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"Finding Nemo" has all of the usual pleasures of the Pixar animation style--the comedy and wackiness of " Toy Story " or "Monsters Inc." or " A Bug's Life ." And it adds an unexpected beauty, a use of color and form that makes it one of those rare movies where I wanted to sit in the front row and let the images wash out to the edges of my field of vision. The movie takes place almost entirely under the sea, in the world of colorful tropical fish--the flora and fauna of a shallow warm-water shelf not far from Australia. The use of color, form and movement make the film a delight even apart from its story.

There is a story, though, one of those Pixar inventions that involves kids on the action level while adults are amused because of the satire and human (or fishy) comedy. The movie involves the adventures of little Nemo, a clown fish born with an undersized fin and an oversized curiosity. His father, Marlin, worries obsessively over him, because Nemo is all he has left: Nemo's mother and all of her other eggs were lost to barracudas. When Nemo goes off on his first day of school, Marlin warns him to stay with the class and avoid the dangers of the drop-off to deep water, but Nemo forgets, and ends up as a captive in the salt-water aquarium of a dentist in Sydney. Marlin swims off bravely to find his missing boy, aided by Dory, a blue tang with enormous eyes who he meets along the way.

These characters are voiced by actors whose own personal mannerisms are well known to us; I recognized most of the voices, but even the unidentified ones carried buried associations from movie roles, and so somehow the fish take on qualities of human personalities. Marlin, for example, is played by Albert Brooks as an overprotective, neurotic worrywart, and Dory is Ellen DeGeneres as helpful, cheerful and scatterbrained (she has a problem with short-term memory). The Pixar computer animators, led by writer-director Andrew Stanton , create an undersea world that is just a shade murky, as it should be; we can't see as far or as sharply in sea water, and so threats materialize more quickly, and everything has a softness of focus. There is something dreamlike about the visuals of "Finding Nemo," something that evokes the reverie of scuba-diving.

The picture's great inspiration is to leave the sea by transporting Nemo to that big tank in the dentist's office. In it we meet other captives, including the Moorish Idol fish Gill (voice by Willem Dafoe ), who are planning an escape. Now it might seem to us that there is no possible way a fish can escape from an aquarium in an office and get out of the window and across the highway and into the sea, but there is no accounting for the ingenuity of these creatures, especially since they have help from a conspirator on the outside--a pelican with the voice of Geoffrey Rush .

It may occur to you that many pelicans make a living by eating fish, not rescuing them, but some of the characters in this movie have evolved admirably into vegetarians. As Marlin and Dory conduct their odyssey, for example, they encounter three carnivores who have formed a chapter of Fish-Eaters Anonymous, and chant slogans to remind them that they abstain from fin-based meals.

The first scenes in "Finding Nemo" are a little unsettling, as we realize the movie is going to be about fish, not people (or people-based characters like toys and monsters). But of course animation has long since learned to enlist all other species in the human race, and to care about fish quickly becomes as easy as caring about mice or ducks or Bambi.

When I review a movie like "Finding Nemo," I am aware that most members of its primary audience do not read reviews. Their parents do, and to them and adults who do not have children as an excuse, I can say that "Finding Nemo" is a pleasure for grown-ups. There are jokes we get that the kids don't, and the complexity of Albert Brooks' neuroses, and that enormous canvas filled with creatures that have some of the same hypnotic beauty as--well, fish in an aquarium. They may appreciate another novelty: This time the dad is the hero of the story, although in most animation it is almost always the mother.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Finding Nemo (2003)

101 minutes

Willem Dafoe as Gill

Albert Brooks as Marlin

Brad Garrett as Bloat

Alexander Gould as Nemo

Ellen Degeneres as Dory

Barry Humphries as Bruce

Geoffrey Rush as Pelican

Written and Directed by

Andrew Stanton

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The Definitives

Critical essays, histories, and appreciations of great films

Finding Nemo

Essay by brian eggert june 12, 2016.

