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**Abstract**
*Eek! The Cat* (1992–1997), a product of 1990s animated television, presents itself as a seemingly simple comedy about a well-meaning, perpetually suffering purple cat. However, the series is a highly sophisticated example of postmodernist techniques, including the use of irony, parody, absurdity, narrative fragmentation, and the subversion of traditional animation tropes. This dissertation examines *Eek! The Cat* through the lens of postmodern theory, exploring how the series upends conventional storytelling forms, critiques cultural narratives, and reflects the complex media landscape of the 1990s. By examining the show’s subversion of the hero’s journey, its ironic humor, fragmented narrative structure, and its playful visual aesthetics, this work will argue that *Eek! The Cat* offers a critical engagement with both animated media and the broader cultural and philosophical currents of the late 20th century.
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### **Chapter 1: Introduction – Defining Postmodernism in Animation**
#### Postmodernism: A Brief Overview
Postmodernism, as both a cultural and philosophical movement, emerged in the mid-20th century as a reaction to the ideals of modernism. Characterized by a suspicion of grand narratives, a rejection of objective truths, and an embrace of irony and relativism, postmodernism challenges the very notions of originality and authenticity. In media, postmodernism is seen in the blending of genres, the questioning of traditional narrative forms, and the frequent use of parody and pastiche. Animation, as a medium that thrives on exaggeration, fantasy, and playfulness, became fertile ground for postmodern experimentation.
#### Postmodernism and Animation
Historically, animated television has been an important site for the exploration of narrative, visual form, and cultural norms. Early animations like *Looney Tunes* were grounded in simple, linear storytelling and slapstick humor. However, as the medium matured, particularly during the 1980s and 1990s, cartoons began to experiment with complex themes, non-linear storytelling, and genre hybridity. *Eek! The Cat* (1992–1997) is a prime example of this postmodern approach, employing absurdity, irony, and parody to create a unique narrative form that both entertains and critiques traditional cartoon conventions.
#### *Eek! The Cat* in Context
*Eek! The Cat* was created by Savage Steve Holland, whose previous work on *The Adventures of Pete & Pete* demonstrates his ability to blend humor, surrealism, and emotional depth. The series, airing on FOX from 1992 to 1997, centers on the hapless but endlessly optimistic Eek, a purple cat who is repeatedly thrust into perilous situations due to his well-meaning nature. Yet, despite his best efforts, Eek rarely succeeds in any of his endeavors. His misadventures are often depicted with absurd humor, exaggerated violence, and a complete disregard for traditional narrative expectations. Through this playful subversion of animated tropes, the show embodies many postmodern principles.
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### **Chapter 2: Eek! The Cat as Meta-Text: Rejection of the Heroic Narrative**
#### The Antihero: Eek’s Constant Failure
In traditional children's programming, the protagonist is often a heroic figure who faces challenges and grows through experience. *Eek! The Cat* refuses this structure. Eek is a fundamentally flawed character—a postmodern antihero whose actions are driven by good intentions but whose plans are always thwarted. His world is one where failure is constant, and traditional narrative arcs, where characters succeed or overcome obstacles, are rejected in favor of cyclical, unresolved plots.
Eek's frequent failure to navigate the world and achieve success is a critique of the "hero's journey" narrative. In conventional animation, the hero often learns a lesson, resolves a conflict, and moves toward a clear resolution. In contrast, Eek's experiences are fragmented, and his repeated failures suggest that success and resolution are illusions. This subversion of the hero’s journey highlights the postmodern idea that traditional narrative structures are illusory, often emphasizing the absurdity of attempting to impose meaning on chaotic, fractured realities.
#### The Rejection of Moral and Narrative Resolution
Eek's perpetual failure also challenges the moral expectations that are often embedded in traditional animated series. Whereas many children's cartoons present characters who learn important lessons about right and wrong, *Eek! The Cat* consistently denies this. The show does not provide a moral resolution to Eek's problems, nor does it suggest any clear path forward. Instead, it embraces the absurdity of Eek's struggle, underscoring the postmodern rejection of fixed meaning or resolution.
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### **Chapter 3: Irony and Parody in Eek! The Cat**
#### Self-Aware Humor and Postmodern Irony
A key element of postmodernism is irony—an awareness of the constructed nature of narratives and the ability to subvert expectations. *Eek! The Cat* is filled with ironic humor that both acknowledges the conventions of the animated series and turns them on their head. The opening theme song, for instance, presents Eek as a “hero” despite the fact that he consistently fails. This paradox is itself a form of irony, where the show comments on its own absurdity and the absurdity of the “hero” archetype.
Eek’s interactions with other characters also serve as an ironic commentary on conventional cartoon roles. His attempts to save the day often result in greater disaster, and the show’s constant acknowledgment of this failure creates a tone that is both playful and self-aware.
#### Parody of Cartoon Violence and Heroism
Another postmodern aspect of *Eek! The Cat* is its parody of traditional cartoon violence. In many animated series, cartoon violence is exaggerated but ultimately inconsequential. Characters may suffer improbable injuries, but they are typically unharmed or unaffected in the next scene. *Eek! The Cat* takes this to an extreme, portraying violence as both meaningless and excessive. Eek’s attempts to save others often result in absurd and violent outcomes, underscoring the parody of cartoon tropes. The show’s approach to violence, which is disconnected from the moral consequences typical of other cartoons, is a postmodern commentary on the glorification and trivialization of violence in media.
