Hollywood Scripts: Do American Films About Africa Influence International Perception of the Continent? (A Case Study on the Impact of the Animated Film "Madagascar" on the Image of the Republic of Madagascar)

Mosa Petere Bernard ORCID: 0009-0009-6929-7213 Postgraduate student; Department of Mass Communications; P. Lumumba Peoples' Friendship University of Russia 117198, Russia, Moscow, Obruchevsky district, Miklukho-Maklaya str., 13 bernardmosa1@gmail.com

Introduction

American films serve a dual function: they are both a source of entertainment and important cultural artifacts that convey certain images and narratives about the world to viewers (Yu.V. Gudovoy, 2014). In recent decades, the number of American films dedicated to Africa has increased significantly, including documentaries, animation projects, and dramas. These films often become the main and sometimes the only source of information about Africa for an international audience. To what extent do these film projects contribute to shaping the image of the continent?

Of particular interest is the animated film Madagascar, which, despite its entertainment orientation, is a special tool for popularizing the image of the Republic of Madagascar. However, it remains unclear whether it contributes to the formation of a positive international perception of the country or, on the contrary, reinforces stereotypical ideas. To what extent do such films help viewers learn about the real culture, nature and society of Madagascar? Do they serve as a bridge between the fictional and the real, or do they remain just a fictional interpretation?

This article is aimed at studying the role of Hollywood films in shaping the international perception of African countries, with a focus on analyzing the impact of the animated film Madagascar. It explores the challenges associated with adapting the complex and multifaceted image of the country within the framework of popular culture, and discusses the prospects for improving the representation of African states in world cinema.

Research methods

As part of the study of the impact of the animated film Madagascar on the international perception of the country, a multi-level approach was applied, including the following methods:

Media analysis. The reviews and reviews of the film published on leading platforms such as LOOPER, The Australia Today, Common-Sense Media, The Philadelphia Inquirer and The New York Post are analyzed. Special attention was paid to the interpretation of the image of Madagascar and the accents placed by the authors of these materials, which made it possible to identify the main narratives and their impact on the perception of viewers.

A sociological survey. An online survey was conducted to examine the degree to which respondents were familiar with the film and to analyze how watching it influenced their ideas about Madagascar. The survey was organized through the Google Forms platform and distributed via social media. The data obtained made it possible to determine the nature and depth of the formed perceptions of the audience.

Focus groups. Discussions were organized among the participants who watched the film. Within the framework of this method, the emphasis is placed on identifying the subtleties of perception and analyzing those aspects of the image of Madagascar that turned out to be most significant for viewers. The technique allowed us to obtain high-quality data reflecting personal interpretations and audience reactions to the plot and images of the film.

This comprehensive approach provided a comprehensive analysis of the influence of an animated work on the formation of stereotypes and cultural representations, which is key for the purposes of this study.

The results of the study

1. Media analysis results

Reviews of the film Madagascar demonstrate its popularity among viewers of all ages, noting the humor, animation quality and entertainment value. However, critics have often stressed that the depiction of the island in the film is purely fictional.

On the other hand, the popularity of the film has increased the recognition of the country's name, but its artistic content reinforces stereotypes about Africa as a continent of wildlife and exoticism, ignoring social, cultural and historical aspects.

2. Survey results

To identify more reasonable research results, a small survey was conducted on the topic: "What do you know about Madagascar as a country? Name three facts about her." The study included a small group of international students from the Patrice Lumumba Peoples' Friendship University of Russia. The survey participants included representatives from various countries, including Bulgaria, Turkey, India, Azerbaijan, Afghanistan, Saudi Arabia, Armenia, Nepal, Iran, Mongolia and Pakistan. The main purpose of the survey was to find out the level of awareness about Madagascar as a tourist destination in Africa. However, an analysis of the responses showed an interesting pattern: a significant part of the respondents associated Madagascar with the American animated film of the same name, which serves as their main source of information about the country. However, most of the participants could not provide accurate facts about Madagascar, but only confirmed their knowledge of its existence. This highlights the limited knowledge of the international audience about the country. The detailed survey results are distributed in the following table (Table 1). According to the parameter of the analysis of the results obtained, the question was divided into 2 parts: the first is "What do you know about Madagascar – a country? The second one is "Tell me 3 facts about her."

Table 1 – Madagascar Knowledge Survey: analysis of responses

Source: compiled by the author based on a survey on the level of awareness about Madagascar (the author). (The survey results are available at: https://drive.google.com/file/d/1u8na9twYn9rxgumFKGQoHNGYIZoAiHQk/view?usp=sharing ).

