GENERATIONAL TRAUMA AS THE REAL VILLAIN:
a narrative analysis that distinguish generational trauma as an underlying theme in
selected computer-animated films
Andrea Marie B. Bagacay
CIIT College of Arts and Technology
March 2023
Abstract
This study aims to distinguish how generational trauma is present in selected computer-animated
films produced by Walt Disney Studios Motion Pictures: Encanto (2021), Turning Red (2022),
and Luca (2022). Previous studies about gender and color representations have been prevalent
yet family representations have only a few. Some analyses have targeted to find out about films
underlying meanings and narratives’ hidden messages but only a few have been done
distinguishing underlying themes, especially on mental health.The study aims to break down
specific scenes according to the signs and causes of generational trauma from therapists, Michael
Quirke, MFT and Reshawna Chapple, PhD, LCSW. These signs and causes are, (a) Signs:
disconnection, denial, detachment, distance, impaired self-esteem, trauma bonding,
estrangement, neglect, abuse, violence (b) Causes: dominant family narratives, normalization of
hatred, cruelty, dehumanization toward others, parents bypassing/ not coping with their own
trauma, aggressions/micro-aggressions, cultural messages and conditioning, cultural patterns,
cumulative emotional wounding, oppression, intergenerational poverty, lack of opportunity,
racism, sexism, homophobia. This study also intends to conduct a Narrative Analysis of the
chosen scenes with the help of Barthes’ Five Narrative Codes. At the end of this paper, the study
seeks to conclude and make meaning out of these scenes and to find similarities among the three
films. Contrary to the films main themes, the study has shown that generational trauma is an
underlying theme of the three chosen films. An amount of signs and causes have been present
among the films’ main characters. The analysis revealed the hidden messages of the writers’
intentions in writing the narratives of each film. The findings of this analysis have indicated that
films have a crucial part in awareness and education towards its viewers. Writers and producers
use films to raise awareness and to introduce topics in a way that film viewers can intake, but not
a lot can read below what’s presented among the films’ plots. The study serves as a guide for
viewers to critically analyze films more in order to take everything that the writer has written,
and for producers to aim for a more diverse set of themes in producing future films that will
influence that mass.
I.
Introduction
A. Background of the Study
Film has been occupying a notable amount of the population’s media consumption. Other
than being a medium for entertainment and self-expression, Film also serves as a medium for
education—it has an epistemic value in every narrative/plot (Fiorelli, L., 2016). It greatly
influences viewers’ beliefs and opinions towards a topic as it introduces new perspectives and
information about a certain matter. Being said, an opportune number of film exposure also
greatly impacts the amount of awareness a person has concerning topical social issues (Kubrak,
T. A., 2020). Seeing this footprint, numerous films tackling a variety of issues have been
emerging throughout the years such as Antebellum (2020), which talks about systematic racism;
The Trial of Chicago 7 (2020), which elucidates police brutality; The Prom (2020), touches upon
ageism; Disclosure (2020), which sheds light upon society’s treatment of transgender persons;
The Social Dilemma (2020), explores the effects of social media addiction on a person’s mental
and emotional wellbeing; and a lot more. However, even with a wide variety of social issues
present in film themes, mental health is still a very sensitive topic that films are slowly touching
upon and introducing to the masses.
Due that mental health is often a stigmatized topic—resulting in wrong representations
and negative portrayal of mentally- ill people (Hanley, 2015), films often slip this as just an
underlying theme. One of the recently soaring underlying themes under mental health is
trauma—more specifically, generational trauma. In reality, Trauma exposure is widespread
throughout the world. A study by WHO World Mental Health (WMH) indicates that 70.4% of
their respondents have experienced lifetime trauma with an average of 3.2 traumas per
person—this is a survey conducted among 29 countries, meaning that there are still countries and
people who are unaware if they have suffered, or, are currently suffering from different types of
traumas (Kessler, R. C., Aguilar-Gaxiola, et al., 2017). Given that, generational trauma has been
one of the frequently explored underlying themes in films nowadays, distinctively in modern
animation films.
Several modern animated films have been released that fit under the themes of family and
generational trauma. Starting with Disney Pixar’s Coco (2007), a story about a Mexican family
working through a series of generational trauma and improving their understanding of each other.
After the positive take of the public, Disney have continuously released more films similarly
with generational trauma as an underlying theme. In Frozen II (2019), a continuation of Elsa and
Anna’s story from Frozen (2013), the film also introduced how Elsa took on her parents' trauma
that became a remarkable part of her identity. Even though these films bring light to generational
trauma, it is still not considered the main theme for these films. It is almost always an underlying
theme that a lot of people more often than not look pass through as not everyone is
knowledgeable about the topic.