Finding Nemo contains an unlikely theme for an animated family film. Through the course of this gorgeously assembled adventure, the film’s audience experiences the natural world as a dangerous and unforgiving place just beyond the drop-off, fraught with death and countless hazards. However, the world is also beautiful and worth exploring, whether we do so through solidarity achieved alongside our loved ones, or brave Nature alone. Though the film ultimately delivers a warm message, the majority of this G-rated feature throws no end of peril at its characters, punishing their animated but no less lifelike bodies. Our clownfish hero Marlin searches for his lost son Nemo in the vast ocean from Australia’s Great Barrier Reef to Sydney, exposing himself to both literal and figurative shocks that make the viewer wince or tense in their seat. Marlin narrowly survives bloodthirsty sharks, a “swirling vortex of terror”, one underwater explosion, and several other dangers; at the same time, his son, imprisoned in a fish tank, subjects himself to certain death to get home. The danger is very real in Finding Nemo . And its threats might be too much for any viewer to process, especially children, if they were not counterbalanced by the film’s incredible sense that, not only are those we love worth risking life and limb for, but the beauty of the world itself is worth exploring no matter what obstacles there may be.

Pixar’s fifth animated feature debuted in 2003 to monumental successes, both commercial and artistic. After becoming the year’s second highest-grossing film with domestic receipts upwards of $380 million, and the highest-grossing animated film of all time at that point, Finding Nemo went on to earn three Academy Award nominations (Best Screenplay, Best Original Score, and Best Sound Editing) and won the Oscar for Best Animated Film. Indeed, critical and audience assessments demonstrated how the film enchanted with its splendid visuals and deceptively simple storytelling, as opposed to frightening us with its openness about the dangers of Nature. Ann Hornaday of The Washington Post summarized it well: “ Finding Nemo will engross kids with its absorbing story, brightly drawn characters and lively action, and grown-ups will be equally entertained by the film’s subtle humor and the sophistication of its visuals.” Later, Finding Nemo would become one of the all-time best-selling releases on the DVD format—just another example of how fully the film would be ingrained into popular culture. Other animation studios were equally impressed. Aardman Animations’ 2006 release Flushed Away featured a random, sewer-bound goldfish that asked, “Have you seen my dad?” in a nod to Pixar’s film.

Pixar’s four earlier efforts each set the studio apart, but the universality of Finding Nemo connected with audiences even more than their earlier pictures. The story follows a not-so-funny father clown fish named Marlin (voiced by Albert Brooks). After losing his wife and most of her eggs in a barracuda attack, Marlin has become overprotective of his only remaining son, Nemo (Alexander Gould). Over-preparing for Nemo’s first day of school in their coral and anemone oasis, Marlin’s worst fears come true when Nemo is netted by a human scuba diver and taken further away than Marlin can imagine (if memory serves, to a dentist’s office located at P. Sherman, 42 Wallaby Way, Sydney, in Australia). Determined to get his child back, Marlin sets out on an episodic undersea odyssey, where he’s joined by an absent-minded blue tang fish named Dory (Ellen DeGeneres). Together, they encounter a group of bloodthirsty sharks who have tried to abstain from killing: “Fish are friends, not food,” they declare. A band of hippie sea turtles get Marlin and Dory closer to their goal by riding the East Australian Current. Bioluminescent deep sea fish nearly put the bite on our heroes, while a storm of jellyfish almost separate Marlin and Dory. Meanwhile, Nemo plots to escape the dentist’s office fish tank where he has been detained along with other captives—all determined to help Nemo get back to the ocean before he becomes a gift to the dentist’s niece, Darla (for Pixar, there’s nothing worse than a ginger-haired, brace-mouthed adolescent with a lack of sensitivity toward small things, as Toy Story confirms).

To prepare, the animators, engineers, and artists had to learn the entire ocean. Stanton and Lasseter arranged a series of reference points for everyone involved. They watched classic documentaries by Jacques Cousteau; they screened sea-related films like Steven Spielberg’s Jaws and James Cameron’s The Abyss ; they watched the IMAX film Blue Planet . Lasseter purchased a fish tank and stocked it with saltwater fish for the animators, scheduled visits to local aquariums, and even arranged a scuba diving trip to Hawaii so the staff could better understand the undersea environment first-hand. Pixar also contains an in-house training department known as Pixar University, which booked lectures from marine biologists. One such lecturer was a postdoctoral fellow at Berkeley, fish expert Adam Summers, who noted that the Pixar team seemed more engaged and more interested than any graduate class he’d ever taught. “I couldn’t get more than three or four minutes of talking in before someone would raise their hand and ask a question that would send us off in all sorts of different directions.” Summers would eventually become a regular consultant on Finding Nemo , and the Pixar staff encouraged him to note flaws in how their animation represented marine life.

