat 13 2Nafan Akhun, Al-Qur’an Terjemahan, (Semarang: Thoa Putra, 2007), p. 543.

v DEDICATION

First of all I would say the grateful to Allah SWT

always gives me health to finish this thesis.

I would like to dedicate this thesis to: My beloved Father, Nasir for your love, supporting and praying

My beloved Mother, NasriWati for all your patients to educate me so far, gave me a way to be the student, for your love, supporting and praying

And My beloved brothers, Hengki, GariandMy Beloved sistres, Lusi, Riri also for your supporting and praying. All of you are my diamond who Allah has given to me.

I do really want to make you happy and proud of me! Then to my friend Anisa Ruliana, Thanks for the advice, love, help, support, ideas and great experiences that we have made together..

My beloved gengs Thanks for the advice, love, help, support, ideas and great experiences that we have made together.

for your help and praying, for your inspiration

All you are the good example for me. I am so happy and grateful because living around the skilful and wise people as you all.

At last, for all people who have helped me in this thesis. I would like to proclaim;

THANK YOU SO MUCH!

ABSTRACT PinaPitria,2019 :Women Discrimination as Reflected in Zootopia’s Film by Byron Rich and Howard Moore. English Literature Department Adab and HumanitiesFaculty, State Islamic UniversitySulthanThahaSaifuddin Jambi. Supervisor I : Bahren, SS.,MA. Supervisor II : Tira Mariana,SS.,M.Hum

This thesis analyzes about the women discrimination as reflected in Zootopia’s Film by Byron Rich and Howard Moore. This study is designedto find out the kind of women discrimination as Reflected in Zootopia’s Film by Byron Rich and Howard Moore, theimpacts of women discriminations toward Judy Hopps in Zootopiafilm by Bayron Rich and Howard Mooreandtheefforts to fight discrimination. In this research, the writer used Gender discrimination theory as the main theory by Matthias Busse (2003), Cedaw (2015), Arnfinn H. MIdthoen (2013) Walby Silvia and feminist Approace by Mariam and Freeman (2011).This study is qualitative research, to collect the data the writer used documentation technique. The writer usesdescriptive analysis technique because it tries to describe the types of women discrimination, the impact of the discrimination and effort to fights the discrimination as reflected in Zootopia’s Film. The data of the research are the pictures, dialogue, which contains types of women discrimination as reflected in Zootopia’s Film. The research result shows that first;There are four kinds of discrimination that faced by Judy. They are: direct discrimination, indirect discrimination, harassment and victimization. Second, there are three impacts of women discriminations toward Judy Hopps in Zootopia’sfilm by Bayron Rich and Howard Moore they are subordination, marginalization and stereotyping.Third, there are three efforts to fight discrimination, they are speak out the own experiences, call out discrimination in public and support other campaigners.

Keyword :Gender Discrimination, Feminism, Zootopia film

ABSTRAK …… Pina Pitria,2019 :Women Discrimination as Reflected in Zootopia’s Film by Byron Rich and Howard Moore. Jurusan Sastra Inggris Fakultas Adab dan Humaniora, Universitas Islam Negeri SulthanThaha Saifuddin Jambi. Supervisor I : Bahren, SS.,MA Supervisor II : Tira Mariana,SS.,M.Hum

Skripsi ini menganalisis tentang diskriminasi perempuan sebagaimana tercermin dalam Film Zootopia oleh Byron Rich dan Howard Moore. Selain itu, penelitian ini dirancang untuk mengetahui jenis-jenisdiskriminasi perempuan sebagaimana tercermin dalam Film Zootopia oleh Byron Rich dan Howard Moore, dampak diskriminasi perempuan terhadap Judydanupayanya untuk menghadapi diskriminasitersebut. Dalam penelitian ini, penulis menggunakan teori diskriminasi gender sebagai teori utama oleh Matthias Busse (2003), Cedaw (2015), Arnfinn H. MIdthoen (2013) Walby Silvia dan Pendekatan feminis oleh Mariam dan Freeman (2011).Penelitian ini adalah penelitian kualitatif, untuk mengumpulkan data penulis menggunakan teknik dokumentasi. Penulis menggunakan teknik analisis deskriptif karena mencoba menggambarkan jenis-jenis diskriminasi perempuan dampak dari diskriminasi tersebut dan usaha-usaha yang dilakukan untuk menghadapi diskriminasi tersebut sebagaimana tercermin dalam filmZootopia. Data penelitian ini adalah gambar, dialogdanadegan- adegan yang berisi jenis diskriminasi perempuan sebagaimana tercermin dalam filmZootopia. Hasil penelitian menunjukkan bahwa pertama, ada empat jenis diskriminasi yang dihadapi oleh Judy; diskriminasi langsung, diskriminasi tidak langsung, pelecehan dan viktimisasi. Kedua, ada tiga dampak diskriminasi perempuan terhadap Judy Hopps dalam film Zootopia oleh Bayron Rich dan Howard Moore yaitu subordinasi, marginalisasi, dan stereotip. Ketiga, ada tiga upaya untuk memerangi diskriminasi Judy Hopps, yaitu menyuarakan pengalamannya sendiri, menyerukan diskriminasi di depan umum dan mendukung para aktivis lainnya.

Kata kunci: Diskriminasi Gender, Feminisme, film Zootopia

x ABBREVIATION

SWT : SubhanahuWata’ala SAW : ShallallahuAlaihiWasallam UIN : Universitas Islam Negeri US : The United States STS : Sultan ThahaSaifuddin

xi TABLE OF CONTENT PAGE OF TITLE...... i

APPROVAL ...... ii

LETTER OF RATIFICATION...... iii

ORIGINAL THESIS STATEMENT ...... iv

MOTTO ...... v

DEDICATION ...... vi

ACKNOWLEDGEMENT ...... vii

ABSTRACT ...... ix

ABSTRAK ...... x

ABBREVIATION ...... xi

TABLE OF CONTENT ...... xii

CHAPTER I: INTRODUCTION A. Background of The Research ...... 1 B. Formulation of The Research ...... 5 C. Limitation of The Research...... 5 D. Purpose of The Research ...... 5 E. Significance of the research ...... 6 CHAPTER II: THEORETICAL FRAME WORK A. Discrimination ...... 7 B. Gender Discriminations ...... 8 C. Kinds of Discriminations ...... 10 D. The Impacts of Gender Discriminations ...... 11 E. The Efforts to Fight Discrimination ...... 14

xii F. Feminism Approach ...... 16 G. Review of Related Research ...... 17 CHAPTER III: METHOD OF THE RESEARCH A. Design of The Research ...... 20 B. Source of Data Collecting ...... 22 C. Technique of Data Collecting ...... 22 D. Technique of Data Analyzing ...... 23 CHAPTER IV: FINDINING AND ANALYSIS A. Kinds of women discriminations experienced by Judy Hopps in Zootopiafilm by Bayron Rich and Howard Moore ...... 25 1. Direct discrimination ...... 25 2. Indirect discrimination ...... 28 3. Harassment ...... 31 4. Victimization ...... 34 B. Impacts of women discriminations toward Judy Hopps in Zootopiafilm by Bayron Rich and Howard Moore ...... 37 1. Subordination ...... 37 2. Marginalization ...... 39 3. Stereotyping ...... 41 C. The Efforts to Fight DiscriminationinZootopiafilm by BayronRich and Howard Moore ...... 44 1. Speak Out the Own Experiences ...... 43 2. Call Out Discrimination in Public ...... 45 3. Support Other Campaigners ...... 47 CHAPTER V: CONCLUSIONS AND SUGGESTIONS A. Conclusions ...... 52 B. Suggestions ...... 53 REFERENCES APPENDIXES

CHAPTER I INTRODUCTION A. Background of the Problem

Talking about literature and human’s life this cannot be separated, because literature is known as one expression human’s life when people feel happy, sad, or angry and many others feelings, they usually express feeling with written and literature work the shape of literature can be make written anything, they usually written novel and the song. Klarer Mario said that literature is referred to as the entirety of written expression, with the restriction that not every written document can be categorized as literature in the more exact sense of the word.1 It means that literature is not only focused inexperience through the language in the median but it means that work in imagination, economic or film just like in literature, present, action, images and words replicating life Film draws from the tradition of live theatre which includes techniques of staging, lighting, movement, and gestures. From the novel, the film draws from structure, characterization, theme, and point of view.2

In Literature, women‘s spirit to gain equal roles gets many responses from literary authors. Many authors response it by creating literary works thattell about women‘s experiences, such as being tortured and restricted by mining patriarchal system. Many authors dare to write about the women’s condition and their struggles to face the unfair treatment because they are aware for the equality between men and

1Klarer Mario, (2004). An Introduction to Literary Studies Second Edition, (New York: Routledge), p. 1 2 Amy Villarejo, (2007). Film Studies the1 Basic, (New York: Library of Congres,), Third Edition, p. 12.