Several studies on films had done narrative analysis of mostly gender, color, and cultural
representation, tackling the stereotypical antagonists/protagonists, how people with color are
poorly presented, asian people’s inferiority, and etc. but just a few studies upon family
representation and underlying themes are there—specifically the themes of collective
generational trauma. Due to the limitations of other research, the current study will tackle and
distinguish how generational trauma is present as an underlying theme in selected
computer-animated films.
B. Review of Related Literature
Several studies have been conducted to analyze representations in films. More often these
studies revolve around women's representation in films—trying to understand the stereotypes
and negative portrayals of gender according to the film’s main theme. Angulo, Auman, Tito's
(2019) content analysis about the representation of women in the three highest-grossing filipino
films was able to analyze the stereotypes of women representations in Filipino films and revealed
that there are a lot of underlying themes when it comes to plots where women are present.
Meanwhile, a narrative analysis by Andersson (2021) regarding family representations in films
was also written and highlighted gender roles constructions in families, to identify the
masculinity and femininity of the parents and how it affects their family. The study touched upon
the traditional family structure that the masses have been accompanied to, revealing that this
film, same as other films that has been produced up until now, is aware of the gender stereotypes
that they are presenting within the plot of their stories. Even with these existing themes and
representations, films that touch upon sensitive issues with near to accurate representation have
been emerging too lately. A film analysis about the Disney film, Coco reveals the different
struggles from both adults and children inside a family even in the afterlife. It brought light about
the possibility of intergenerational healing among families and how it was done in this film. The
study also talked about the film’s main theme as death and the afterlife—but mainly revealed the
theme of: communication through different symbolism in the film (Mantohac, 2021). The recent
studies have provided insight into underlying themes of films that helps greatly in understanding
and analyzing representations in films.
Although these studies were able to provide data that touches upon representations in
films, the studies look at underlying themes as just a factor of distinguishing a specific
topic/issue that they are pointing out instead of acknowledging that it’s a present element that
films have nowadays. Even though Mantohac’s (2021) study was able to present an underlying
theme, it is narrowed down to the message of the film instead of the root of the issue. The
restrictions of these studies bring forward the need to further analyze films and distinguish its
underlying themes. Narrative analysis on underlying themes, in addition to more profound film
analysis will also equip viewers with broader awareness of the films that they are watching,
enabling them to distinguish not only its main themes but also its underlying themes.
C. Theoretical Framework
Films have distinct themes that are presented within the plot. With films acting as one of
our mediums for obtaining education nowadays, identifying these themes as well as the
underlying/hidden ones are important to fully understand the story, values, and message that the
films are trying to convey. This can be made possible by analyzing a film’s narrative. Narrative is
the technique on how a story is told. By analyzing how stories are presented in films, we get to
take a look in detail, the elements that writers use in order to exhibit their themes of choice
(Chopra, 2020).
In the study Family in crisis: A narrative analysis of gender roles and family hierarchy in
the movie Turist, Emil Andersson (2021) specifically picked out parts of the film to analyze in
his paper—to raise the efficiency of focusing only on the relevant parts of the film. He used
narrative analysis to make meaning out of the film’s dialogue, character’s behavior, framing of
scenes, and choice of music to distinguish how the film presents his argument of gender roles
and family hierarchy.
In relation to Barthes’ semiotics theory of understanding how anything in culture of
media, fashion, art, photography, architecture, or literature can be a sign or used to direct a
message. It was then only appropriate to study the film’s narrative by applying Barthes’ Five
Narrative Codes (2002): Hermeneutic, Proairetic, Semantic, Symbolic, Cultural in order to
further distinguish if generational trauma is present as an underlying theme of these films.
Zaib and Mashori (2014), used these variables to find hidden multiple-meanings under
specific words and dialogues of the story, “A Pair of Jeans” by Shaharaz. Hermeneutic Code
refers to elements of the story left unexplained that leaves the reader puzzled and pushes them to
raise questions. It is a deliberate technique that holds the readers engaged as they are left to
interpret the resolution of the story on their own. Barthes’ mentioned that writers might use
“snares” and “partial answers” prior to the audience figuring out the truth to keep them occupied
and attached to the story. Proairetic Codes are beats of the plot that creates tension to the story.
These are a series of events in the story that has been led on by a series of occasions. It raises
questions as to what will happen next after a certain plot point has happened. Hermeneutic and
Proairetic Codes tend to work consecutively and take effect throughout the story in order to be
identified. The pairing of these first two codes are referred to as,“ the revelation of truth and the
coordination of the actions represented,” according to Barthes. The rest of the codes have no
consecutive order in analyzing narratives as they are present without time limitations. Semantic
Codes are parts of a narrative that insinuates a nuance of the original meaning of the narrative.
Symbolic Codes are quite similar with semantics that Barthes differentiates as, a deeper
proposition that makes semantic meanings more efficient and orderly. Lastly, Cultural Codes
presents what existing knowledge we all have with the way things are done. These are parts of a
narrative that we label as clichés and generic as we all have universal knowledge about it—and
as it is commonly used in narratives. The amount of existing studies about narrative analysis with
the basis from Barthes’ Five Narrative Codes justifies its pertinence and bearing in this present
study.