From the data in the table, it can be noted that most of the responses are based on minimal criteria regarding the image of the country. The survey gave an idea of how the film "Madagascar" affects the audience's perception.:

The first association. The majority of respondents got acquainted with the name of Madagascar through a movie. However, their knowledge of the country was limited to the elements presented in the film, such as images of animals or tropical landscapes.

Stereotyping. For a significant part of the respondents, the film reinforced images related to exoticism and adventure, while aspects such as the culture and history of the country remained beyond their imaginations.

Arousing interest. Some participants noted that after watching the film they wanted to learn more about the real country, but the available information did not always meet their expectations.

3. Focus groups

A focus group consisting of 6 students from different countries studying at the Peoples' Friendship University of Russia was also organized to study the perception of Madagascar in the international environment.

The purpose of the focus group was to find out what images and associations Madagascar evokes, as well as the sources of information that form these representations.

The format of the work: The participants were divided into two subgroups to discuss the following questions: What three associations do you have when mentioning Madagascar? How did you find out about this country? What do you think is unique to Madagascar? After small group discussions, the participants presented their findings to the general public.

Key observations: The majority of respondents admitted that their ideas about Madagascar are formed from secondary sources, such as films (especially the animated film Madagascar), media and the Internet. The real aspects of the country's culture, history, and social structure turned out to be little known. Participants expressed interest in exploring Madagascar, especially its unique nature and traditions, but noted the lack of available information in their countries.

Conclusions and recommendations: The results of the focus group confirmed that the image of Madagascar is largely mediated by stereotypes popularized by Western media. This indicates the need to expand the availability of reliable information about the country, as well as the development of cultural initiatives that help strengthen its image abroad.

The focus group discussions helped to identify deeper aspects: the entertaining nature. The participants highly appreciated the entertainment aspects of the film, but noted that it does not perform educational functions. Distorted images. The participants noted that the characters and plot of the film have something in common with the real Madagascar, although according to the researchers, this is not the case. Lack of educational initiatives. The group proposed the idea of developing educational materials that could complement the films by providing accurate information about the countries depicted in the films.

Discussion

In this article, research demonstrates the complex interaction between the entertainment nature of Hollywood films and their impact on international perceptions of countries. In the case of the animated film Madagascar, this interaction is expressed in a number of contradictory aspects.

1. Recognition of the country: positive and negative aspects

The film Madagascar has definitely increased the recognition of the country's name at the international level. For many viewers, this film became the first association with the island. According to Emily Bailey– a specialist in digital communications, storytelling and marketing at the Royal Ontario Museum in Toronto.: "Before 2005, if you mentioned the country Madagascar, people would probably look at you in disbelief and ask: “Where is it?”...However, after the release of the DreamWorks cartoon and the subsequent creation of the trilogy, Madagascar became a more recognizable country. The fact that this cartoon helped draw attention to a previously little-known country inspired me to ask myself: what else did this film give? So I decided to explore the truth behind this work."

Based on this statement, it can be noted that the Madagascar cartoon has become a key factor in increasing the international recognition of a country that remained little known before its release.

However, such recognition is often limited to superficial, fictional characteristics, such as images of exotic animals or idyllic nature, which makes it difficult to form a comprehensive view of the country. According to Vladislav T. in his review of the Madagascar cartoon: "But in reality, the island state is even more beautiful than one can imagine, and a little further I will even have to disappoint fans of the cartoon, which shows some representatives of the animal world of this island" ^[1]. In this review, Vladislav argues that the exaggerated exoticism, talking animals, and lack of cultural authenticity turn Madagascar into an archetypal "adventure destination," but do not contribute to an adequate understanding of the real country.

This problem is typical for most Hollywood films about Africa, the content of which often distorts the real picture of life on the continent, reinforcing existing stereotypes in the perception of an international audience. In such films, Africa is often presented through a limited lens of poverty, conflict, or adventure, which simplifies and negates its rich cultural and historical heritage, as well as its exoticism.

The animated film Madagascar continues this trend, reinforcing associations with the animal world, but not corresponding to reality. In the film, a significant part of the animals depicted do not correspond to the reality of the island. For example, although lemurs do live in Madagascar, the giraffes that appear in the film are not native, which adds to the distortion of the country's image. Information and entertainment magazine "1GAI.RU He notes that "The only animals we see in the Madagascar movie that actually live in Madagascar are the lemur and the pit....Madagascar doesn't have giraffes, like in the movie, but it does have giraffe lice."^[2] Madagascar has a unique biodiversity, however, many animal species such as giraffes are absent from the island. This contributes to the spread of false stereotypes and a simplified perception of the country.