1 women.3Usually, physical conditions about women naturally should not be used as an accused to put women in a lower position. The core of feminism is to improve women status to align or equal footing man. Goloria Watkins Stated that “They do not even think about feminism as being about rights about women gaining equal rights”4It means that woman passed through many problems, obstacles and barriers to become an important member in the society. For this reason, women have been relegated to a secondary status in society, often confined to roles in the home rather than able to accede to powerful public positions.5

In the past, a woman did not have any kinds of rights, she was isolated, neglected and mistreated by men. Thus it means women need feminism because there are women who suffer injustice. Unfortunately, In fact there are many women treated unfairly in many aspects of life. The get discrimination in aspects politics, economy, education and the social. Discrimination has helped to establish the hierarchical relationship between men and women in the society and also helped to create manyrigid gender norms that restrict women’s opportunities and stifle their development in the private and public sphere. 6

3Budi Tri Santosa, (2015). “An Analysis of the Main Female Character’s Efforts in John Steinbeck’s The Grapes of Wrath”, English Language and Literature Study Program English Education Department Faculty of Languages and Arts Yogyakarta State Univeristy, p. 4 4Goloria Watkins, (2000). Feminism is For Everybody Passionate Politics Bell Books, Sounth End Press Cambritedge, MA, p. 8 5Jane Freedman, (2001). Concepts in Social Sciences Feminism, Open University Press Buckingham Philadelphia, p. 10 6Caecilia Sri Widyaningsih, (2007). “JoseyAimes’ Efforts to Fight Women Sexual Discrimination in the Workplace as Reflected in ‘North Country’ A Film By Niki Caro”, English Department Faculty of Letters and Fine Arts SebelasMaret University, p. 5

Nowadays there are a lot of movie genres that exist in society, there are a lot of genres in film, for example, drama, thriller, action, act. the animation is a type cartoon usually this film cartoon in production from Disney Company and Disney Company already known almost all over the world with many produced Cartoon in Disney famous Oscar 2016 in Hollywood, cartoon to have been a big part of our life. Disney cartoon is everywhere in our home and school, Disney has shaped our cultural, environmental and historical lens, and has exercised tremendous power over children’s education. Walt Disney's history can be traced back to 1923, when Walt Disney and

Roy Disney set up Disney Brothers Studio in Hollywood, California. Plane Crazy, directed by Walt Disney, was the first cartoon produced by Disney studios in 1928.

And most popular to date.7

The writer is interested in choosing the Zootopia film where there are many aspects of women’s discrimination that occur in the life of Judy Hopps, in analyzing the problem the author uses feminist approach in which feminist approach specifically discusses the status and position of women in society. It means that film becomes one of the favorite entertainments among people, not only for entertainment, the film can be the media to explore the idea, opinion, and give delivering messages knowledge.8The writer chooses Zootopia’s Film by Bayron Rich and Howard Moore as her study, Zootopia is film cartoon production Disney Company animals and this film released on February 17, 2016 and directed by Bayron Rich and Howard Moore,

7Market line, (2013), The Walt Disney Company, US and Canada.p. 6 8Powell, (2007), Deleuze, Altered States and Film, (Edinburgh UniversityPress Ltd, ), p. 3

3 it tells about Judy Hopps has had the dream of being the first bunny police officer since she was a kind, but there are many people do not believe and think that she was idiot. It can be seen in the picture and dialogues below:

MajaorFrenkin :Just quit and go home, fuzzy bunny! Stu Hopps : There’s never been a bunny cup Bonnie Hopps : Never Stu Hopps : Never Gideon Grey : just a stupid, carrot farming dumb bunny9

The picture and dialogues above tell about Judy Hopps’s activities, when is in a police training camp, since the beginning of Judy Hoppsis taking part in the training she always failed and got scorn from major frenkin, the Judy Hopps goes to the cup to get rejection from the environment and family, when Judy Hopps runs at sunset after everyone else has called it a day. Judy Hopps hears the drill instructor’s voice echoing in her mind which coach tells her to go home and give up and his family who do not believe in her dream of being a police officer and her childhood’s friend are confessed and think if she is stupid.

9Duration: 00:06:43-00:06:49

Therefore the writer has an interest analyzes the film by doing research entitled“Women Discrimination as Reflected in Zootopia’s Film by Byron Rich and Howard Moore”.

B. Formulation of the Problem

Based on the background above, the writer formulates the problem as follows:

1. What kinds of women discriminations experienced by Judy Hopps in Zootopia

film by Bayron Rich and Howard Moore?

2. What are the impacts of women discriminations toward Judy Hopps in Zootopia

3. How does Judy Hopps’s efforts to fight womendiscriminations in Zootopia’s film

by Bayron Rich and Howard Moore?

C. Limitation of the Research

In this study, the writer limits the analysis of the discrimination experienced in the life of Judy Hoops. The writer also analyzes the impact and efforts of Judy as seen in Zootopia’s film by Bayron Rich and Howard Moore.

D. Purpose of the Research

Based on the problems statements mentioned above, the purpose of this research are:

1. To find out kinds of women discriminations experienced by Judy Hopps in

Zootopia film by Bayron Rich and Howard Moore.

2. To find out the impacts of women discriminations toward Judy Hopps in

Zootopiafilm by Bayron Rich and Howard Moore.

3. To find out the Judy Hopps’s efforts to fight women discriminations in Zootopia’s

film by Bayron Rich and Howard Moore.

E. Significance of the Research

The writer hopes that research will give contribution to people in understanding about feminism and useful for the writer herself, to reader and give the information positive in this film and knowledge especially about a feminism like Huda

Faris Said “means women need feminism because there are women who suffer injustice”.10 and the analysis can be made useful as reference about gender women discrimination, also for English literature department student and lecture, this research will help of the readers or people to understand about feminism in film. Biased that, this research can give contribution to the society and others.

10Zara Huda Faris, Article:”Do Women Need Feminism”, Muslim Debate Intiative, 2013. p.

CHAPTER II THEORETICAL FRAMEWORK A. Discrimination

Discrimination in general is a behavior which deals with the way people act toward members of other groups and it consists of behaving differently toward people based on their membership in a social group. The term discrimination usually refers to acting in an unfair or demeaning manner or to giving someone an undeserved advantage.11Discrimination is a kind of discrimination which is based on the gender role. The issue of discrimination has been widely discussed in literature and the mass media sources. Discrimination usually puts women in disadvantages because individuals still perceive that women and men should occupy different social roles.The issue of discrimination is associated with human values and the socially constructed process of developing values in humans.

This theory helps to explain the necessity of struggle for equal rights in the workplace, at home, and in other public places. This theory speaks for the increased role of diversity in human society.Culture provides a record of how women and men have lived and been committed to live over the course of human history. Women’s lives have been limited by constraints placed on them by male-dominated societies.

They have been prevented from working in some professions and were assigned

11Arnfinn H. Midtboen, Determining Discrimination, Department of Sociology and Human Geography Faculty of Social Sciences University of Oslo, 2013. p. 25

7 7 secondary roles such as “ home-maker”, despite being as talented as men at more public occupations.12

The identity of men and women is constructed through cultural practices and images over time. They focus on the ideal of masculinity and femininity. The qualities and characteristics of the gender ideals may not be biologically. It is distinguish by the cultural norms and ideals concerning masculinity and femininity from biological sexuality. Each of us was born with a clear biological sexual identity in most instances. However, we learn behavior appropriate to that biological sexual identity fromculture.

Traditionally, women had been assigned secondary social roles by men, who monopolized resources and power for themselves. Women’s portrayed in literature and culture was often quite negative and in keeping with power structure that kept women in a secondary social position.Any acts that limit the rights of a person based on the sexual difference is considered as gender discrimination that make a person cannot have the full freedom to do anything he or she likes in many aspects of life.

B. Gender Discriminations

Gender discrimination happens as the cause of different treatment based on gender that applied by the society. distinction, exclusion or preference made on the

12Samosir, Kurnia, “Discrimination Against American Women In 1990s As Depicted In Nothing Lasts Forever by Sidney Sheldon’s Novel, Institute from Islamic Shulthan Thaha Saifuddin Jambi, 2013.

8 basis of race, colour, sex, religion and political.13 The inequality and gender discrimination also affect both women and men. It means that gender discrimination does not occur because of difference in sex, but it is different treatment because of their gender. According to Cedaw ketidak adilan Gender adalah pembatasan peran, pemikran atau perbuatan perlakuakn yang berakibat pada terjadinya pelanggaran atas pengakuan hak asasi, persamaan hak antar perempuan danlak-laki.14It means that gender discriminationis unequal or disadvantageous treatment of an individual or group of individuals based on gender. According to Ariffah in Cedaw’s journal state that:

Cedaw memiliki tiga prinsip utama.Pertama, prinsip equality, yaitu upaya melihat persamaan substantif terhadap laki-laki dan perempuan. Kedua, prinsip nondiskriminasi, baik diskriminasi jenis kelamin maupun pemenuhan kebebasan dasar serta Hak Asasi Manusia. Ketiga, prinsip kewajiban atas negara, dalam hal ini negara adalah pemeran utama yang bertanggung jawab atas terwujudnya pesamaan bahwa negara peserta adalah aktor utama yang memiliki tanggung jawab untuk memastikan terwujudnya persamaan hak laki-- laki dan perempuan dalam menikmati semua hak ekonomi, sosial, budaya,sipil, dan politik15

From the quotation above it can be known that this different treatment creates a distinction on the roles and social position between women and men. Because of the discrimination, women suffer a lot of social restrictions on private life and social life.

In private life, women suffer from restrictions to participate beyond her role.

Meanwhile, in social life, women suffer from restrictions to participate in

13Matthias Busse, (2003). Gender Discrimination and the International Division of Labour, Hamburg Institute of International Economics, Germany. p. 3 14Cedaw, “Ketidakadilan Gender danKekerasanTerhadapPerempuan”, JurnalMappiFhui, 2015, p. 2 15AriffahMelantiAgustina, “Hak-Hak Perempuan Dalam PengarusutamaanRatifikasi Cedaw Dan Maqāṣid Asy-Syarī‘Ah”, jurnalAl-Ahwal, Vol. 9, No. 2, Desember 2016, p. 204

9 social.16Based on two types experienced limitations, there are causes and effects that are important to understand.