D. Statement of the Problem and Objectives
This study aims to distinguish how generational trauma is present in selected
computer-animated films distributed by Walt Disney Studios Motion Pictures. These films are:
Encanto (2021), Luca (2021), and Turning Red (2022).
To answer the research problem, this study aims to:
1. Break down specific scenes according to these chosen categories under
generational trauma from Michael Quirke, MFT (a licensed marriage and family
therapist in San Francisco, California) and Reshawna Chapple, PhD, LCSW (a
licensed clinical social worker, therapist and peer consultant in Florida):
a. Signs: disconnection, denial, detachment, distance, impaired self-esteem,
trauma bonding, estrangement, neglect, abuse, violence
b. Causes: dominant family narratives, normalization of hatred, cruelty,
dehumanization toward others, parents bypassing/ not coping with their
own trauma, aggressions/micor-aggressions, cultural messages and
conditioning, cultural patterns, cumulative emotional wounding,
oppression, intergenerational poverty, lack of opportunity, racism, sexism,
homophobia.
2. Conduct a Narrative Analysis of the specific scenes according to Barthes’ Five
Narrative Codes as variables:
a. Hermeneutic Codes
b. Proairetic Codes
c. Semantic Codes
d. Symbolic Codes
e. Cultural Codes
3. Conclude meaning out of the scenes’ narrative codes and find similarities out of
the three films.
E. Significance of the Study
The importance of film themes in raising awareness has been prevalent throughout the
years. Film is not only a form of art and self expression but also a medium that educates people
on specific issues, it aids in introducing taboo issues/ topics and instigate a lot of semiotic
relatable content that people can relate to. It is also used as a tool to introduce topical issues such
as collective generational trauma as a theme in film to the masses—plus specific films like
Disney animated films find a lighter and easier way to introduce deep and heavy topics in a way
that people would understand and would enjoy at the same time. Therefore, the findings of this
research paper are relevant and beneficial to the multiple people, including:
Families. This study identified factors of generational trauma present between the
families in the films and how common and looked upon it is. In bringing awareness to these
underlying themes, families are more exposed to the patterns and now have enough information
to start on the healing process within their own families. This study gives consciousness that
allows families to pinpoint problematic actions that correspond to generational trauma and to
start change.
Film viewers. This study serves as a blueprint for film viewers to identify underlying
themes such as generational trauma in order to take more message and information from the film
other than the plot that it serves. This gives them a more in-depth understanding of the narrative
of the films that they are consuming—which allows them to critique and discover underlying
messages from the films.
Film producers and directors. This study contributes a new light to the film industry,
especially film producers and directors who seek to produce films that touch upon a broader
spectrum of issues and go out the generic line of narratives that films revolve around—for
filmmakers to continue engaging with themes that explore more our mentality, history, and
culture.
II.
Methodology
A. Research Design
This study is qualitative in nature, focused on the content analysis of the selected films
and distinguished generational trauma as an underlying theme. This data analysis thus required
the researchers to view the selected films through Barthes Five Narrative Codes which assisted in
the analysis of how generational trauma is an underlying theme in the sample.
In distinguishing the factors of the narrative falling under generational trauma, a list of
categories from licensed therapists were referred to as guides. Both Michael Quirke, a licensed
Marriage and Family Therapist (MFT) in San Francisco, California and Reshawna Chapple,
PhD, a licensed Clinical Social Worker (LCSW) , Therapist and Peer Consultant in Florida
produced an article (2023) about generational trauma and its signs, causes, and treatment. Both
signs and causes were used in this study to provide a backup as to how the signs were present
among the narratives of the films and what caused it.
Table 1. Signs and Causes from Quirke (2023) and Chapple (2023).
Signs
Causes
Denial
Dominant fam narratives
nightmares
Normalization of hatred
Psychic numbing
cruelty
hypervigilance
dehumanization toward others
Unresolved grief
parents bypassing/ not coping
with their own trauma
disconnection
aggressions/micro-aggressions,
detachment
cultural messages and
conditioning
distance
cumulative emotional wounding,
Impaired self-esteem
oppression
Trauma bonding
lack of opportunity
estrangement
racism
neglect
sexism
abuse
homophobia
violence
B. Units of Analysis and Sampling
In this study, the following selected Filipino films comprised the sample:
1. Encanto (2021)
Encanto: A Magical World tells the tale of an extraordinary family, the Madrigals,
who live hidden in the mountains of Colombia in a magical house, in a vibrant town, in a
wondrous, charmed place called an Encanto. In the film, the magic of the Encanto has
blessed every child in the family with a unique gift from super strength to the power to
heal—every child except one, Mirabel (Stephanie Beatriz). But when she discovers that
the magic surrounding the Encanto is in danger, Mirabel decides that she, the only
ordinary Madrigal, might just be her exceptional family’s last hope. The voice cast also
includes María Cecilia Botero, Wilmer Valderrama, Adassa, Diane Guerrero, Mauro
Castillo, Angie Cepeda, Jessica Darrow, Rhenzy Feliz and Carolina Gaitan. Walt Disney
Animation Studios’ “Encanto: A Magical World” opens in cinemas December 2021.