The animation crew was divided into six teams, each with sub-teams devoted to set modeling, shading, lighting, and water effects. Separate teams handled scenes at the Reef, the Sharks and Sydney, the above-water moments in Sydney, inside the whale where Marlin and Dory are trapped, the dentist’s fish tank, and the East Australian Current. Additionally, Pixar’s devoted character team was responsible for over 120 sea animals, birds (“Mine!”), and a few humans. As for voice talent, William H. Macy had originally recorded the lines for Marlin, but Stanton wasn’t satisfied with the effect and wanted a comic actor—he chose Albert Brooks, who lends his distinctive brand of neuroses (as seen in Lost in America and Defending Your Life ) to the role. For Stanton, no one but Ellen DeGeneres could have played Dory; she inspired the character, as Stanton watched the actor’s talk show Ellen and noticed how she was “doing her shtick of changing the subject five times before a sentence finishes”. But Dory was more than a comic relief character, despite how closely tied DeGeneres and Dory were in Stanton’s mind. Her forgetfulness meant she had the innocence of a child, which in turn would teach Marlin some valuable lessons about taking risks for the ones you love.

During production in 2002, Pixar studios received a visit from Japanese master animator Hayao Miyazaki, whose Studio Ghibli had influenced both Disney and Pixar since his 1979 adventure Lupin III: The Castle of Cagliostro , on what the Pixar head called “Miyazaki Day”. Lasseter had been overseeing the English-language translation of Spirited Away , and would soon supervise English dubs of all Miyazaki films. Lasseter idolized Miyazaki, even as the two had met before and remained friends. He showed the Japanese director and his translator around the Pixar offices, visiting workspaces, and even their retro “Love Lounge” hidden behind air conditioning vents—a getaway space filled with retro décor. Lasseter and Miyazaki drove some vintage cars, Miyazaki met Lasseter’s parents, and that evening there was a charity benefit screening of Spirited Away . It remains appropriate that Miyazaki should tour Pixar’s HQ during their most Miyazaki-esque picture. After all, Finding Nemo contains the same attention to Nature and family as most Miyazaki films, appealing to virtually every demographic—a crucial characteristic of any Miyazaki work. (There’s even a sneaky commentary about treated sewage water being pumped into the ocean near Sydney, causing no end of pollution beneath the surface.) Everyone can find something to love inside Finding Nemo ; the same can be said for Miyazaki’s Ponyo from 2009, an undersea story whose themes of Nature and family resonate on a similar frequency as Finding Nemo .

This appreciation has said much about the animation and narrative insightfulness of Finding Nemo but little of its sense of humor. Consider how “Harpo” belongs on a list of Dory’s scatterbrained names for Nemo, alongside Chico, Fabio, Bingo, and so on. DeGeneres perfectly performs Dory’s hilarious, if occasionally tragic, short-term memory loss. The bright and optimistic Dory gives Marlin a constant headache. There’s also an ongoing joke about everyone in the ocean believing Marlin should be funny, since he’s a clown fish. Because an established comedian of Brooks’ caliber voices him, Marlin’s failed attempts to tell his one-and-only joke become doubly funny. As his audience listens to Marlin over explain the joke’s setup, their expectant smiles gradually fall from their faces. And for a G-rated film, a preponderance of scatological humor does not overlook the gross reality of fish tank life, and yet somehow remains tasteful. When the tank’s inhabitants jam the filter as part of their escape plan, one of the fish announces, “Doesn’t anyone realize? We’re swimming in our own sh…” Another fish cuts in—“Shh!”

Bibliography:

Auzenne, Valliere Richard. The Visualization Quest: A History of Computer Animation . Madison, NJ: Fairleigh Dickinson University Press, 1994.

Price, David A. The Pixar Touch . New York: Knopf, 2008.

