The Dao of Rhetoric

7. Values East and West in Antz and A Bug’s Life

CHAPTER 7 Values East and West in Antz and A Bug’s Life The previous chapter points to the viability of using Daoist rhetoric to assess a film that claims to be Daoistic. It remains to be considered, however , whether Daoist rhetoric is limited to testing the internal consistency of communication acts that claim to be Daoist, or whether it has more general utility in the analysis of non-Daoist communication acts. That is, does Daoist rhetoric offer a critical perspective that allows one to assess more generally the phenomenon of human communication? I further answer this question and articulate my claim that Daoist rhetoric offers a unique and useful vantage point for communication criticism by using principles of Daoist rhetoric to analyze the films A Bug’s Life (Lasseter & Stanton, 1998) and Antz (Darnell & Johnson, 1998). The Daoist lens will illuminate key differences and offer unique insights in the films that have escaped the analysis of cinema critics (Corliss, 1998; Ebert, 1998; Lehmkuhl, 1999; Major, 1998; McDonagh, 1998; Ryerson, 1998; Stack, 1998; Stone, 1998) and would likely go unnoticed in other methods of criticism. While these films have no obvious Daoist claims in them or influence surrounding them, making them appropriate subjects for this analysis, I have not selected them randomly. These films are particularly interesting because animated films typically communicate significant messages through visual images rather than verbal texts, their “logic” is often a function of their narrativity rather than systems of formal and informal reasoning, and they may reflect values from non-Western cultures that may be difficult for westerners to appreciate. Furthermore, these animated films use insects to metaphorically address issues of humans and society. Metaphor is a central strategy in Daoist rhetoric, and Zhuangzi is 101 notable for his use of seemingly insignificant creatures to make significant observations. Zhuangzi not only directed the reader to observe the insignificant , the neglected, and the negative, but also empowered them by glorifying their inner strengths and inner completeness . For him, the ability to see and not forget the unobvious rather than paying attention to the obvious was an indication of having attained the Dao. (Lu, 1998, p. 256) The personification of ants, which to many of us are the most mundane of all life forms, opens a space for Daoist analysis. Furthermore, ants are an excellent metaphor for framing issues of individuality in mass society. As Gordon (1999) notes, “because ants are separate beings that move around freely, they attract attention as individuals. But nothing ants do makes sense except in the context of the colony” (p. viii). The films are appropriate for juxtaposition because they share similar subject matter. The stories center on an ant that is searching for meaning ; in a larger sense, the films consider an individual’s proper place in a collective society. Flik, the hero in A Bug’s Life, wants “to make a difference ,” while Z, from Antz, wants to feel “significant.” The central figures also must seek the outside world in order to resolve their conflict. Finally, they both want to win the heart of the Princess, who will someday be the Queen. Despite these similarities, the Daoist perspective will reveal that the films are markedly different in their key themes. A Bug’s Life views the most significant threats to society to be external, praises the use of technology , and celebrates Western values of individual cunning and bravery. Antz, on the other hand, sees the most significant social threats to be internal , resolves problems through consciousness raising and teamwork, and promotes Eastern values of community and cooperation. The films also suggest different answers to the question of how an individual’s life can be meaningful in a mass society. A Bug’s Life is consistent with Western cultural values: one makes a difference when one overcomes tradition, fear, and the opinions of others to accomplish great things. The answer in Antz is consistent with Daoist values: an individual is significant when that person is able to discover and enact his or her own destiny. These differences in the films, which focus on the tension between the individual and the social, are revealed by first analyzing the onset, development, and resolution of the central conflicts of the films. Following this, I apply the Daoist themes of nature, effortlessness (wu-wei), and balance and harmony to further evaluate the films. I conclude by dis102
THE DAO OF RHETORIC cussing the...