2. Turning Red (2022)
Disney and Pixar’s “Turning Red” introduces Mei Lee, a confident, dorky
13-year-old torn between staying her mother’s dutiful daughter and the chaos of
adolescence. Her protective, if not slightly overbearing mother, Ming, is never far from
her daughter—an unfortunate reality for the teenager. And as if changes to her interests,
relationships and body weren’t enough, whenever she gets too excited (which is
practically ALWAYS), she “poofs” into a giant red panda!
3. Luca (2021)
Set in a beautiful seaside town on the Italian Riviera, Disney and Pixar’s original
feature film “Luca” is a coming-of-age story about one young boy experiencing an
unforgettable summer filled with gelato, pasta and endless scooter rides. Luca shares
these adventures with his newfound best friend, but all the fun is threatened by a
deeply-held secret: they are sea monsters from another world just below the water’s
surface.
These chosen films were qualified by probability sample as it falls into the criteria of: a
film under Walt Disney Company and its recent availability. Being a film under the world's
largest animation studio ensured that a large population around the world have seen the films
used in this study. The narratives chosen for analysis are the main characters of the films and the
basis of the scenes selected to be analyzed—this is done by non-random sampling as the scenes
of where the main characters were present were the only ones selected and paid importance in
this analysis.
C. Procedure
The three films, Encanto (2021), Luca (2021), and Turning Red (2022) were acquired and
watched from online streaming platforms. The synopsis of the presented films were taken from
the Walt Disney Official website.
Each film was viewed and examined by the researcher using narrative analysis, three
times. The first time viewing, each scene was picked using Barthes’ Five Narrative Codes that
helped categorize the signs and causes of generational trauma of each film:
A. Signs: denial, nightmares, psychic numbing, hypervigilance, unresolved grief,
disconnection, detachment, distance, impaired self-esteem, trauma bonding,
estrangement, neglect, abuse, violence
B. Causes: dominant family narratives, normalization of hatred, cruelty,
dehumanization toward others, parents bypassing/ not coping with their own
trauma, aggressions/mirco-aggressions, cultural messages and conditioning,
cumulative emotional wounding, oppression, intergenerational poverty, lack of
opportunity, racism, sexism, homophobia.
The second time viewing, each scene was assessed and categorized by the researcher,
pausing and documenting until the end of each film. The films were then watched again for the
third time by the researcher to ensure the documented data and were then summarized for the
final conclusion and analysis.
D. Data Analysis
The films were analyzed for an underlying theme of generational trauma. Signs and
Causes of generational trauma were the basis of picking out the scenes that were analyzed for its
narratives. Barthes’ Five Narrative Codes that were used were specifically called: Hermeneutic
Codes, Proairetic Codes, Semantic Codes, Symbolic Codes, and Cultural Codes.
Narrative Analysis
This study used Narrative Analysis to make meaning out of the chosen scenes according
to Barthes’ Five Narrative Codes. Narrative Analysis is often conformed in various fields thus
making its definition not quite elucidated in academic terms (Boréus, K. Bergström, G., 2017).
Johansson explains that narrative works like movies, books, plays, and oral storytelling all fall
under this category. This term demonstrates how deeply motivated the idea of seeing a movie as
a text and analyzing its plot is (Johansson, 2005, as cited by, Andersson, 2021).
III.
Results and Discussion
A total of 14 signs out of 17 were present in the selected films, and a total of
A total of 10 causes out of 13 were present in the films’ narratives. Table 2 lays out all
the present signs and causes in each of the films selected. As can be seen there are not
that many differences between the signs that were present in each film, and all of the
causes present are identical in each film. Nightmares, hypervigilance, and
trauma-bonding are the only ones present in only two of the three films selected while
the rest of the signs are present in all three films. All three of the films have presented
more than half of the signs and causes that were listed as the criterion, meaning that
generational trauma is present in the selected films.
Table 2. Summary of generational trauma’s signs and causes present in the three films:
Encanto (2021), Turning Red (2022), and Luca (2022).
