How is bugs bunny racist

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Looking at Bugs Bunny and Mickey Mouse it would be hard to imagine anything other than innocent fun, yet their conception was based entirely on racial stereotyping.

He writes how these characters began "visually and gesturally act[ing] as minstrels but over time lose a direct association with blackface itself". This influence is also partly the reason why characters like Mickey and Goofy are always depicted wearing white gloves.

In other cases, the historical racism is much more apparent. One film, no longer available to watch or buy through any channels, exemplifies the legacy Hollywood has to redress. Despite that film being excised from the family canon, however, there are still plenty of films within it that have a pretty obviously troubling relationship with race. And all through the rest of the 20th Century, people of colour continued to be egregiously stereotyped.

Even the theme song [Arabian Nights] would talk about how barbaric the Middle East was and how they would cut off your ear if they don't like your face. Disney's Aladdin is among the classic animations that have proffered egregious racial stereotypes Credit: Alamy. In the last decade or so, some progress has been made. Major new animated releases, from 's The Princess and the Frog to 's Soul, have centred black characters and characters of colour.

And Disney, in particular, has conspicuously tried to correct itself: two years ago, Aladdin was reworked with a live action remake; it featured Will Smith as the genie as part of a diverse cast including numerous actors of Middle Eastern descent, and cut the more problematic lyrics from its songbook.

However whether these efforts count as truly progressive is debatable. In Aladdin's case, it could be argued that the very aesthetic of it is inherently racist, says Dan Hassler-Forest, pop cultural theorist and assistant professor of media studies at Utrecht University. As for 's The Princess and the Frog, with its lead character Tiana, the first African-American Disney princess, it certainly challenged the default of white blonde princesses, but that attempt at diversity suffered from Tiana being transformed into a frog for most of the movie and the use of racially stereotypical tropes, such as voodoo, and a cliched New Orleans jazz setting.

Similarly, Pixar's Soul has a black lead, music teacher-cum-jazz pianist Joe, but then kills him almost immediately and turns him into a posthumous blob, while then putting another soul, voiced by a white woman, Tina Fey, into his body. What's more, in one scene Joe is mistaken for another black man, an archetypal racist microaggression, which feels like it is scripted without any awareness of that fact. Why do such missteps still happen? Directors of the big animated films are still predominantly white men, while companies like Disney are money-making machines that follow formulas based on previous success.

Soul did have a black co-director, Kemp Powers, but he was only drafted in late into the production process. However Disney maintain that they are putting resources into redressing this systemic inequality. They add that the studio has also recently launched Onyx Collective, a content platform to showcase work by creators of colour and other underrepresented voices, while in the UK, they have "collaborated with the BFI's Future Skills programme" which is designed to help provide training and opportunities to young people from a variety of backgrounds.

On screen, there are also signs that companies like Disney are trying to address the racist legacy of animation in a more deeply considered way. Released in March, and telling the story of a young warrior princess, it is the first Disney film to feature a south-east Asian lead, and is co-written by Adele Lim, who is of Malaysian-Chinese descent.

It has been met with huge acclaim from south-east Asian viewers for the detail in its representation, including its characters' spectrum of skin tones, its accurate adoption of cultural signifiers, like the use of food as hospitality, and its realistic depiction of martial arts. Then later in the year the studio's next big animated release will be Encanto, which has a story set in and inspired by Colombia.

Notably, it features a cast of voice actors who are all either Colombian or of Colombian heritage and has a Latino female co-director, Cuban-American Charise Castro Smith, while the pre-publicity has been keen to assert its authentic credentials by pointing out that "the filmmakers were deeply inspired by their research trip to Colombia during early development of [the film] as well as their continuous work with a group of expert consultants".