An Iconographic Analysis of the Animated Film Allahyar and the Legend of Markhor

Abstract

This treatise endeavors to detect the non-technical components of Allahyar and the Legend of Markhor, a Pakistani 3D animated film. It investigates whether a new viewpoint has emerged in the context of social and cultural ideology in Pakistani thought, or if stereotypes continue to persist. For this purpose, an iconographic analysis of the film is conducted through Panofsky’s (1972) three-pronged approach. The three steps include: pre-iconographical description, iconographic analysis, and iconographical interpretation. The iconographic analysis revealed that Allahyar and the Legend of Markhor upholds and encourages stereotype indoctrination in its depictions of good and bad in Pakistani culture. Results also highlighted the director's inability or obliviousness to think outside the box or create a novel perspective. Patriarchy, classism, elitism, provincialism, patriotism, and a biased media were all depicted as major themes. These motifs illuminated gender, class, and ethnicity-based inequalities in Pakistan's political, cultural, and social environment. The artists' anxieties and skepticism are justified by factors such as consumerism, overreliance on Eurocentric art and history, lack of familiarity with local art, minimal government support, and financial restraints. Furthermore, the research showed that the film promoted national, political, and gender ideals. The authors argue that to foster creativity in art films and animations, future studies and research should focus on fostering critical thinking, visual literacy, and the development of curricula and new literature in these areas.