Films
Encanto (2021)
Signs and Causes Present
Signs: denial, unresolved grief, disconnection, detachment,
distance, impaired self-esteem, estrangement, neglect,
(verbal) abuse, isolation, trauma-bonding
Causes: dominant family narratives, normalization of hatred,
dehumanization towards others, parents bypassing/not
coping with their own trauma,
aggressions/micro-aggressions, cultural messages and
conditioning, cumulative emotional wounding, oppression,
lack of opportunity, cruelty
Turning Red (2022)
Signs: denial, nightmares, hypervigilance, unresolved grief,
disconnection, detachment, distance, impaired self-esteem,
estrangement, neglect, (verbal) abuse, isolation,
trauma-bonding, violence
Causes: dominant family narratives, normalization of hatred,
dehumanization towards others, parents bypassing/not
coping with their own trauma,
aggressions/micro-aggressions, cultural messages and
conditioning, cumulative emotional wounding, oppression,
lack of opportunity, cruelty
Luca (2022)
Signs: denial, nightmares, hypervigilance, unresolved grief,
disconnection, detachment, distance, impaired self-esteem,
estrangement, neglect, violence, (verbal) abuse
Causes: dominant family narratives, normalization of hatred,
dehumanization towards others, parents bypassing/not
coping with their own trauma,
aggressions/micro-aggressions, cultural messages and
conditioning, cumulative emotional wounding, oppression,
lack of opportunity, cruelty
Here are specific scenes where the signs and causes are present. Examples of the
categories are diminished unto the prevalent ones per film:
A. Encanto: Trauma bonding and Cumulative emotional wounding
The 2021 animated film, Encanto features a family, the Madrigals who were
blessed by the magic of Encanto, the magical candle that helped Abuela save her family
and gave them their home (Casita). In the film, Mirabel Madrigal is the only grandchild
of Abuela who did not get any miraculous gifts from the candle. Throughout the story
Mirabel was shown praising her family, especially Abuela and her sacrifices for her
family. She looks up to her so much that she tries her best to be of help to her family,
especially that she doesn’t have magical powers.
Figure 1. Mirabel praising and being proud of her family.
Figures 2 and 3. Mirabel praises Abuela, and continuously does so much to help the family.
Throughout the film Mirabel’s family have thrown an amount of hurtful words
that has affected Mirabel into trying more and proving herself to the family. She was
given advice as to “do not overdo” things, “shouldn’t be in the way,” “let the family do
what they do best.” and even leaves her out of their family picture when her cousin was
given his gift.
Figure 4 and 5. Isabel (Mirabel’s sister) hateful relationship with her sister.
Figure 6 and 7. Mirabel’s mother acts of comfort towards her daughter(Mirabel).
Figure 8 and 9. Abuela’s remarks to Mirabel as she was trying to help.
Mirabel always felt the need to prove herself to her family as she is the only one
who doesn’t have a gift to help her family and the community with. In the film she is
often seen doing things for the sake of her family and their casita..
Figure 10 and 11. Mirabel’s neglect to do things for her own but rather for her abuela and
casita.
But even with Mirabel’s perseverance, in Abuela’s eyes she is the one who caused
the chaos and bad influence towards their family. For Abuela, Mirabel’s act of trying to
fit in and be worthy of the family’s name, is an act of hurting the family and the miracle.
Figure 12-15. Abuela blaming Mirabel for the chaos and disorder that has been happening.
By the end of the film, she still saw her Abuela as someone who saved her and her
family and was still able to empathize with her even after her Abuela accused her of
destroying their family, the casita, and the miracle.
Figure 16 and 17. Mirabel understanding and empathizing with her Abuela’s past
struggles.
A lot of signs and causes were also present in the film but trauma bonding and
cumulative emotional wounding are the ones prevalent throughout the film. Mirabel’s
ability to still understand her Abuela by the end of the film signifies how she established
a trauma bond with her family, especially Abuela even after the years of emotional
neglect and wounding that they’ve brought her. Her attachment to her family, even if it’s
hurtful and brought her pain—was enough for her to forgive and forget what she’d been
through with them.
B. Turning Red: violence and cultural messages and conditioning
The 2022 animated film, Turning Red features the story of a 13-year-old Mei Lee
(Mei Mei) and her overprotective mother, Ming. Mei Lee is labeled as the obedient and
perfect girl of her mom who does well at school and chooses her family over her friends
and over her own interests. In the film Mei Mei, and her family suffers a curse given to
them by their ancestor, Sun Yee that allows them to transform into a red panda and is
triggered with overflowing emotions. Throughout the story Mei Mei connotes her
mother’s words and their family’s tradition into everything that she does and does things
her mother told her to do, even at the expense of losing her friends and not being able to
do the things that she wants.
Figure 18 and 19. Mei Mei being conditioned to honoring her parents since she was little.
Their family’s culture has embedded in her to return the good things that her
parents have provided for her and the way that she was taught to do that—is to do
everything that they ask of you.
Figure 20 and 21. Mei Mei having the mindset of “paying back” to her parents at the age
of thirteen.
Mei Mei has lived with this system and denies the control that it is taking of her
life. She sees having control of what she wants in life as following the footsteps of her
mother. Completely denying the fact that her mother sometimes does not agree with her
interests—and even leads her to lie.
Figure 22 and 23. Mei Mei acknowledging that she is following her mother’s lifestyle.