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The Movie “Finding Nemo” by Andrew Stanton Essay

Contemporary animation can transfer various ideas to substantially impress the viewer, manifesting excellent approaches two storytelling. Creating an animated movie that perfectly suits both children and adults can be a considerably challenging endeavor, considering how diverse the themes for these audiences can be. Nevertheless, it is possible to attain a perfect combination of comedy, everyday philosophy, and action to portray the life of the story’s characters in an understandable and exciting manner (Klinowski, 2018). The animation movie Finding Nemo by the director Andrew Stanton is a magnificent example of a film that combines all necessary qualities to provide an unforgettable viewing experience for younger and older audiences. Today I will discuss Finding Nemo as a canon example of Pixar animation studios works that should be viewed by any individual.

A distinct characteristic of Pixar’s Finding Nemo is its suitability for the audience of all ages and backgrounds, as it addresses common topics and even incorporates such elements as satire and complicated comedy. From the children’s perspective, this movie is an entertaining story of a father, a clownfish, who is attempting to save his son from humans. Although he struggles considerably and encounters many dangers along the path, he is able to reunite with his son after all the complications have been passed. Such themes as school education, differences of opinion, danger, and being a new member of a community are pertinent topics for children of various ages, who might learn substantial knowledge in an interactive form (Japani et al., 2021). Furthermore, as Nemo is tremendously different from his peers, such subjects as coping and uniqueness, which might be remarkably helpful for building relationships, are also discussed.

For adults, Finding Nemo becomes a symbol of resilience and determination. A lone father, without the support of his family, overcomes numerous challenges to ensure that his child receives proper care and support. When Nemo is caught by humans, the father remains strong and begins a journey to return his son home. Therefore, the necessity to remain confident in any scenario, as well as the demands to help one’s relatives, is a prominent topic that could positively influence the audience (Klinowski, 2018). Moreover, the subjects of acceptance and coping could also be beneficial for the adult viewers, inspiring them to overcome their struggles in the area of interaction and communication.

Another significant attribute of Finding Nemo is the fluid storytelling corroborated by exceptional visual support. As the events occur mostly underwater, the viewers can admire the beauty of the sea, simultaneously learning about the oceanic habitat and its inhabitants. The variety of marine life is tremendous and adds to the beauty of the animation sequence, allowing the audience to become immersed in the story as soon as possible. The parts of the story are united together through the father’s relentless motivation to ensure his son’s safety.

To conclude, it is evident that the movie Finding Nemo is a perfect example of an animated film suitable for numerous audiences. As the work discusses search pertinent ideas as resilience, friendship, tolerance, and coping with difficulties, it becomes an excellent opportunity to reflect on these concepts. Nevertheless, the movie does not only concentrate on the educational possibilities but also delivers knowledge in a comedic and entertaining way, ensuring that the viewers receive a positive screening experience. Overall, although animation movies are often thought to be aimed at children only, Finding Nemo is a remarkable exception that could provide the audience with exceptional cinematic adventure.

Japani, S., Jelita, W., Jelita, W., & Aeni, Q. (2021). The effect of Finding Nemo film on elementary school students’ altruism. Proceedings of Inter-Islamic University Conference on Psychology , 1 (1), Article 1. Web.

Klinowski, S. (2018). Finding Nemo, Finding Dory, finding ourselves: How and why we teach our children to think about disability . Honors Thesis. University at Albany.

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IvyPanda. (2022, October 28). The Movie "Finding Nemo" by Andrew Stanton. https://ivypanda.com/essays/the-movie-finding-nemo-by-andrew-stanton/

"The Movie "Finding Nemo" by Andrew Stanton." IvyPanda , 28 Oct. 2022, ivypanda.com/essays/the-movie-finding-nemo-by-andrew-stanton/.

IvyPanda . (2022) 'The Movie "Finding Nemo" by Andrew Stanton'. 28 October.

IvyPanda . 2022. "The Movie "Finding Nemo" by Andrew Stanton." October 28, 2022. https://ivypanda.com/essays/the-movie-finding-nemo-by-andrew-stanton/.

1. IvyPanda . "The Movie "Finding Nemo" by Andrew Stanton." October 28, 2022. https://ivypanda.com/essays/the-movie-finding-nemo-by-andrew-stanton/.

Bibliography

IvyPanda . "The Movie "Finding Nemo" by Andrew Stanton." October 28, 2022. https://ivypanda.com/essays/the-movie-finding-nemo-by-andrew-stanton/.

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--> Finding Nemo

Introduction.