C. Kinds of Discriminations

There are kinds of discrimination it can be seen in the explanations below:

1. Direct discrimination

Perhaps the simplest and most common form, this type is unfair treatment

of others because of different characteristics because. Direct discrimination occurs

when individuals or groups are treated uneven because of their ethnic background

and they will do discrimination in front of the people itself. 17

2. Indirect discrimination

Indirect discrimination can occur when some regulations inadvertently

endanger members of several racial groups this type of discrimination is usually

less obvious than direct discrimination and can often be unintended.18 And indirect

discrimination, by contrast, refers to situations in which individuals or groups are

treated equally according to a set of seemingly neutral rules or procedures, but

when put into practice these rules favors members of one ethnic group over

members of another.19

16Walby, Sylvia, Theorizing Patriarchy. Oxford: Basil Blackwell Ltd, 1990. p. 46 17Arnfinn H. Midtboen,(2013).Determining Discrimination, Department of Sociology and Human Geography. p. 25 18Guidance, (2017). Equality and Discrimination,p. 15 19Arnfinn H. Midtboen, Determining Discrimination, p. 26

3. Harassment

Harassment is a form of discrimination which includes unwanted physical

or verbal behavior that offends or insults which can be caused by gender and race,

it must also have the effect of violating a person's dignity or creating intimacy,

hostile, degrading, humiliating or offensive environment for that individual. 20That

means harassment can be written in words, or written words, images or jokes.

4. Victimization

Victimization is a bad treatment that someone receives. The victimization

survey is a picture of a dark figure of a crime that is not reported or recorded by

the police or other authorities.21This mead that victimization can occur in an office

environment where a person gets unpleasant treatment and is discrimination by

attitudes and friends.

Based on the explanations above it can be concluded that there four kinds

of discrimination such as Direct discrimination, Indirect discrimination,

Harassment and Victimization. The writer will use this theory to find out kinds of

women discriminations experienced by Judy Hopps in Zootopia film by Bayron

Rich and Howard Moore.

D. The Impacts of Gender Discriminations

There are many forms of discrimination committed in the life of the community and the state and cause a considerable impact on victims, especially

20Guidance, (2017). Equality and Discrimination,p. 16 21Guidance, (2017). Equality and Discrimination, p. 18

11 women, according toWalby there are many impacts from discrimination. It can be seen below:22

1. Subordination

Statessubordination is to put women under male supremacy. It can be seen

on the participation of women and women’s roles regulated male. For example,

men should be in charge of a family, while women only are charge in kitchen. The

impact of the women‘s subordination is that creating a discriminatory role that

women cannot be a leader. The role of women is only obeying the men‘s

commands because they are subrdinate. This is in contrast with men who have the

power or supremacy. When a social rule has been defined to men, the social

leadership will automatically be given to men, not women. As a result, women

should follow their duty as a follower women perform this work under the

patriarchal relations of production for the benefit of their husband.23

2. Marginalization

Marginalization is to put women in a position that is not important in the

family and society. In home, women's role is only in the kitchen, and it is regarded

as unimportant role. For that reason, education for women is only necessary. In

other words, women has been pushed into the inferior that having lack of social to

active in the private and public life. They also have constructed to be far from a

22Cedaw, “Ketidakadilan Gender danKekerasanTerhadapPerempuan”, JurnalMappiFhui, 2015, p. 3 23Walby, Sylvia, (1990). Theorizing Patriarchy,( Oxford: Basil Blackwell Ltd Press), p. 54

sense of ability to be decision-makers.24This can be seen in the workplace. In the

workplaces, the high position for women is only taking the charge in undecided

division. It means that society believes that they do not deserve on taking

important roles to decide something. although women get work, women still do

not take a charge in a division that decides the policy or something.

3. Stereotyping

As a result of the stereotypes that occur in the social environment or

family, there is an artistic steoroetip between men and women where women are

demanded to be passive and weak in contrast to men, which in turn is said to be

leading and earning a living, Gender stereotypes can come in the form of

characteristics such as: women are emotional, women are caring, men are strong,

and men are the heads of the household.25

This phenomenon cause a gender discrimination because women cannot

determine theirself. According to Richin O'Reilly“the term motherhood refers to

the patriarchal institution that is male-defined and controlled and is deeply

oppressive to women”26. Motherhood is a patriarchal term to deter, organize, and

dominate women. Motherhood, which is the creation of patriarchal system, is a

frame of women's roles which determine the norms, roles and tasks for women.

The determination creates an oppressive act for women. For example, in the

societies, women have duties, roles and responsibilities to take care of children.

24Walby, Sylvia, Sylvia, (1990). Theorizing Patriarchy,p. 55 25Kayla Marie Krahn, Reel Women: Gender Stereotypes in Film, Eastern Michigan University, 2015. p. 6 26O‘Reilly, Andrea, Motherhood. Albany, State University of New York, 2004. p. 2

Based on the explanations above it can be concluded that there three kinds,

the writer will use this theory to find out the impact of women discriminations

toward Judy Hopps in Zootopia film by Bayron Rich and Howard Moore.

E. The Efforts to Fight Discrimination

There are three ways the efforts to Fight Discrimination as Andrey

Shastriproposed, it can be seen below:27

1. Speak Out the Own Experiences

It’s important, if the person feel comfortable, to call out our own

experiences of discrimination. This could be highlighting sexist remarks made by

our friends or peers or reporting harassment on public transport. It’s important to

note that there are dangers associated with calling others out on their behavior.

People may not like to have their viewpoints challenged; they may react in a

negative or aggressive way, so if our instincts tells us that a situation is too risky,

our own safety is the priority. Often the best course of action when discrimination

is experienced is to alert an authority figure of a member of staff on public

transport, or where relevant our teacher or our boss or friends and family. The

more they are made aware these issues are happening, the more they will be

encouraged to step in and be part of the solution.28

27 Andrey Shastri, (2011). “Gender Inequality and Women Discrimination”, IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 19, Issue 11, Ver. VII, hal. 5 28DaratullailaNasri, “Ketidakadilan Gender TerhadapPerempuanDalam Novel PadusiKaryaKa’bati”, p. 226

2. Call Out Discrimination in Public

Write to advertisers, marketers and media outlets if we come across stories that portray women and girls in a reductive or unfair way. Are there gender stereotypes in our textbooks at school? Does an advert in our city objectify women? Does a film we have watched have fewer speaking roles for women? Find out who is responsible and write to them to let them know our thoughts. Also vote with our feet. Do not support entertainment that is disrespectful to girls and women and does not represent their true power, potential, talent and diversity.

3. Support Other Campaigners

A great way to make a big effect in the pursuit of gender equality is to join with others. Seek out local campaign groups. Join or set up school or university societies for gender equality and female leadership. There is strength in numbersmore voices tackling a particular issue means they are more likely to be heard. Helping to raise the profile of campaigns by other marginalised groups is a vital part of ending discrimination. For example, girls from a minority or indigenous community may experience racism as well as sexism. Be their allies and lend ourvoice to their causes. 29

Based on the explanations above, it can be concluded that there three kinds of the efforts to fight discrimination, such as speak out the own experiences, call out discrimination in public and support other campaigners. The writer will use

29 Andrey Shastri, (2011). “Gender Inequality and Women Discrimination”, hal. 5

this theory to find out the Judy Hopps’s efforts to fight women discriminations in

Zootopia’s film by Bayron Rich and Howard Moore.

F. Feminism Approach

Feminism is a movement to equal women and the man who do not see gender and women equal accesses to legal politic, social and economic. Feminist terms are often misunderstood in ordinary people because of the lack of security of feminists, whereas feminists are concerned about the position of women in the community who are often in positions that are not intended, the term feminist was born in the 1960s who refused discrimination against women because of sex to end this injustice.30

Feminist appear in the community and society's pressure on women and male domination in the aspect of society. Social education also influences the thoughts and actions of women in the general position. According to Miriam and Freeman:

Feminist approachforms the basis for the study of the experiences of women insociety, specifically of women's status andposition within that society, on the premise that women's experience semerge from lts social, pomical and economi structure.31

Woman passed through many problems, obstacles and barriers to become an important member in the society. Thus it means women need feminism because there are women who suffer injustice Women must change social constructions that cause the inequality for them. In other words, women must believe feminism in order to eliminate the subordination. According to Beasley feminists believe that women must

30Charvet, (1982).Modern Ideologies: Feminism. London: J.M. Dent and Sons Limited, p. 53 31Miriam and Freeman, (2011). Women’s Issues: Feminism and Social Work. Journal of Social life, Vol 4 No II, p. 136

16 not have been treated unjustly and oppressed and that something needs to be done about this, but it does not follow from this that any consensus is available as to precise forms this oppression or injustice takes, or as to how they should be remedied.32 The explanation shows that women have suffered discrimination as an effect of a false system that seeing women as second class on civilization. Then, the role of feminism becomes a tool to sensitize women toward the false system in order to detach them from gender discrimination.