Figure 24. Ming (Mei Mei’s mother) having different opinion towards Mei Mei’s
interests.
As her mother is overprotective in nature, a lot of times in the film, she does
things that embarrass Mei Mei. But even with these occurrences, Mei Mei tends to blame
herself for not being able to be perfect and obedient enough to her mother. She sees her
mother’s trespassing behaviors as a wake up call to her to get back to being her mother’s
pride and joy.
Figure 25 and 26. Mei Mei’s frustration after her Mother found out about her fan girl
drawings.
Such hints of Mei Mei’s personality can be seen in the film also. It is that Mei Mei
can tend to be violent both towards others and herself. This behavior occurs when she is
frustrated, and it showed even before her red panda showed up in her life—meaning that
this behavior has been within her with or without their curse.
Figure 27 and 28. Mei Mei slapping herself out of frustration on something that her
mother got mad about.
It is also seen throughout the film how her mother tends to do things for her,
which can later on be seen as a behavior that her grandmother has. This signifies that this
personality comes within her mother’s family. It is a passed on response that her mother
had adapted from her grandmother.
Figure 29 and 30. Mei Mei’s mom and grandmother’s similar traits.
Numerous signs and causes of generational trauma were present and were even
addressed in the narrative of the film but violence and cultural messages and
conditioning was the most prevalent and obvious of them all. Mei Mei's frustrations and
unsaid emotions towards her mother’s actions leads to her being violent, especially
towards herself. It becomes her coping as she tries to restrict herself from her own wants
and needs. It is also visible how her mother had conditioned Mei Mei to be an
overachiever and to have the “good-girl image.” This leads Mei Mei to lie constantly to
hide her embarrassment from her mother. She learns to fear disappointing her mom which
leads on to her living a life where her identity is not hers.
C. Luca: impaired self-esteem and dominant family narratives
The 2022 animated film, Luca features Luca, a sea creature, and his family. It is a
film about his journey of exploration of the other side of the sea—where land people live.
Luca’s parents, especially his mother strongly disapproves of the idea of Luca going near
the surface, especially interacting with the land people. In his journey, he meets a sea
creature named Alberto and discovers the world of the land people. Luca was evidently
fearful and afraid of a lot of things in this film. Given that his mother, Daniela had always
kept him within her reach and didn’t give him opportunity to explore, his journey with
Alberto was a rollercoaster of emotions for him. Luca often said no and hesitated a lot
with the things that Alberto asked him to do. Even with curiosity and fondness of what
they are doing, he tends to reject the idea of doing new things, especially with the idea
that his mother doesn’t know what he’s doing.
Figure 31 and 32. Luca’s remarks on going on the surface for the first time.
Figure 33 and 34. Luca, continuously saying no but doing what Alberto asks him.
Figure 35 and 36. Luca doubting himself and rejecting Alberto’s offer to try new things.
It is seen in the film that Luca’s mother is often the one deciding for their family.
When his parents knew that he had been going to the surface, she planned to get Luca to
join his Uncle in the deeper area of the ocean to prevent him from going back up again as
she sees it to be something dangerous. In the film, her mother’s decision seems to be final
once it is said, because of this, Luca’s only thought after his mother gave him this news is
to run away and escape. He knows that he can’t change her mother’s mind and so he
removes himself from the place where she can find him and lock him up.
Figure 37. Daniela (Luca’s mother), conditioning him how bad land people are.
Figure 38 and 39. Daniela (Luca’s mother)’s small outbursts as Luca’s grandmother
brings up topics about the surface.
Figure 40 and 41. Luca’s mother, rejecting his opinion towards the surface.
Figure 42 and 43. Luca’s mother’s remarks on sending Luca away to prevent him from
going to the surface—that she condemns.
Out of the three films, Luca had the least amount of signs and causes of
generational trauma but it was still pervasive that Luca’s mother did play a huge part on
Luca’s fear of trying. Living with his mother who conditioned his mind to never go
beyond where they are as exploring is dangerous and made him doubtful of his
capabilities of experiencing new things.
Incidentally, almost all the signs and causes of the categories are present in the
three films. This justifies Chopra’s (2020) statement that looking at the narrative of the
stories allows us to further look at the themes and underlying messages that the writers
want to convey. By focusing on specific scenes, the study was able to analyze and
interpret its underlying meaning better. By only focusing on the main characters’
narratives, the study was able to make meaning out of their dialogues, behaviors, and
interaction with other characters in the film. This process was suggested by Andersson
(2021), and has been proven to be effective in doing narrative analysis of the selected
films in this study.
Generational Trauma as an Underlying Theme
Throughout the three films, the signs: disconnection, impaired self-esteem,
neglect, and (verbal) abuse, was the most commonly present out of all the signs. The
main characters’ have visibly displayed signs of people who have generational trauma, in
Barthes Five Narrative Codes—specifically Cultural Codes, if we make meaning out of
these behavioral patterns, it means that these have been adapted from real life
occurrences, from real life people who struggled with these personally—this aids WMH
study of having a large sum of people experiencing different traumas all around the world
(Kessler, R. C., Aguilar-Gaxiola, et al., 2017).