Pixar Animation Studios made a significant impact on the summer box office on May 30, 2003, with the movie Finding Nemo. Guided by Andrew Stanton and co-director Lee Unkrich, the movie Finding Nemo collected an Oscar, several accolades, and significant nominations. The movie further stars Albert Brooks, Alexander Gould, and Ellen DeGeneres. This paper analyzes the plot of the movie Finding Nemo and evaluates the film based on its father-son story theme. Additionally, the essay includes some quotes from the film and also offers a counterargument.

The film revolves around the escapades of young Nemo, a clown fish born with an underdeveloped fin and great inquisitiveness. Nemo’s father, Marlin, worries compulsively over him since Nemo is everything he has left. Nemo’s mother and her other entire eggs were lost to barracudas. When Nemo sets for his first day of school, his father cautions him to remain with the class and shun the risks of the drop-off to subterranean water. However, Nemo forgets, and he eventually becomes a prisoner in the saline aquarium of a dentist in Sydney. His father swims off courageously to search for his lost boy, assisted by Dory, a blue tang with huge eyes whom he encounters along the course. In conclusion, the fish in the dentist’s aquarium are shown to prosper, after the struggle, in their final escape effort after damaging the filter. Nonetheless, they are still in their plastic bags, balanced in the water. During the acknowledgments, it is displayed that they have left their gears. It is anonymous how they succeeded in getting out. After their escapade, Marlin is henceforth not practically domineering of his son understanding he can take care of himself. Dory similarly expends significant time with the two, and she escorts Marlin as he takes Nemo to school.

Father-son story: The Theme of Letting go

The subject of Finding Nemo develops through a father-son affection story. Numerous aspects of the story help understand the message of the movie. One principal component is the worry about Nemo’s small fin, an abnormality that has Marlin concerned. Stanton states: “[Nemo’s infirmity is] a figure of speech for whatever you worry is inadequate or has not developed hitherto in your child”. Parents get apprehensive about a handicap in their children and presume that the infirmity is an immoral reflection of the parent. This film may show parents that there exist no perfect father or child, similar to Marlin and Nemo. On Marlin’s expedition, he is adamant on discovering his son whereabouts when divers capture Nemo; on his voyage, he encounters the memorable Crush who is the broad contrary of Marlin, unperturbed with nurturing.

Corliss expounds, “When Marlin probes the sea turtle Crush how a father recognizes when his children are set to swim out unguided, the clever Crush states, ‘Well, you certainly not tell. Nonetheless, when they discern, you know- y’know?'”. Parents may associate to Crush and Nemo’s devoted father that youngsters require to mature and discover the domain. The message of the film is imperative for parents. The message is founded on letting go and going back. Conferring to Corliss, “Nemo’s fish-out-of-water scheme was created back in 1992, when he toured Marine World in Vallejo, Calif. His approaches of secureness towards his son Ben inspired the father-son account”. By regarding the perceptions of Stanton, viewers can discern how he and related parents feel about the “letting go and getting back” strategy.

Even though parents can perceive the policy difficult to follow, viewing this movie may help relieve the hard way of strain by acknowledging the message of the film. O’ Sullivan elucidates, “[Nemo’s]father is compelled to solicit the help of an attractive outsider to crack the only hint left at the crime scene, even while the duo scarcely prevents such fears as a trio of destructive muggers foundering in a 12-step program”. Through the whole of Marlin’s funny, thrilling, and tense encounters, he learns his experience after having Nemo back, understanding when to hold translates to knowing when to let go.

Comparison with Other Films

Before Finding Nemo, the only big movies from Pixar were Toy Story 1 & 2, A Bug’s Life, and Monsters Inc. By then, the request for 3D movies had not been massive. However, that was entirely about to change. Once finding Nemo hit the displays, youngsters and grown-ups equally were amazed. Despite having a comparable budget to Toy Story 2 of around $95 million, Finding Nemo created more profits than any other Pixar film before and after, generating $868 million globally. The video popularity rests with how it unfolds with a stunning shot over the reef that involves the viewer instantly and the view of being submerged in the realm and sentiments of the characters. Likened to Toy Story 1&2, Finding Nemo similarly possesses mass animation. Everything is lively with a truthful feel, and I consider this enables the movie to feel more factual and qualified.