It can be noted that the film Madagascar creates a distorted perception of the island among viewers, focusing on exotic animals and an adventure context, rather than on real social and cultural life. This leads to the creation of an incorrect image of the country, which prevents a deeper understanding of its diversity and current problems.

2. Influence on cultural perception

The movie Madagascar really ignores the cultural aspects of the real Madagascar. The country, as an island with a unique culture, languages and traditions, remains almost unnoticed in the film. It lacks important aspects such as the lifestyle of local residents, their social structures, customs and historical traditions ^[3]. Instead, the film builds an image of Madagascar as an exotic island inhabited by talking animals. Viewers get the only idea of the country as a wild and remote territory. This deprives viewers of the opportunity to appreciate the richness and complexity of Madagascar's real culture. As noted, for example, in the materials about Madagascar's culture on the official website of the tour operator Jenman Africa Safaris: "When people think of the exotic island of Madagascar, they can imagine fragrant vanilla growing wild in a dense jungle, majestic baobabs or jumping and singing lemurs from a popular animated film. However, the mysterious Malagasy culture remains largely a mystery. The term "Malagasy" is used to refer to the indigenous population of Madagascar, an island nation in the Indian Ocean."^[4]

The lack of cultural aspects in the film limits viewers in understanding the depth and diversity of this country. As a result, even the term "Malagasy", which refers to the indigenous people and their unique culture, remains virtually unknown to a wide audience and is rarely mentioned in international discussions. This enhances the perception of Madagascar solely through the prism of exotic nature and wild fauna, while missing important aspects of its rich history, language and traditions.

The focus group discussions showed that although the film aroused some participants' interest in exploring the country, this interest often failed to develop due to a lack of accessible and high-quality information. Moreover, for many viewers, the film has become the only source of knowledge about the country, which indicates the strong influence of mass culture on the perception of an international audience.

3. Entertainment value and educational role

Critics point out that the film is aimed at a mass audience as a light comedy, which does not involve serious attempts to present the real diversity and cultural characteristics of the country. This is in line with the trend of globalized media, where cultural elements are often simplified for universal appeal. These aspects can be used as an argument in support of the fact that the main purpose of the film was an entertainment function, rather than an educational or cultural development feature. As Cynthia points out

Vinnie on the website of the American online publication Static Media: "It is not surprising that the Madagascar cartoon has become a hit among both children and adults. However, their perception of the film will be different. For children, many plot points, jokes, and references may remain incomprehensible, while adults will be able to laugh, learn familiar topics, or even feel uncomfortable with some episodes."^[5]

According to this statement, the cartoon "Madagascar" demonstrates a different level of perception among children and adults. Although it has become popular with both audiences, adults find deeper jokes and ironic moments in the film that go unnoticed by children. This indicates the dual nature of such films: they entertain, but at the same time they can convey hidden messages or humor aimed at a more mature audience. This phenomenon raises an important question about the responsibility of filmmakers: to what extent are they obliged to take into account the educational function of films, especially those depicting real countries? One of the recommendations may be the inclusion of additional materials that could complement the artistic narrative.

4. Stereotyping and its consequences

Stereotypes fixed in the media, in particular in films such as Madagascar, can form a simplified and distorted image of the country. As Megan Maxwell writes on The Borgen Project website, stereotypes around Madagascar often boil down to the fact that its population consists of "a small number of people, a huge number of animals and a growing level of poverty." She notes that Google's search results for "Madagascar" include more images of lemurs and other animals than humans ^[6].

This media imbalance creates the illusion that the island is inhabited mainly by fauna, and people's problems remain in the shadows. Maxwell emphasizes that such a representation distorts the perception of the country, hiding its socio–economic challenges, despite the efforts being made to improve the lives of Malagasy people.

On the other hand, films like Madagascar provide a unique opportunity for the country to use this interest to promote a more accurate and positive image. This may include investments in cultural diplomacy, the creation of educational and advertising campaigns aimed at foreign audiences, as well as the development of infrastructure for tourism. This approach contributes to a better understanding and recognition of culture abroad, according to an expert on public diplomacy from the University of California (USC) in Southern California. "There is no more powerful tool for creating mental images that shape identities and define cultural relationships than cinema. The global film industry has become rich and extremely profitable thanks to the cooperation of a global audience that readily accepts its cultural product," says Linus Abraham, Rector of the University of Ghana, in an interview with an expert from the University of California ^[7].