G. Review of Related Research

There are five review of related research that the writer was found. The first researcher is from Institute from Islamic Shulthan Thaha Saifuddin Jambi, 2013She is

Kurnia Samosir with the title “Discrimination Against American Women in 1990s as

Depicted in Nothing Lasts Forever by Sidney Sheldon’s Novel33. She analyzed about discrimination against women during 1990s in American, based on facts obtained in the novel Nothing Lasts Forever. In this analysis her analyzed three main characters in novel nothing lasts forever which got discriminated against women in 1990s and their struggle against discrimination, she uses feminism theory and sociological approach.

The result of her research is to find the discrimination against toward three character that’s are they get sexual abusing, intimidation, verbal abusing, race discrimination in

32Beasley, (1999).What is Feminism?An Introduction to Feminist Theory. California: Sage Publication Inc, p. 27 33Samosir, Kurnia, “Discrimination Against American Women In 1990s As Depicted In Nothing Lasts Forever by Sidney Sheldon’s Novel, Institute from Islamic ShulthanThahaSaifuddin Jambi, 2013.

17 their life. And their struggle against discrimination has an the good impact on their lives

The second research is from Institute from Islamic Shulthan Thaha Saifuddin

Jambi, 2017 she is Ririn Angraeni with the title “The Struggle of The Main Character to Realize Her Dream as Seen in The Zootopia Film ”34she analyze about the struggle of a female rabbit named Judy Hopps aspiring to become a police officer but no one supports her, she uses descriptive qualitative methods and psychological approach, in the purpose of this research is to find out what are the types of struggles and the business of judy hopps to achieve the goal of being a police officer, The results of her research found that there are three types of judy hopps struggle in achieving their dreams, among them, struggle with one-self, struggle with others and struggle with the environment.

Thirdly research is from Maulana Malik Ibrahim State Islamic University Malang,

2015, she is Zahrani Nurul Ngabidah with the title “Gender Discrimination Suffered by Character in Jane Austen’s persuasion”35. This research focuses of this study on gender discrimination that occurred in female leaders in the novel persuasion by Jane

Austen. Which in the novel received bad treatment in the form of self and injustice.She uses feminism theory by Naomi Wolf and discrimination approach, The results of her research from the persuasion of Jane Austen's novel in the novel describe the discrimination that occurred in the community, he found two gender

34AngreaniRirin, “The Struggle Of The Main Character To Realize Her Dream As Seen In The ZootopiaFilm ”, from Islamic ShulthanThahaSaifuddin Jambi, 2017. 35ZahraniNurulNgabidah, “Gender Discrimination Suffered by Character in Jane Austen’s persuasion”, Maulana Malik Ibrahim State Islamic University Malang, 2015.

18 discrimination through an individual approach and perspective (family and community), where women there were not allowed to work or be educated in the 18th century.

From the related research review, the same point from the research “Women

Discrimination As Reflected In Judy’s Hopps Film Zootopia” with their research is that the similarity of theories used are the theory of feminism and sociological approaches and discrimination but they use different films or characters. However, the author focuses on the cause and effect of discrimination against Gambling Hopps and how he faces discrimination.

CHAPTER III METHOD OF RESEARCH A. Design of Research

In writing this thesis, the writer uses descriptive qualitative research that is suitable with the aim of this research. Qualitative research may be in descriptive form.

The data collects in the form of words as a descriptive explanation than a number. The result of the research contains quotation from the data to illustrate and substantive the presentation. Descriptive research is a research which aims to describe a phenomenon accurately based on the characteristic of research, where the data are analyzed through interpreting, not statistical analysis. According to Denzin and Lincoln define:

“Qualitative research is multi method in focus, involving an interpretive, naturalistic approach to its subject matter. This means that qualitative researchers study thing in their natural settings, attempting to make sense of or interpret phenomena in terms of the meanings people bring to them. Qualitative research involves the studied use and collection of a variety of empirical materials-case study, personal experience, introspective, life story, interview, observational, historical, interactional, and visual texts-that describe routine and problematic moments and meaning in individuals’ lives. ”36

From the quotation above qualitative research is a method in focus, naturalistic approach to it is subject matter. It means that qualitative researchers study thing in their natural settings, attempting to make sense of or interpret phenomena in terms of the meanings people bring to them.

the writer uses journals , article, watching film and read the book to make itclear that those data collected by the writer in form of words or quotation that taken

36Denzin and Lincoln in John W. Creswell,20 (1997). Qualitative Inquiry And Research Design. (United States of America: California). p. 15

20 from the Zootopia’s film by Bayron Rich and Howard Moore other sources.

Descriptive is: “the positivist perspective stems from the long history of naturalistic in real world situations”37According to Merriam in his book also stated that “Qualitative research is planning a research project can be compared to planning for a variation trip”. 38So, qualitative research is analyzing about descriptive data and is it a process to do a research such as writer or spoken, at the person who is observed in this research, where qualitative research also analyzing about the data from outside which the data still not right. Qualitative research method is the method that rely on research through libraries that rely on data that is almost entirely from the library.

It means that qualitative research is analyzing about descriptive data such as writer or spoken, at the person who is observed in this research, where qualitative research also analyzing about the data from outside which the data still not right. 39 By using this qualitative research, the writer felt easy to analyze the film. Based on those statements, it can be concluded that qualitative research is analyzing about descriptive data that is collected is in the form of the situation of the natural object. Where descriptive data such as writer or spoken, by using qualitative research a writer can answer about the question in analyzing the Feminism in Judy Hopps’ Characterization reflected as seen in Zootopia’s film by Bayron Rich and Howard Moore.

37Given, L.M (2008). The SAGE Encylopedia of Qualitative Research Method. (SAGE Puplication Inc: California). p. 863 38 Merriam, S.B(1998). Rualitative Research and Case Study Applications in Education. (New York City).p. 3. 39Yamin, M (2009). Metodologi Penelitian Pendidikan dan Sosial Kualitatif danKuantitatif, (Jakarta: GaungPersada Press). p. 186

B. Source of the Data

The data will be taken from Zootopia film by Bayron Rich and Howard Moore.

This film released on February 17, 2016 with the duration 1:48:32 minutes. The primary data in this research are discriminations experienced by the female character

Judy Hopps, the writer uses script, and also the picture and the dialogues in the film

Zotoopia film by Rich and Howard Moore.

C. Technique of Data Collection

In other get the information in this research, writer uses library research. In this research, writer uses documentation technique to get the data and the data from the film. Sugiyono stated that “Dokumen merupakan catatan peristiwa yang sudah berlalu. Dokumen bisa berbentuk tulisan, gambar atau karya-karya monumental dari seseorang. ”40There are some steps of the technique of the data collection that will be done by the writer in this research, these are:

1. Downloading the Film

The writer downloads the Zootopia’s film by Bayron Rich and Howard

Moorefrom Movie 21 Online. com and takes the script from the Subscene.

2. Watching the Film Repeatedly

The writer watches the Zootopia’s film by Bayron Rich and Howard Moore

Ball repeatedly and takes the datathat related to the research questions

3. Reading the Script and Marking the Sentences

40Sugiyono. (2019). Metode Penelitian Kuantitatif Kualitatif, R & D, (Bandung: Alfabeta). p. 243

The writerwatches and reads the script and marks the words or sentences that

related to the research questions

D. Technique of Data Analysis

The writer had several techniques from the data analysis, in order to make this research more specific. In qualitative research, technique analysis data is used to answer the formulation of the problem. 41 In analysis the data, the writer used a technique of data analysis. In this thesis, the writer uses documentation technique descriptive analysis because this research is descriptive. It is why the writer describes, analysis the data that had been found in in the Zootopia’s film by Bayron Rich and

Howard Moore Ballto find the answer the formulation of the problem that have been formulated. The steps of techniques of data analysis are:

1. Identifying and Classifying the Data

The writer identifies and classifies the data that related to the research

2. Describing the Data

After the data have identified and classified, the writer describes the data based

on the research questions

3. Analyzing the Data

The writer analyzes the data based on the gender discrimination Theory which

only focuses on discrimination in the Zootopia’s film by Byron Rich and

Howard Moor

41Sugiyono. (2019). Metode Penelitian Kuantitatif Kualitatif. R & D. p. 243

4. Making the Conclusion

After all the data have described and analyzed the data the writer makes the

conclusion of the research.

CHAPTER IV FINDINING AND ANALYSIS

A. Kinds of Women Discriminations Experienced by Judy Hopps in Zootopia

Film by Bayron Rich and Howard Moore

1. Direct Discrimination

The simplest and most common form, this type is unfair treatment of others

because of different characteristics because. Direct discrimination occurs when

individuals or groups are treated unequally because of their gender, especially as a

woman and people done discrimination in front of the people themselves directly.

This kind of discrimination toward woman can be seen from the conversation

between Judy and Gideon Grey (Judy’s childhood friend). It happened when

Gideon directly blame Judy’s dream in front of people who watched the drama

was performed by Judy. it can be seen in the picture and dialogues below:

Picture 142

Judy :I am going to be... a police officer! Gideon Grey : Bunny cop? That is the most stupidest thing I ever heard43

42Duration: 00:02:44,880 --> 00:02:47,565 25 43Duration: 00:02:44,880 --> 00:02:47,565

Based on the picture and dialogues above can be seen that for the first time

Judy conveyed her ideals in the way of the drama she played. She said she wanted to create peace by becoming a police officer. Something very new that she wants to have in her group because Judy is a rabbit who is usually only a carrot farmer but she has different idea from other rabbits that she wants to be a Bunny cop. Her desires make her got underestimated and someone said that it was impossible to do by a rabbit because of that she was directly discriminated against by others because she was deemed inappropriate and even impossible to become a police officer.