Positive Views

The remarkable animation is a huge hit in Finding Nemo. The practically impossible submerged animation requires numerous components and hard work, and Pixar has surpassed it. The animation comprises of “magnificent pictures that signify the ocean in changing degrees of darkness and light, tranquility and turmoil, lucidity and anonymity, and in techniques that denote the many colors possessed by submerged life.” McCarthy defines the submerged animation with such splendor that nobody could fight to perceive that the efforts succeeded. Also, the submerged feature is the creation of painstaking effort.

Ansen asserts, “High on the film’s list of achievements is its conception of an oceanic utopia whose opalescent colors and fluctuating light redirect the captivated atmosphere of dreamy marine photography”. The film maintains a watery feel, which is a challenging thing to accomplish given that water is clear. With an unforeseen splendor, Finding Nemo reveals suitable employment of form and color. Conferring to Ebert, Finding Nemo is “one of those exceptional films where I [want] to assemble in the front row and allow the descriptions flow to the limits of my field of sight”.This animation makes individuals feel like they are inside the movie. Similarly, for numerous people, they could have a second-viewing for the results.

The response to the movie by the general public has resulted in ecological destruction for the clownfish and has triggered an uproar from numerous environmental protection organizations, as well as the Marine Aquarium Council, Australia. The market for tropical fish rose steeply after the movie’s issue, instigating reef species devastation in Vanuatu and numerous other beach parts. After viewing the film, some aquarium proprietors freed their domesticated fish into the sea but failed to release them into the right marine environment, which presented species that are detrimental to the indigenous environs, an action that is damaging reefs globally.

Conclusively, Finding Nemo’s reputation is a result of a memorable theme, magnificent animation, and a hilarious and perfect-fitting cast. The enigma of love theme may relate to entire parents and prospective parents. Additionally, the remarkable and thorough animation may permit for a second watching and make individuals feel in a state of trance. Lastly, the film achieves spectacular success. This movie is exceptional, connecting with every person in the audience. As shown, Finding Nemo is an accomplishment to Pixar films which anyone should not fight watching.

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33 Finding Nemo (2003)

Representing disability in finding nemo.

By Omar Garcia

A classical Disney tale, Finding Nemo is an animated film from the collaboration between Walt Disney and Pixar Animation Studios. The story opens darkly as Marlin the clownfish loses his wife and all but one of their eggs to a predator. The scene inserts a close-up shot, allowing the audience to acknowledge that Marlin only had one egg that survived the attack. The close-up shot helps display more in-depth details, allowing the audience to identify the crack on the fish egg, giving an insight that despite it being the only egg that survived the attack, the egg was injured during the attack. This helps put in perspective that the fish, who is introduced as Nemo may grow up with a disability. Nemo later gets separated from his father, Marlin by the intervention of a scuba diver, and is held captive in a fish tank. Marlin later goes on an underwater voyage to find his missing son Nemo who also suffers from a disability. Along Marlin’s voyage, he encounters different fish who represent different disabilities and have personas that convey a variety of social styles. Through my analysis, I will enhance the concept that Finding Nemo highlights disabilities and defects in a positive aspect.

The representation of disability is presented as a socially created concept, rather than a state of the body to which value judgments are assigned. This can helps portray disability as an ingredient in cultural diversity. Through my analysis of different characters that are presented during the film, I will enhance the concept that Finding Nemo addresses many social issues that disabled individuals face. I will focus on those individuals in a positive aspect that highlights that although they are marked as visually and socially different, they are far from being inadequate. I will highlight the characters’ power to overcome barriers, despite preconceived notions about their role in society. I will use different characters that Marlin encounters along his voyage, as well as the ones Nemo encounters during his journey. I will examine both Nemo and Gill who share the same physical disability, Marlin’s sidekick Dory, who suffers from chronic short-term memory loss, and Marlin who suffers from being emotionally disabled.

In the story, Nemo displays a deformed fin, a corporeal characteristic that marks Nemo. Despite Nemo being marked visually and socially different, his deformed fin doesn’t keep him from being inadequate. Nemo, “explains that he has a lucky fin when questioned by his classmates, who then offer their explanations of distinctive physical quirks (Millett)”. Nemo is accepted by his peers and even admired for his self-confidence, highlighting disability in a positive light. This helps allow disability to be presented as a socially constructed concept. Later in the film, Nemo is separated from his father Marlin, by the intervention of a scuba diver and held captive in a fish tank. While captive in the fish tank, Nemo meets a diverse group of fish from all different backgrounds. However, one fish, in particular, can relate to Nemo on a different level. Gill is a Moorish idol fish, who also suffers from the same physical disability as Nemo, both suffering from a deformed fin.