5. Influence on politicians and cultural figures

The results of the study also raise questions about the need for a more active role on the part of cultural institutions. This primarily concerns the government's involvement in the implementation of cinema to promote its culture. Madagascar government agencies can use the popularity of this cartoon to promote the national image by creating additional information materials and participating in international projects. For example, the Mexican Government actively uses cinema to showcase its culture and language as part of cultural diplomacy, showing its films at international events and in diplomatic missions.

Madagascar's government's collaboration with Hollywood studios could provide a more accurate representation of the country in future films. Cultural figures, in turn, can use the popularity of the film as a platform to create alternative media products, from documentaries to travel programs that would show the real culture and uniqueness of the country. "I am of the opinion that cultural diplomacy can go hand in hand with cinema, facilitating the understanding of peoples, cultures and situations. This is a great tool for using soft power," says Cesar Villanueva Rivas, Professor of International Studies at the Ibero-American University (Cesar Villanueva Rivas, 2023).

6. Hollywood and cultural asymmetry

The film Madagascar vividly illustrates the phenomenon of cultural asymmetry: Hollywood, as a leading player in the global media market, has a powerful influence on the perception of other countries, but rarely provides an opportunity for countries themselves to express their voices. This fact highlights the importance of more active involvement of countries such as Madagascar in the global film industry. The inclusion of local experts, researchers, and cultural representatives in the process of making films affecting their country can significantly help reduce cultural distortions and create more accurate and in-depth images. In addition, the support of local cinema could help the country present its point of view on the international stage. Such ideas are supported by many researchers, such as Matteo Martínago and Tumeli Tukota, who argue that effective cultural diplomacy requires the inclusion of local voices, which contributes to the creation of more faithful and multifaceted images of countries. This helps not only to resist stereotypes, but also to deepen cultural understanding.

If local representatives are not involved in the process of making a film, the creators risk creating images that may be far from reality, based on personal ideas or limited knowledge of culture. In such cases, the film may introduce stereotypes that the creators perceive as true, but which in fact do not reflect the cultural characteristics of the country. As Alison Swank points out, the animated film Madagascar, in a certain sense, promotes the spread of Western mentality and creates simplified images for a youth audience, reflecting a limited perception of other cultures. "You don't need to do a detailed analysis to see that Madagascar is a colonial narrative. To promote the idea of Western normality, the West is portrayed as the norm, and Africa as wild and exotic. The only thing that makes this outdated binary view interesting about Madagascar is the comedy it's wrapped in," explains Alison Swank– a South African producer ^[8]. Allison Swank focuses on the importance of cultural authenticity in films, especially when it comes to how different regions such as Africa are portrayed. In her critical remarks, she emphasizes that Western films, including such as Madagascar, often reinforce stereotypes and distortions about non-Western countries and cultures.

Local voices and their participation in the creation of films are extremely important for the formation of accurate narratives that resist the spread of stereotypes and provide a more fair representation of the cultural characteristics of these countries. Taika Waititi is a New Zealand director, Maori actor, writes: "It's important that we keep moving forward and keep telling our stories, because that's how we build our communities and strengthen ourselves."^[9] Taiki Waititi's quote highlights the importance of the work of indigenous filmmakers, whose stories contribute not only to the entertainment context, but also to the strengthening of communities. According to Waititi, making films plays a key role not only for entertainment, but also for strengthening communities. Filmmakers, especially from small island developing countries, including Madagascar, use their art to fight stereotypes and increase representation in the film industry. According to Waititi, making films plays a key role not only for entertainment, but also for strengthening communities.

This approach finds scientific confirmation in comparative studies.: As the analysis of Pacific cinematographers demonstrates, it is the production of alternative narratives "from within" that makes it possible to deconstruct exoticizing cliches through an authentic representation of cultural codes and social realities ^[10].

Conclusion

Thus, the results of the study emphasize that films such as Madagascar play a dual role. On the one hand, they increase the interest and recognition of countries, on the other – they contribute to the simplification and distortion of their images. The animated film Madagascar has become a prime example of how Hollywood can influence the international perception of countries. Despite the positive effect in the form of recognition of the country, he also stressed the need for a more accurate representation of the cultural and social context.

Creating a balanced international perception requires joint efforts to promote accurate and comprehensive information about countries. To overcome the existing challenges, it is necessary to strengthen cooperation between filmmakers, researchers, local communities and governments. This will make it possible to create films that will not only entertain, but also educate, contributing to a deeper understanding of the cultural diversity and uniqueness of countries such as the Republic of Madagascar. This will not only improve cultural exchange, but also promote respect and understanding between different nations.

Ultimately, accurate representation of African countries in cinema can contribute to their cultural diplomacy, forming positive and fair images in the international arena.