Secondly, The direct discrimination experience by Judy is when Judy and her parent are having a dialog, after Judy’s drama performance, they go home, on the way her parents told to Judy that become a bunny cop was something impossible done by rabbit family it can described on the picture and dialogues bellow:

Picture 244 Bon : impossible even, for youto become a police officer

44Duration: 00:03:32,080 --> 00:03:34,401

Stu : Right. There's never been a bunny cop Bon : No Stu : Bunnies don't do that Bon : Never Stu : Never45

Based on the picture and dialogues above told about how the way Judy got direct discrimination from her parents. Her parents said that something that impossible a rabbit become a police officer, because a rabbit is destined to become a farmer not a police officer that was in the mind of Judy's parents.

The third, the direct discrimination experienced by Judy Hopps was described when Judy face mayor Bellwether when she want to meet chief Pogo to give evidence about the case of lose predator. Mayor Bellwether was a sheep and wants to be leader for other animal especially for predator but the effort was prevented by Judy. It seen in her conversation with the Mayor bellwether below:

Picture 346 Mayor Bellwether : Well, you should have just stayed...on the carrot farm, huh? Judy : It really is too bad.I... I did like you.47

45Duration: 00:03:37,320 --> 00:03:38,321 46Duration: 01:30:33,440 --> 01:30:34,646 47Duration: 01:30:36,320 --> 01:30:38,800

Based on the picture and dialogues above showed about direct discrimination who done by Mayor Bellwether to Judy. Mayor Bellwether said that Judyask Mr Big for help in finding evidence of the Judy case should have lived in the carrot garden not in the mayor or become a police officer. because women rabbits are small and weak should only be carrot farmers do not hold positions in Zootopia.

From the pictures and dialogues above could be described that there are some Direct discriminationreflected in Judy experience’ssuch as Judy that wanted to be a policewoman but Judy got direct discrimination from others. They said that something that impossible a rabbit become a police officer, because a rabbit is destined to become a farmer not a police officer that was in the mind of other people.

less obvious than direct discrimination and can often be unintended. And indirect

members of another.

The indirect discrimination toward woman can be seen when Judy entered

to police academy. The coach gives to speech for the police candidate. The coach

28 indirectly discriminate Judy as the first policewomen candidate ever. It can be seen in the picture and dialogues below:

Picture 448

Coach : Well, he was right about one thingI don't know when to quit.Listen up, cadets. Zootopia has 12 unique...ecosystems within its city limits.Sahara Square...Rainforest District, to name a fewYou're gonna haveto master all of them...before you hit the streets,or guess what?You'll be dead!49

From the picture and dialogues above showed that Judy got indirect discrimination, it began when she entered the police academy to become a bunny cop for the first time in history at that time the coach explained about the training that was immediately faced by prospective police and the obstacles were very heavy. the coach discriminates indirectly by saying the words "You'll be dead!" in fact the sentence was utterances for all police candidates but indirectly the police coach assumed that Judy would not be able to pass the training period that would take place that sentence was intended for everyone with a point of view directed at Judy as if it underestimated Judy's ability that it way it categorized as indirect discrimination.

48Duration: 00:02:44,880 --> 00:02:47,565 49Duration: 00:02:44,880 --> 00:02:47,565

The indirect discrimination that got by Judy was about neighbor insult.

Judy’s neighbor told about the ugliness of Judy that accidentally heard by Judy. it can be seen in the situation experienced by Judy below:

Picture 550

Judy’s neighbor : Hey, buddy, turn downthat depressing music.Leavethe meter maid aloneDidn't you hear her conversation? She feels like a failure!51

From the picture and dialogues about told about Judy that got indirect discrimination from her neighbor. It happened when she back in her dormitory in her first duty as the meter made. In the bad room she heard her neighbor told about her ugliness as the meter made duty. As the policewomen the meter made was a bad duty. The conversation of Judy’s neighbor was an indirect discrimination that got by Judy.

The next indirect discrimination that got by Judy was about her neighbor also. It about the Judy’s neighbor believes that Judy cannot make the other day in her life be better than before. Indirect form of discrimination got by Judy was her neighbor told each other beside Judy’s bad room. Her neighbors not told directly

50Duration: 00:27:40,320 --> 00:27:42,891 51Duration: 00:27:47,360 --> 00:27:48,441

30 in front Judy but they told each other so Judy heard their conversation. It can be prove in the picture and dialogues below:

Picture 652

Judy’s neighbor 1 : Oh, shut up! Judy’s neighbor 2 : You shut up! Judy’s neighbor 1 : You shut up! Judy’s neighbor 2 : You shut up! Judy : Tomorrow's another day. Judy’s neighbor 1 : Yeah, but it might be worse!53

From the picture and dialogues above proved that Judy got indirect discrimination from other people. Judy just got her parents video call in her phon.

Judy’s neighbor heard conversations between Judy and her parents. In that conversation Judy hopps her next day was good day. Neighbor said Yeah, but it might be worse!.

3. Harassment Harassment is a form of discrimination which includes unwanted physical or verbal behavior that offends or insults which can be caused by gender and race, it must also have the effect of violating a person's dignity or creating intimacy, hostile, degrading, humiliating or offensive environment for that individual. That means harassment can be written in words, or written words, images or jokes.

52Duration: 00:27:52,840 --> 00:27:54,569 53Duration: 00:27:54,760 --> 00:27:56,967

The thirds of women discriminations experienced by Judy was about

Harassment where Judy Hopps got physical violence committed by Gedeon who is Judy’s childhood friend. It can be seen in the picture and dialogues below:

Picture 754 Judy : Cut it out, Gideon Gideon : Baa! Baa!What are you gonna do? Cry? Judy : Hey! You heard her. Cut it out Gideon : Nice costume, loserWhat crazy world are you living in where you thinka bunny could be a cop?55

Based on the pictures and dialogues about can be seen that Judy got bullying from Gideon. It happened when Gideon disturbs other animals and Judy came to help them, Gideon got angry to Judy. Judy was clawed by a big fox that was a fox. Gedeon clawed and abused Judy because he did not accept being prevented from disturbing other animals. The physical violence that Judy received was categorized as Harassment discrimination.

54Duration: 00:04:21,280 --> 00:04:22,645 55Duration: 00:04:32,640 --> 00:04 :34,927

Physical action was one of kind’s effects of Judy discrimination where Judy

get the violence physical from the other people. It can be known with the picture

and dialogue below:

Picture 856 Mr. Big: Say hello to Gram-mama. Ice 'em.57

From the picture and dialogue above can be known that Judy and Nick got the physical violence from Mr. Big mean to ice them because they have known by Mr.

Big when they want to collect the evidence for predators lose case. The evidence was in the Mr. Big car. Mr. big give the punish them with ice them.

The next harassment discrimination that got by Judy was done by Mayor

Bellwether. It can be seen in the picture and explanation below

56Duration: 00:49:33,240 --> 00:49:36,005 57Duration: 00:49:36,280 --> 00:49:39,602

Picture 958

From the picture above showed that Judy got injure cause of Mayor Bellwether who want Judy gave the evidence Mayor Bellwether, Judy was open the true clue about the predator lose case. All of the problems come from Mayor Bellwether that wants to be leader in the Zootopia. Judy was injured by Mayor Bellwether in her leg that cause she cannot run anymore, verbal behavior that got by Judy was categorized as harassment discrimination.

4. Victimization Victimization is a bad treatment that someone receives. The victimization

survey is a picture of a dark figure of a crime that is not reported or recorded by the

police or other authorities. This mead that victimization can occur in an office

The victimization was a other kinds of discrimination experienced by Judy

Hopps. It happened when Judy entered the office for the first time and met the other

58Duration: 01:30:39,000 --> 01:30:41,526

34 police. Judy was the only women in the room. She got discrimination in there when the chief Pogo gave a speech. It can be prove with the conversation below:

Picture 1059 Chief Bogo : There are some new recruitswith us I should introduce...but I'm not going to...because I don't care.60

Based on the picture and dialogues above can be seen that. Judy Hopps on the first mission when she received as the first bunny cop in Zootopia at that time the team had duty to solve the missing mammal’s case Judy got unfair treatment by the head of police officer at first the head of police officer did not care about introducing Judy as the new bunny cop.

Picture 1161

59Duration: 00:15:29,800 --> 00:15:32,167 60Duration: 00:16:05,360 --> 00:16:06,361 61Duration: 00:15:00,360 --> 00:15:03,120

Chief Pogo : Finally, we have 14 missing mammal cases.All predators, from a giant polar bear...to a teensy little otter.And City Hall is right upmy tail to find them.This is priority number one Assignments Officers Grizzoli...Fangmeyer, DelgaYour teams take missing mammals...from the Rainforest District. Officers McHorn, Rhinowitz, Wolfard Your teams take Sahara Square.Officers Higgins, Snarlov, Trunkaby. Tundra town And finally, our first bunny...Officer Hopps. Parking Duty62

From the picture and dialogue above described about the situation that faced by Judy when the first time entered the police officer. In the office then when share the duty Judy only got parking duty while the other got the duty to search the missing mammal’s case. It did not fair that is way it categorized as victimization discrimination.

From the pictures and dialogues above showed that there are four kinds of discrimination that faced by Judy the first one was about direct discrimination where Judy face other bad opinion about her dreams became a policewoman, the second was about indirect discrimination faced by Judy. The couch thought Judy would not be able to pass the training period to became a bunny cop the third was about Harassment is a form of discrimination which includes unwanted physical that got by Judy Hopps and the last was victimization was a bad treatment that Judy receives while Judy got many direct discrimination rather than indirect discrimination, Harassment and victimization.