Gill’s presence in the film is dark and mysterious, the film utilizes sound and camera angles to enhance the mysterious presence of Gill. Although Gill may be mysterious he plays an important role in teaching Nemo an important lesson about self-worth. He helps Nemo overcome his perception of his disabilities. Gill’s plan to escape the fish tank relies on Nemo being able to overcome the conception of his disability, pushing Nemo to realize that despite his disability he still has effectiveness. This helps highlight disability as a social construct character quality rather than a limitation. Gill’s role in the film allows viewers to make the correlation of both fish overcoming adversity. Nemos and Gill’s relationship with their deformed fin represents that although they are marked as visually and socially different, they are far from being inadequate, striking at the misconceptions that disability correlates to insufficiency. Gill and Nemo were able to be successful in their plan as they encouraged their disabilities to keep moving forward. Gill was able to encourage Nemo to embrace his adversity. Marlin before this point would always remind Nemo what his limitations were. Gill was able to understand Nemo from his perception and was able to persuade Nemo to overcome his perception of his disability.

On the pursuit to find Nemo, Marlins come across Dory, a Pacific regal blue tang who becomes Marlin’s sidekick on the voyage to find Nemo. Dory has chronic short term memory loss. Although Dory can remember through adaptive problem solving when it’s essential. Allowing for her abnormality to become an essential key in the plot of Finding Nemo. Dory is easily one of the most recognizable and popular characters from the film, therefore it was essential for Dory to be able to embrace her adversity. It’s important as “how individuals are portrayed in popular media can have a profound effect on how they are viewed by society at large (IRIS Films: Portrayals of People with Disabilities)”. This helps drive the storyline forward. Marlin during the film recognizes Dory’s value despite her adversity and suggests how he wouldn’t have been able to complete the journey and Find Nemo without her help.

Marlin’s doubt about Dory’s abilities can correlate with the assumption of disabled people being underestimated. Dory proves that limitations in one area don’t mean limitations in every aspect of one’s life, and in certain circumstances, these limitations can be overcome. Dory proves that even through limitations each person brings indispensable strengths. The film allows viewers insight into Dory’s value and Marlins evolving relationships with Dory’s disability. Despite many times during the film, Marlin doubts and questions Dory’s ability to be an asset on his voyage. Dory continues to prove she is vital as she initiates communication with other species that help result in progress for the voyage to Finding Nemo. She overcomes Marlins Prejudiced behavior and displays her abnormality as essential in the voyage despite preconceived notions about her role. Allows the viewers to see disabilities and defects in a positive light. Dory learns that despite her limitations she can still be an important asset, and is eventually the one who finds Nemo.

Marlin proves to be emotionally disabled from the traumatic loss of his wife, and eggs. “Like many single parents who have survived a tragedy, Marlin turns neurotically overprotective of his son (Germain, 2003)”. Marlin helps represent the struggle with chronic anxiety, and the effect it has on relationships. Marlin experiencing a tragic encounter, caused him to be emotionally disabled, exemplified by Marlin’s loving but damaging overprotection of Nemo. Marlin often avoids social interaction and enacts Nemos social exclusion, which causes rifts in their relationship. “Nemo continually negotiates and battles restrictive assumptions about him based on his impaired fin (Millett)”. Although throughout the film Marlin is constantly evolving himself, and overcoming his preconceived notion. This helps highlight that although individuals are marked as visually and socially different, they are far from being inadequate.

The film brings elements of adversity and proves to be an unconventional representation of disability. As Millet notes, “The story has a genuine emotional depth and its psychological furniture is logical and appropriate” (Millett). When taking a deeper look into the story and the characters in Finding Nemo, there are very diverse characters representing different disabilities. The film presents disabilities and defects in a positive aspect. “Finding Nemo offers as much in terms of thrills, frights, humor, and psychological insight as it does in pure technical skill, proving that a movie can be art” (Norman & Evening Standard, 2012).