This is also a possible reason why these films were released after the warm
welcome of the masses to the 2017 film, Coco. The public have warmed up to the idea of
generational trauma/any kinds of trauma being a topic/theme of films in our generation.
Some have acknowledged that raising awareness towards these topics creates diversity
and more in-depth understanding to people who may have struggled, or are struggling
with these.
To make these signs and causes present in this film, according to Barthes’ Five
Narrative Codes, Symbolic codes, intends to tackle and raise cognizance towards
generational trauma. It aims to touch upon intergenerational wounds and to open the idea
of healing towards the viewers who are experiencing the same thing. To give them an
idea of how their words and actions can affect their family members—to give knowledge
on what to avoid and what behaviors to stop.
IV.
Conclusion
This study discloses several information as to why generation trauma is a present
underlying theme of the films analyzed.
Encanto (2021), Turning Red (2022), and Luca (2022), as computer-animated
films under Walt Disney Studios Motion Pictures, shows a majority of signs and causes
of generational trauma among its main characters. The scenes analyzed were based on
these signs and causes present, by Michael Quirke, MFT (2023), and Reshawna Chapple,
PhD, LCSW(2023):
a. Signs: disconnection, denial, detachment, distance, impaired self-esteem,
trauma bonding, estrangement, neglect, abuse, violence
b. Causes: dominant family narratives, normalization of hatred, cruelty,
dehumanization toward others, parents bypassing/ not coping with their
own trauma, aggressions/mirco-aggressions, cultural messages and
conditioning, cultural patterns, cumulative emotional wounding,
oppression, intergenerational poverty, lack of opportunity, racism, sexism,
homophobia.
The study made use of Narrative Analysis to make meaning out of these
categories with the proposition of Barthes’ Five Narrative Codes as a guide for their
analysis. It was able to reveal that generational trauma is present in the selected films,
and that the films convey messages from the writers that bring awareness of this topic as
an underlying theme.
There is still a need for more representation that has a complete and honest
representation of generational trauma. The films analyzed did have generational trauma
as an underlying theme. But since it is not the main criteria of the narrative, the endings
do not fix nor acknowledge the present issue at hand. The films’ main characters had
similar signs of generational trauma, but even though the films showed different ways the
conflict was resolved between family members, it still did not clearly raise the idea of
accountability.
Lastly, films with generational trauma as their main theme should be produced
more as it acts as a medium of education, especially to our generation (Fiorelli, L., 2016),
and as it impacts and influences viewers’ beliefs and opinions towards an issue, (Kubrak,
T. A., 2020). This being said, a rise in films that tackle generational trauma can increase
the public’s knowledge of it, enough to distinguish it on the films that they watch, and
even more in their real life situations.
It is strongly advised that more studies on film’s underlying themes shall be done
to aid viewers in understanding topics that are presented within the narratives of a film
more.
V.
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VI.
Appendices
APPENDIX A
CODING FORM
Title of Film
Year Released
Synopsis
Main Character
APPENDIX B
CODING FORM
Films
Signs
denial
depersonalization
isolation
memory loss
nightmares
psychic numbing
hypervigilance
unresolved grief
disconnection
detachment
distance
Impaired self-esteem
ENCANTO
TURNING RED
LUCA
trauma bonding
estrangement
neglect
abuse
violence
Causes
dominant family
narratives
normalization of
hatred
cruelty
dehumanization
toward others
parents bypassing/
not coping with their
own trauma
aggressions/
mirco-aggressions
cultural messages and
conditioning
cumulative emotional
wounding
oppression
lack of opportunity
racism
sexism
homophobia
APPENDIX C
ANSWERED CODING FORM (Encanto)
Title of Film
Encanto
Year Released
2021
Synopsis
Encanto: A Magical World tells the tale of an
extraordinary family, the Madrigals, who live hidden in
the mountains of Colombia in a magical house, in a
vibrant town, in a wondrous, charmed place called an
Encanto. In the film, the magic of the Encanto has
blessed every child in the family with a unique gift from
super strength to the power to heal—every child except
one, Mirabel (Stephanie Beatriz). But when she
discovers that the magic surrounding the Encanto is in
danger, Mirabel decides that she, the only ordinary
Madrigal, might just be her exceptional family’s last
hope. The voice cast also includes María Cecilia Botero,
Wilmer Valderrama, Adassa, Diane Guerrero, Mauro
Castillo, Angie Cepeda, Jessica Darrow, Rhenzy Feliz
and Carolina Gaitan. Walt Disney Animation Studios’
“Encanto: A Magical World” opens in cinemas
December 2021.