62Duration: 00:15:05,360 --> 00:15:56,361

B. The Impacts of Women Discriminations Toward Judy Hopps in Zootopia

Statessubordinationis to put women under male supremacy.It can be seen

patriarchal relations of production for the benefit of their husband.

The impact of woman discrimination toward Judy Hopps was about her

position who always under the male and got insult from the other. It proves with

conversation between Judy and Nick where Judy as the police women got

subordinate impact of women discriminations toward Judy Hopps. It can be seen

from the conversations below:

Picture 1263

Slick Nick : You can't touch me, Carrots. I've been doing this since I was born. Judy Hopps : You're gonna want to refrainfrom calling me Carrots64

Based on the picture and dialogues above told about Judy who tried to catch a nick who had deceived herself by pretending to be a person who has no money and Judy bought her ice cream to Nick but it turned out that the ice cream bought by Judy was used as an attempt to be resold by cheating knowing it was

Judy foaming on Nick but what happened was Judy said Judy was an inappropriate carrot and wouldn't be able to catch Nick. The insult was due to Judy Hopps being a female rabbit who became a policeman whose position was usually filled with large and muscular men such as bears, elephants, wolves and bulls while she was only a small rabbit woman from a family of carrot.

The other impact that faced the woman discrimination was about Judy’s where she tried catch the thief that stole in Zootopia store. subordinationis to put women under male supremacy where Judy was followed what the Judy colleague command. It can be seen in the picture and dialogue below:

63Duration: 00:24:21,600 --> 00:24:22,601 64Duration: 00:24:24,400 --> 00:24:26,084

Picture 1365

Police: Hey, meter maid! Wait for the real cops!66

From the picture and dialogues above told that Judy’s position was under the male where Judy would followed what the other police instruct. Other police thought that Judy just a meter made did not have the right to catch the thief. It was a police duty did not meter made duty.

2. Marginalization Marginalization is to put women in a position that is not important in the

sense of ability to be decision-makers.

The second impact of women discriminations toward Judy Hopps was

about marginalization. It happened when Judy work as the parking attendant. She

65Duration: 00:24:21,600 --> 00:24:22,601 66Duration: 00:24:21,600 --> 00:24:22,601

39 underrated by Slick Nick who was a fox. It can be seen in the conversation between Judy and Nick below:

Picture 1467 Slick Nick : Okay. Tell me if this storysounds familiar.Naive little hick withgood grades and big ideas...decides, "Hey, look at me!I'm gonna move to Zootopia...where predatorsand prey live in harmony...and sing 'Kumbaya. "Only to find, whoopsie...we don't all get along.And that dream of becominga big city cop?Double whoopsie. She's a meter maid.And, whoopsie number three-sie...no one cares about her or her dreams.And soon enough, those dreams die...and our bunny sinksinto emotional...and literal squalor livingin a box under a bridge...till finally she has no choicebut to go back home...with that cute, fuzzy-wuzzylittle tail between...her legs to become...You're from Bunnyburrow,is that what you said?So how about a carrot farmer.That sound about right?68

Based on the picture and dialogues above prove that Judy's position as

a bunny cop in Zootopia is not respected by others because other people

perceive a rabbit especially women not being a police officer because rabbit

especially women, according to Nick more fantasy and worth become a carrot

farmer compared to a police.

67Duration: 00:24:33,840 --> 00:24:37,287 68Duration: 00:24:59,560 --> 00:25:00,925

As a result of the stereotypes that occur in the social environment or family, there is an artistic steoroetip between men and women where women are demanded to be passive and weak in contrast to men, which in turn is said to be leading and earning a living, Gender stereotypes can come in the form of characteristics such as: women are emotional, women are caring, men are strong, and men are the heads of the household.

The last impact was about stereotype where stereotype was a belief which becomes a trust for the Judy’s family and the people around about the trust had done for generations so that it becomes a habit and if out of the environment it would be strange and foreign worse yet get bad judge from other. It can be prove with the pictures and dialogues below:

Picture 1569 Based on the picture above showed that the stereotype experienced by

Judy. Judy who was born in the middle of a family who is a carrot farmer in the

69Duration: 00:24:33,840 --> 00:24:37,287

41 view of the community will forever be a farmer and carrot seller. Community stigma still strongly influences the ideals of a strong Judy to become a ruler while the weak become subordinates of the strong. Become a police officer is her dream but discrimination is always a challenge that she must face.

The next stereotype that face by Judy was about the police chief that stereotype her. It can be seen with the conversation between Judy and chief Pogo below:

Picture1670

Judy : Sir, I know what I saw.He almost killed us! MrPogo: Or, maybe any aggressive predator...looks savage to you rabbits.71

From the picture and dialogues above showed that the stereotype that

got by Judy from Chief Pogo. It began when Judy and Nick was attacked

by Jaguar then Judy call Chief Pogo and other police to help them and

catch the Jaguar. In that place when Judy want to show the evidence. The

70Duration: 00:56:11,080 --> 00:56:13,765 71Duration: 00:56:16,840 --> 00:56:19,081

Jaguar was losing. It made Chief Pogo thought that Judy have lie ant tried

to deceit. Then Chief Pogo was disclaiming that rabbit looked aggressive

predator as the savage. The stereotype arises when Chief Pogo thought that

rabbit identical as prey and weak animal. That is way it categorized as the

stereotype.

Based on the pictures and dialogues above can be conclude that there are

three impacts of women discriminations toward Judy Hopps in Zootopiafilm by

Bayron Rich and Howard Moore they were Subordination, Marginalization and

Stereotyping one of example was about Stereotyping become a police officer is

Judy dream’s but discrimination is always a challenge that she must face.

C. The Efforts to Fight Discrimination in Zootopiafilm by Bayron Rich and

Howard Moore

There are four ways the efforts to Fight Discrimination as Andrey Shastri proposed, it can be seen below:

43 our own safety is the priority. Often the best course of action when discrimination is experienced is to alert an authority figure of a member of staff on public transport, or where relevant our teacher or our boss or friends and family. The more they are made aware these issues are happening, the more they will be encouraged to step in and be part of the solution.

The efforts of Judy to fight discrimination was about speak out the own experiences. Judy believes with the ability that was in her and she was trying to speak to the police chief about the capability in herself. it can be seen in the conversation between Judy an Chief Pogo below:

Picture 1772

Chief Bogo : Shut your tiny mouth now! Judy Hopps : Sir, I got the bad guy.That's my job.I don't want to be a meter maid...I want to be a real cop.73

Based on the picture and dialogues above told about Judy tried to speak up.

Judy tried to talk about her rights to Chief Pogo. Judy told what was the police's real assignment that was not like her who was given a different task from the

72Duration: 00:31:18,920 --> 00:31:20,649 73Duration: 00:31:23,560 --> 00:31:24,561

44 others because Pogo felt Judy was a woman and a rabbit made Judy discriminated against by her coworkers. Judy, who felt that she was being treated unfairly, had the courage to talk to Pogo and she did what the police should have done by catching a criminal instead of being a parking attendant.

The second action of Judy to fight the women discrimination

experienced by her was call out discrimination in public. Judy get a chance

to express the actual case so she can be recognized in the middle of society

when she managed find the case of the lost of predators. It can be seen

when Judy speak out at the top of the podium below:

Picture 1874

Chief Bogo : Officer Hopps, it's time. Judy Hopps : are all members of the predator family. Interviewer : So, predators arethe only ones going savage? Judy : That is ac... Yes, that is accurate. Yes.Why? Why is this happening? We still don't know.It may have somethingto do with biology. What do you mean by that?A biological component.You know, something in their DNA In their DNA? Interviewer : Can youelaborate on that, please?

74Duration: 00:31:23,560 --> 00:31:24,561

Judy : Yes, what I mean is, thousands of years ago...uh, predators survivedthroughtheir aggressive...hunting instinctsFor whatever reason...they seem to be reverting back...to their primitive, savage ways.75

Based on the picture and dialogues above showed that Judy explained about the case she had solved publicly and answered all questions from reporters. he explained in detail what was happening without fear uncovering the truth that the missing predator was a predator who returned to his wild nature he explained about the event without hesitation and fear. what is seen and heard is what he explains in public so that it can provide an accurate explanation and eliminate existing discrimination.

Judy was open the case. Judy tried to share her successes to open the case with call the media and all the team for see directly what she just find. It can be seen in the picture and dialogue below:

Picture 1976

Mayor Lionheart : You don't understand. I wastrying to protect the city!You were just trying to protect your job.No. Listen, we still don'tknow why this is happeningIt could destroy Zootopia.

75Duration: 01:11:39,920 --> 01:11:41,410 76Duration: 01:08:46,160 --> 01:08:47,366

Judy : You have the right to remain silentAnything you say can and will...be used against you in a court of law.77

From the picture and dialogues above proved that Judy just call out discrimination in the public it happened when Judy was successes to enter the evidence building where in the building there were predator that was lose. In that building Judy saw Mayor Lionheart. To showed the Judy’s strength Judy call the other police who had a opinion that rabbit identical with a weak animal than the predator.