Finding Nemo , highlights disabilities, and defects in a positive aspect. The film presents disability as a socially created concept, rather than a state of the body to which value judgments are assigned. This can help portray disability as an ingredient in cultural diversity. The film allows the characters to realize their potential despite their disabilities. The film highlights that although they are marked as visually and socially different, they are far from being inadequate. This allows the characters to break through the preconceived notions about their disabilities. The film highlights the power that each individual has to break their misconceptions.

Millett, A. (n.d.). Finding Nemo. Retrieved November 26, 2020, from https://dsq-sds.org/article/view/873/1048

Germain, D. (2003, October 29). At the Movies – ‘Finding Nemo’. Retrieved November 26, 2020, from https://www.semissourian.com/story/110310.html

Films: Portrayals of People with Disabilities. (n.d.). Retrieved November 26, 2020, from https://iris.peabody.vanderbilt.edu/resources/films/

Norman, N., & Evening Standard. (2012, April 10). A fabulously fishy tale. Retrieved November 26, 2020, from https://www.standard.co.uk/go/london/film/a-fabulously-fishy-tale-7436665.html

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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Home Essay Examples Entertainment Finding Nemo

Finding Nemo: Short Summary And Movie Review

Category Entertainment
Subcategory Cartoons , Movies
Topic Finding Nemo , Movie Review

Finding Nemo Review

‘Finding Nemo’ has the majority of the typical delights of the Pixar activity style- – the parody and wackiness of ‘Toy Story’ or ‘Beasts Inc.’ or ‘A Bug’s Life. The film happens essentially under the ocean, in the realm of beautiful tropical fish- – the vegetation of a shallow warm-water rack not a long way from Australia. The utilization of shading, structure and development make the film a joy even separated from its story.

The film includes the experiences of little Nemo, a comedian fish brought into the world with an undersized balance and a larger than average interest. His dad, Marlin, stresses fanatically over him, in light of the fact that Nemo is all he has left: Nemo’s mom and every last bit of her different eggs were lost to barracudas. When Nemo goes off on his first day of school, Marlin cautions him to remain with the class and evade the risks of the drop-off to profound water, yet it slips Nemo’s mind and winds up as a hostage in the salt-water aquarium of a dental specialist in Sydney. Marlin swims off fearlessly to locate his missing kid, helped by Dory, a blue tang with colossal eyes who he meets en route.

The Pixar PC illustrators drove by author chief Andrew Stanton, make an undersea world that is only a shade cloudy, as it ought to be; we can’t see as far or as forcefully in ocean water, thus dangers emerge all the more rapidly, and everything has a non-abrasiveness of core interest. There is something fanciful about the visuals of ‘Discovering Nemo,’ something that brings out the dream of scuba-plunging.

Overprotective dad Marlin is shocked to observe his inquisitive, youthful clownfish child Nemo’s catch by a human jumper. Mad Marlin defeats his meekness to look for Nemo, helped by his new blue companion Dory in a remote ocean CGI experience.

Marlin is a red-and-white clownfish making a careful effort to address the misinterpretation that his species is clever. He can’t make a quip to spare his life and has been a basket case since his mate and her eggs were eaten. The sole survivor was Nemo, who, in an unexpected way abled contact, has an immature blade and has been kept shielded in the anemone they call home. Defiant, he strays perilously near an angling vessel, is gotten, and gets thudded into a Sydney dental specialist’s sitting area aquarium, where senior detainee Gill is plotting an extraordinary break with the sort of resourcefulness and brave deified in the more perky wartime captive films.

Therefore, it’s everything flawlessly created and reliably enchanting, as Disney’s bacon-sparing relationship with the innovative Pixar studio strikes gold again in an impeccably family-arranged pitch of experience, humour and not so subtle life exercises for the sprats. The style is a triumph in the utilization of shading, development and impacts – prominently in the point by point schools of fishes, the rise of figures from the foggy profundities and a ‘twirling vortex of dread’ arrangement. However, the lighthearted element, presumably one of the most interesting Disney characters at any point composed and radiantly voiced by Ellen DeGeneres, unadulterated virtuoso.

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Finding Nemo: Mythological, Theological and Ideological Criticisms

Category: Entertainment
Topic: Animation , Finding Nemo

Pages: 4 (1675 words)

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