Main Character
Mirabel Madrigal
APPENDIX D
ANSWERED CODING FORM (Turning Red)
Title of Film
Turning Red
Year Released
2022
Synopsis
Disney and Pixar’s “Turning Red” introduces Mei Lee, a
confident, dorky 13-year-old torn between staying her
mother’s dutiful daughter and the chaos of adolescence.
Her protective, if not slightly overbearing mother, Ming,
is never far from her daughter—an unfortunate reality for
the teenager. And as if changes to her interests,
relationships and body weren’t enough, whenever she
gets too excited (which is practically ALWAYS), she
“poofs” into a giant red panda!
Main Character
Meilin Lee (Mei Mei)
APPENDIX E
ANSWERED CODING FORM (Luca)
Title of Film
Luca
Year Released
2022
Synopsis
Set in a beautiful seaside town on the Italian Riviera,
Disney and Pixar’s original feature film “Luca” is a
coming-of-age story about one young boy experiencing
an unforgettable summer filled with gelato, pasta and
endless scooter rides. Luca shares these adventures with
his newfound best friend, but all the fun is threatened by
a deeply-held secret: they are sea monsters from another
world just below the water’s surface.
Main Character
Luca Paguro
APPENDIX F
ANSWERED CODING FORM (Categories)
Films
Signs
denial
ENCANTO
TURNING RED
LUCA
1:41:29-20
1:07:45
1:46:29-06
1:41:44-30
1:30:57-54
1:36:26-20
1:25:02-1:24:45
36:43
34:06-33:45
1:21:35-19
depersonalization
isolation
memory loss
nightmares
1:32:25-1:31:46
1:24:20
1:17:45
psychic numbing
hypervigilance
1:1:16-1:00:44
1:35:45-23
1:25:04
1:08:30
1:37:03-1:36:50
1:35:50-24
1:32-1:36
1:30:53-49
1:12:24
1:11:51
unresolved grief
1:28:34-12
21:58
25:50-25-10
47:53
disconnection
1:39:47-40
52:48-42
36:43
1:27:43
1:08:10
1:07:45
1:36:26-20
1:24:31
1:15:41
detachment
1:39:47-40
52:48-42
36:43
1:27:43
1:08:10
1:07:45
1:36:26-20
1:24:31
1:15:41
distance
1:39:47-40
52:48-42
1:43:08-1:42:52
1:27:43
1:08:02
1:07:45
1:36:26-20
1:24:31
1:15:41
Impaired self-esteem
52:48-42
51:23- 10
24:21
1:08:02
1:31:38-36
1:29:22-12
1:26:59-10
1:25:17
1:23:40-34
1:23:30-1:22:57
1:21:00
trauma bonding
estrangement
51:23- 10
1:07:51
neglect
1:11:48-39
1:1:16-1:00:44
1:33:41
abuse
violence
1:39:29-26
1:33:11-06
1:07:07
48:17
Causes
dominant family
narratives
1:1:16-1:00:44
1:40:53-48
1:37:21-18
1:30:35
1:19:02
1:09:08
57:51
1:34:38-24
1:33:27-02
1:15:00
normalization of
hatred
1:05:05-1:03:03
58:24-15
57:47-40
52:48-42
51:23- 10
1:37:21-18
1:09:34-30
47:04
1:16:00
1:34:38-24
1:33:27-02
1:24:31-17
cruelty
1:24:06-1:23-47
58:24-15
57:47-40
52:48-42
1:33:49
1:33:24
1:15:00
dehumanization
toward others
1:05:05-1:03:03
51:23- 10
1:33:49
1:34:38-24
parents bypassing/
not coping with their
own trauma
1:20:58-47
1:24:44
1:17:14
33:24
29:48
1:34:38-24
1:33:27-02
1:17:00
1:15:00
aggressions/
mirco-aggressions
1:29:15
58:24-15
29:40
1:39:29-26
1:35:25
1:34:24
1:27:44
1:34:38-24
1:33:27-02
1:24:00
1:47:05-1:46:45
1:34:38-24
cultural messages and 1:47:57-1:47:46
conditioning
1:46:49-47
1:46:22-20
1:45:55-49
1:40:11-08
52:50-52
51:23- 10
1:41:30-1:40:53
1:40:36
1:33:30
57:00
55:24-05
19:42
1:33:27-02
1:17:00
cumulative emotional
wounding
1:41:52-42
1:41:38-32
1:40:33-26
1:40:16
1:39:11-1:38-36
1:38:26-15
1:06:20-10
1:05:47-42
58:24-15
52:48-42
51:23- 10
29:37
1:37:21
1:34:47
58:18
37:21
1:15:00
oppression
58:24-15
52:48-42
1:09:37
1:15:00
lack of opportunity
1:39:11-1:38-36
1:06:31-1:06:25
51:23- 10
1:34:58
1:09:35
1:33:27-02
racism
sexism
homophobia