A great way to make a big effect in the pursuit of gender equality is to join with others. Seek out local campaign groups. Join or set up school or university societies for gender equality and female leadership. There is strength in numbersmore voices tackling a particular issue means they are more likely to be heard. Helping to raise the profile of campaigns by other marginalised groups is a vital part of ending discrimination. For example, girls from a minority or indigenous community may experience racism as well as sexism. Be their allies and lend our voice to their causes.

The third effort of Judy to fight the woman discrimination in her was got support from other campaigners. To fight discrimination from Judy she cannot fight with herself. She needed helping from other people around her who had

77Duration: 01:09:14,320 --> 01:09:15,840

47 same mission with herself. The support other campaigners that Judy’s got can be seen in the picture and dialogues below:

Picture 2078

Assistant Mayor Bellwether :I just heard Officer Hopps is taking the case.The Mammal Inclusion Initiative...is really starting to pay off.Mayor Lionheart is just gonnabe so jazzed! Chief Pogo : No, no, let's not tellthe Mayor just yet. Assistant Mayor Bellwether : And I've sent it and it isdone, so I did do that.All right. Well, I'd saythe case is in good hands.Us little guys really need tostick together, right?Like glue.Good one.Just call me if you everneed anything, okay?You've always got a friendat City Hall, Judy.All right, bye-bye. Judy Hopps : Thank you, ma'am.79

Based on the picture and dialogues above told about Assistant Mayor Bell wether that helped Judy. It happened when Judy would be fired by Chief Pogo because Judy defied taking the action that was not according to the rules as a parking attendant. Judy caught the criminal who had stolen in the shop, making

78Duration: 01:11:39,920 --> 01:11:41,410 79Duration: 00:33:32,880 --> 00:33:34,882

Chief Pogo furious and even more when an irate came into Chief Pago’s room to ask for help finding her missing husband. Judy was fired by Chief Pogo but behind the door was Assistant Major Bellwether who heard the news that Judy had taken the case of the disappearance of an otter. Assistant Major Bellwether said that he was Judy's friend who was ready to help Judy to both make mammals become living in the eyes of other animals especially predators. for fear of Assistant Major

Bellwether chief Pogo not firing Judy and giving Judy the opportunity to resolve the case of the disappearance of an otter

Picture 2180 Judy Hopps : You should be there with me.We did this together. Nick : Well, am I a cop? No. No, I am not Judy Hopps : Hmm. Funny you should say that...because I've been thinking...It would be nice to have a partner81

Based on the picture and dialogues about told about Judy who has

resolved the missing mammals case in Zotoopia when everyone does not

believe in Judy's ability to handle the case but Nick who was a fox came

with trust and loyalty to Judy in the end Judy finally asked Nick to be his

partner as a police officer to help him in handling further cases.

80Duration: 00:33:04,680 --> 00:33:07,490 81Duration: 01:10:00,160 --> 01:10:04,563

Picture 2282 Mr Big : Ice him. Duke Weaselton :You dirty rat !Why are you helping her? She's a cop! Mr Big : And the godmotherto my future granddaughter83

Based on the picture and dialogues above told about Judy ask Mr. Big for help in finding evidence of cases of mammals that are lost and become fierce. the witness in that case did not want to open his mouth to be able to make the witness want to talk about the evidence Judy asked for the help of Mr. Big who had relations and a lot of money so he was very respected and greatly feared by other animals. Mr. Big threatened to freeze Duke Weasel ton if he did not want to tell the story of what happened to missing mammals. in the end Duke Weasel ton issued all the evidence to Judy.

Based on the explanations above, it can be concluded that there three kinds of the efforts to fight discrimination, such as speak out the own experiences, call out discrimination in public and support other campaigners. The writer will

82Duration: 01:22:44,520 --> 01:22:45,520 83Duration: 01:22:51,440 --> 01:22:54,569

50 use this theory to find out the Judy Hopps’s efforts to fight women discriminations in Zootopia’s film by Bayron Rich and Howard Moore.

Based on the Pictures and dialogues above showed that there were three efforts to fight discrimination Judy Hopps the first one was speak out the own experiences where Judy tried to speak up to Chief Pogo what were she wanted.

She wanted to be a real cop did not become meter maid. The second was about call out discrimination in public and the last was support other campaigners while support other campaigners were the most effort that used by Judy to fight discrimination.

CHAPTER V CONCLUSIONS AND SUGGESTIONS A. Conclusions The following conclusions are presented based on the research findings to

answer each research question in this study:

First, there are four kinds of discrimination that faced by Judy the first one

is about direct discrimination where Judy faces other bad opinion about her dreams

became a policewoman, the second is about indirect discrimination faced by Judy.

The couch thought Judy would not be able to pass the training period to became a

bunny cop the third is about Harassment is a form of discrimination which

includes unwanted physical that got by Judy Hopps and the last is victimization is

a bad treatment that Judy receives while Judy gets many direct discrimination

rather than indirect discrimination, harassment and victimization.

Second, there are three impacts of women discriminations toward Judy

Hopps in Zootopia film by Bayron Rich and Howard Moore they are

subordination, marginalization and stereotyping one of example is about

stereotyping become a police officer is Judy dream’s but discrimination is always

a challenge that she must face.

Third, there are three efforts to fight discrimination Judy Hopps the first

one is speak out the own experiences where Judy tries to speak up to Chief Pogo

what she is wanted. She wants to be a real cop and she would not become meter

maid. The second is about call out discrimination in public and the last is support

52 other campaigners while support other campaigners are the most effort that used by Judy to fight discrimination.

B. Suggestion

Finally based on the findings and the significances of this study, the researcher wants to give some suggestions for:

First, English Literature Department Students the findings of this study are also can be used as a reference for English Literature Department students who study women discrimination. Especially in understanding women discrimination as reflected in Zootopia’s film by Byron Rich and Howard Moore.

Second, the next researchers, this study also can give a contribution for the next researchers who are interested in investigating similar field of study. They can use the findings as reference to understand the theory of women discrimination.

And the writer suggested them to have more literatures related to this study in order to make the theories more complete. Besides that, they also can use these findings as comparison and direction for their future research particularly on the way of analyzing women discriminationnot only in the film. In addition, the writer is also suggested finding the other subject to be analyzed. For example: song lyric or novel.

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Judith, L. (1997). The Variety of Feminisms and their Contribution to Gender Equality. Klarer M. (2004). An Introduction to Literary Studies Second Edition. New York: Routledge. Krahn, K.M. (2015.) Reel Women: Gender Stereotypes in Film.Eastern Michigan University. Kurnia, S. (2013). “Discrimination Against American Women In 1990s As Depicted In Nothing Lasts Forever by Sidney Sheldon’s Novel, Institute from Islamic ShulthanThahaSaifuddin Jambi. Line, M (2013) The Walt Disney Company, US and Canada. Merriam, S.B (1998). Rualitative Research and Case Study Applications in Education, New York City. Miriam and Freeman, (2011). Women’s Issues: Feminism and Social Work. Journal of Social life. Vol 4 No II. Midtboen,Arnfinn H (2013). Determining Discrimination.Department of Sociology and Human Geography Faculty of Social Sciences University of Oslo Nasr, D. (2016). “Ketidaka dilan Gender Terhadap Perempuan Dalam Novel PadusiKarya Ka’bati”. Balai Bahasa Provinsi Sumatra Barat Kementerian Pendidikan dan Kebudayaan Simpang Alai Cupak Tangah, Pauh Limo. Pauh. Padang Jurnal Madah, Volume 7. Nomor 2. Edisi Oktober. Ngabidah, Z.N“Gender Discrimination Suffered by Character in Jane Austen’s persuasion”. Maulana Malik Ibrahim State Islamic University Malang. 2015. Pham, M. “women Against Feminism”. An Analysis of Anti-Feminism Comments on Tumblra. Powell. (2007).Deleuze. Altered States and Film.(Edinburgh UniversityPress Ltd. Santosa, B.T (2015). “An Analysis of the Main Female Character’s Efforts in John Steinbeck’s The Grapes of Wrath”.English Language and Literature Study Program English Education Department Faculty of Languages and Arts Yogyakarta State Univeristy.

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APPENDIX SYNOPSIS OF IN ZOOTOPIA’S FILM

In a world populated by anthropomorphic mammals, rabbit Judy Hopps from rural Bunnyburrow fulfills her childhood dream of becoming a police officer in urban Zootopia. Despite Judy being the academy valedictorian, Chief Bogo doubts her potential and delegates her to parking duty. On her first day, she is hustled by a con artist fox duo, Nick Wilde and Finnick. Judy abandons parking duty to arrest Duke Weaselton, a weasel who stole a bag of crocus bulbs known as MidnicampumHolicithias. As she is reprimanded by Bogo, an otter named Mrs. Otterton enters Bogo's office pleading for someone to find her husband Emmitt, one of fourteen predators who have gone missing. Bogo is forced to let a volunteering Judy take the case when Assistant Mayor Dawn Bellwether praises the assignment. He gives Judy 48 hours to find Emmitt on the condition that she must resign if she fails.

Deducing that Nick was the last to see Emmitt, Judy blackmails him into assisting her by covertly recording his confession to tax evasion. They track Otterton to a limousine owned by crime boss Mr. Big, who reveals Otterton went "savage"— reverted to a feral state—and attacked his chauffeur Manchas. At his home, Manchas mentions Otterton yelled about "Night Howlers" before the attack. Manchas himself then turns savage and chases the pair. Judy saves Nick by trapping Manchas and calls the ZPD for help, but Manchas disappears before they arrive. Bogo demands Judy's resignation, but Nick defends Judy and tells his story about the junior ranger scouts, in which he has been tormented by them, due to his species.

Judy and Nick then travel to the City Hall to access to the city's traffic cameras. They discover Manchas was captured by wolves, who Judy surmises are the "Night Howlers". They locate the missing predators—who have all turned savage— imprisoned at Cliffside Asylum, where Mayor LeodoreLionheart is secretly imprisoning them while attempting to determine the cause of their behavior. Judy

records video of Lionheart discussing the plot with her cell phone and reports him to the ZPD; Lionheart and the asylum staff are arrested for false imprisonment, and Bellwether becomes the new mayor. Judy, praised for solving the case, asks Nick to join the ZPD as her partner. At her following press conference, however, Judy suggests that the cause of the savage behavior is predator biology; in anger, Nick rejects Judy's offer and abandons her. Hateful speech and discrimination against predators runs rampant throughout Zootopia. Wracked with guilt for the consequences of her words, Judy resigns from the ZPD and returns to Bunnyburrow.

Back home, Judy learns that the Night Howlers are actually the crocus bulbs Weaselton stole, and they contain a neurotoxin that has severe psychotropic effects on mammals. After returning to Zootopia and tearfully reconciling with Nick, the pair confront Weaselton, who is pressured by Mr. Big and reveals that the bulbs he stole were meant for a ram named Doug. They find Doug in a laboratory hidden in the city subway developing a drug made from Night Howlers, which he has been shooting at predators with a dart gun. Judy and Nick obtain the serum as evidence, but before they can reach the ZPD, Bellwether confronts them in the Natural History Museum, revealing herself as the mastermind behind a prey-supremacist conspiracy to frame predators as dangerous and savage. Bellwether retrieves the evidence after Nick refuses to abandon an injured Judy. She shoots Nick with a serum pellet to make him attack Judy, but the pellets she is using are revealed to have been replaced with blueberries by Nick. Judy then baits Bellwether into openly declaring her role in the attacks and records the confession just as Bogo and his deputies arrive at the scene.

Bellwether is arrested for her treachery, while Lionheart publicly denies knowledge of her plot and defends his imprisonment of the savage predators as a necessary precaution to maintain public safety. The savage animals are cured and Judy

rejoins the ZPD. Nick graduates from the Zootopia Police Academy as the city's first fox police officer and becomes Judy's partner.1

1Ginnifer, “Zootopia “, https://www.tribute.ca/movies/zootopia/110124/, (Accessed on 28 October 2019)

APPENDIX II

LIST OF SCRIPT DIALOGUES

NO Kinds Dialogue Duration 1. Kinds of Direct Judy :I am going to be a police officer! 00:02:44,880 Discrimination Discrimination Gideon Grey : Bunny cop? - Experienced That is the most 00:02:47,565 By Judy Hoops stupidest thing I ever heard Bon :impossible even, for youto 00:03:37,320 become a police officer - Stu : Right. There's never been a 00:03:38,321 bunny cop Bon : No Stu : Bunnies don't do that Bon : Never Stu : Never Mayor Bellwether : Well, you should 01:30:36,320 have just stayed...on the carrot farm, - huh? 01:30:38,800 Judy : It really is too bad.I... I did like you. Indirect Coach : Well, he was right about one 00:02:44,880 Discrimination thingI don't know when to quit.Listen - up, cadets. Zootopia has 12 00:02:47,565 unique...ecosystems within its city limits.Sahara Square...Rainforest District, to name a fewYou're gonna haveto master all of them...before you hit the streets,or guess what?You'll be dead! Judy’s neighbor : Hey, buddy, 00:27:47,360 turn downthat depressing - music.Leavethe meter maid aloneDidn't 00:27:48,441 you hear her conversation?She feels like a failure Judy’s neighbor 1 : Oh, shut up! 00:27:54,760 Judy’s neighbor 2 : You shut up! - Judy’s neighbor 1 :You shut up! 00:27:56,967 Judy’s neighbor 2 :You shut up! Judy : Tomorrow's another day. Judy’s neighbor 1 : Yeah,but it might be worse! Harassmet Judy : Cut it out, Gideon 00:04:32,640 Gideon : Baa! Baa!What are you gonna --> do? Cry? 00:04 Judy : Hey! You heard her. :34,927 Cut it out Gideon :Nice costume, loserWhat crazy world are you living in where you thinka bunny could be a cop? Mr Big:Say hello to Gram-mama. Ice 00:49:36,280 'em --> 00:49:39,602 Victimization Chief Bogo :There are some new 00:16:05,360 recruitswith us I should introduce...but --> I'm not going to...because I don't care 00:16:06,361 Chief Pogo : Finally, we have 00:15:05,360 14missing mammal cases.All predators, --> from a giant polar bear...to a teensy 00:15:56,361 little otter.And City Hall is right upmy tail to find them.This is priority number oneAssignmentsOfficers Grizzoli...Fangmeyer, DelgaYour teams take missing mammals...from the Rainforest District.Officers McHorn, Rhinowitz, WolfardYour teams take Sahara Square.Officers Higgins,Snarlov, Trunkaby.TundratownAnd finally, our first bunny...Officer Hopps.Parking Duty The Impacts of Subordination Slick Nick : You can't touch me, 00:24:24,400 Women Carrots. I've been doing this since I was --> Discriminations born. 00:24:26,084 Toward Judy Judy Hopps : You're gonna want to Hopps refrainfrom calling me Carrots Hey, meter maid! Wait for the real 00:24:21,600 cops! --> 00:24:22,601 Slick Nick : Okay. Tell me if this 00:24:59,560 storysounds familiar.Naive little hick --> withgood grades and big ideas...decides, 00:25:00,925 "Hey, look at me!I'm gonna move to Zootopia...where predatorsand prey live in harmony...and sing 'Kumbaya. "Only to find, whoopsie...we don't all get along.And that dream of becominga big city cop?Double whoopsie. She's a meter maid.And, whoopsie number three-sie...no one cares about her or her dreams.And soon enough, those dreams die...and our bunny sinksinto emotional...and literal squalor livingin a box under a bridge...till finally she has no choicebut to go back home...with that cute, fuzzy-wuzzylittle tail between...her legs to become...You're from Bunnyburrow,is that what you said?So how about a carrot farmer.That sound about right Stereotyping Judy : Sir, I know what I saw.He 00:56:16,840 almost killed us! --> MrPogo:Or, maybe any aggressive 00:56:19,081 predator...looks savage to you rabbits The Efforts to Speak Out the Chief Bogo :Shut your tiny mouth 00:31:23,560 Fight Own now! --> Discrimination Experiences Judy Hopps :Sir, I got the bad 00:31:24,561 guy.That's my job.I don't want to be a meter maid...I want to be a real cop. Call Out Chief Bogo :Officer Hopps, it's time. 01:11:39,920 Discrimination Judy Hopps : are all members of the --> in Public predator family. 01:11:41,410 Interviewer : So, predators arethe only ones going savage? Judy :That is ac... Yes, that is accurate. Yes.Why? Why is this happening?We still don't know.It may have somethingto do with biology.What do you mean by that?A biological component.You know, something in their DNAIn their DNA? Interviewer : Can youelaborate on that, please? Judy : Yes, what I mean is,thousands of years ago...uh, predators survivedthroughtheir aggressive...hunting instinctsFor whatever reason...they seem to be reverting back...to their primitive, savage ways Mayor Lionheart : You don't 01:09:14,320 understand. I wastrying to protect the --> city!You were just trying to protect your 01:09:15,840 job.No. Listen, we still don'tknow why this is happeningIt could destroy Zootopia. Judy : You have the right to remain silentAnything you say can and will...be used against you in a court of law Support Other Assistant Mayor Bellwether :I just 00:33:32,880 Campaigners heard Officer Hopps is taking the --> case.The Mammal Inclusion 00:33:34,882 Initiative...is really starting to pay off.Mayor Lionheart is just gonnabe so jazzed! Chief Pogo : No, no, let's not tellthe Mayor just yet. Assistant Mayor Bellwether : And I've sent it and it isdone, so I did do that.All right. Well, I'd saythe case is in good hands.Us little guys really need tostick together, right?Like glue.Good one.Just call me if you everneed anything, okay?You've always got a friendat City Hall, Judy.All right, bye-bye. Judy Hopps: Thank you, ma'am. Judy Hopps : You should be there with me.We did this together. Nick : Well, am I a cop? No. No, I am not Judy Hopps : Hmm. Funny you should say that...because I've been thinking...It would be nice to have a partner

DAFTAR RIWAYAT HIDUP Photo Curriculum Vitae

A. Data Pribadi / Personal Details Nama / Name : Pina Pitria Alamat / Address : Rt 022 Pematang Kandis Belakang Pasar Baru Kec Bangko Kab Merangin Kode Post / Postal Code : 37313 Nomor Telepon / Phone : 0823-7617-7603 Email : [email protected] Jenis Kelamin / Gender : Perempun Tanggal Kelahiran / Date of Birth : Limbur, 27 Maret 1996 Status Marital / Marital Status : Single Warga Negara / Nationality : Indonesia Agama / Religion : Islam Nama Ayah : Nasir Nama Ibu : Nasriwati B. Riwayat Pendidikan

No Pendidikan Tahun Lulus Alamat Sekolah 1 SD N 115 2008 Bangko 2 MTS Istiqomah 2011 Sarolangun 3 SMA Swasta Hafizd Al-Fatah 2014 Sarolangun 4 UIN STS JAMBI 2019 Jambi