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### **Chapter 4: The Absurdity of Eek’s World: Surrealism and Fragmentation**
#### Fragmented Narrative and the Loss of Continuity
The narrative structure of *Eek! The Cat* is another postmodern element. Episodes often follow fragmented storylines, where the plot quickly shifts from one situation to another, without ever fully resolving the initial conflict. This lack of continuity is a reflection of postmodern sensibilities, where the narrative is seen as a series of disconnected events rather than a coherent whole. The series presents the world through a lens of surreal absurdity, where traditional story arcs are replaced by chaos and random events.
This fragmented structure not only challenges traditional storytelling conventions but also invites the viewer to question the need for coherent, linear narratives in children’s media. In a postmodern world, where meaning is fluid and subjective, the show suggests that the lack of narrative resolution is just as valid as a neatly wrapped-up story.
#### Absurd Situations and Surreal Humor
The absurdity of Eek’s world is further exemplified through the strange and surreal situations he finds himself in. From encounters with bizarre villains to the outlandish dangers that seem to arise from nowhere, *Eek! The Cat* embraces the postmodern fascination with the irrational and the chaotic. The randomness of these situations reflects a rejection of traditional plot logic and exemplifies postmodern absurdism.
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### **Chapter 5: The Aesthetic of the Nonsensical: Visual Style and the "Cartoonish" Form**
#### Hyper-Stylized Visuals and Postmodern Play
The visual style of *Eek! The Cat* is another key element of its postmodern aesthetic. The show embraces an exaggerated, highly stylized approach to character design and animation. Eek himself is a bright purple cat, and the world he inhabits is equally vibrant and exaggerated. The highly saturated colors, exaggerated facial expressions, and over-the-top physical actions serve to distance the show from realism, creating a playful space where the conventional rules of animation can be subverted.
This aesthetic is not merely for comedic effect but serves a deeper postmodern purpose: to reject the idea of "realism" in animation and instead embrace a world where anything is possible. The absurdity of the visual style underscores the show’s thematic rejection of traditional narrative and genre conventions.
#### Visual Disruption and Genre Subversion
The use of visual disruptions—unexpected changes in style, exaggerated actions, and chaotic environments—further serves to deconstruct genre expectations. *Eek! The Cat* frequently jumps between different visual modes, from cartoonish slapstick to more surreal, dreamlike sequences. This genre-hopping is another form of postmodern play, undermining the idea that any one genre or style is more legitimate than another. The show’s visual fluidity invites viewers to experience animation as a medium of endless possibility, free from the constraints of traditional visual storytelling.
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### **Chapter 6: Eek! The Cat and the Question of Genre: Postmodern Hybridization**
#### Genre Hybridity in *Eek! The Cat*
Postmodernism is often defined by its hybridization of genres, mixing high and low culture, as well as blending different forms of media. *Eek! The Cat* is a prime example of this genre hybridity, as it combines elements of sitcoms, superhero cartoons, slapstick, and action-adventure tropes, but refuses to commit fully to any one genre.
In many episodes, the narrative shifts abruptly between different tones and styles, from slapstick humor to moments of existential absurdity. This fluidity emphasizes the show’s postmodern rejection of genre purity, illustrating that genres are not fixed categories but flexible constructs that can be manipulated and subverted.
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### **Chapter 7: Conclusion – Eek! The Cat as a Reflection of Postmodern Youth Culture**
*Eek! The Cat* is a product of the 1990s, a decade characterized by cultural uncertainty, irony, and media saturation. The series resonates with postmodern youth culture, where traditional values were increasingly questioned, and media was consumed with a sense of irony and detachment. The show’s rejection of traditional narrative, its ironic humor, and its embrace of absurdity reflect a generation’s growing skepticism of authority and mainstream cultural norms.
By engaging with *Eek! The Cat*, viewers are invited to see animation not as a simplistic medium for children, but as a space for postmodern experimentation, where the boundaries of genre, narrative, and form are constantly in flux. In doing so, *Eek! The Cat* embodies the playful, irreverent spirit of postmodernism, offering a critique of both the animated medium and the culture that produced it.
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### **References**
- Jameson, Fredric. *Postmodernism, or, The Cultural Logic of Late Capitalism*. Duke University Press, 1991.
- Hutcheon, Linda. *A Theory of Parody: The Teachings of Twentieth-Century Art Forms*. University of Illinois Press, 1985.
- Kellner, Douglas. *Media Culture: Cultural Studies, Identity and Politics between the Modern and the Postmodern*. Routledge, 1995.
- Lyotard, Jean-François. *The Postmodern Condition: A Report on Knowledge*. University of Minnesota Press, 1984.
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This dissertation demonstrates how *Eek! The Cat* exemplifies key postmodern traits, using the medium of animation to subvert traditional expectations and challenge cultural narratives. Through its use of irony, absurdity, fragmented storytelling, and genre hybridity, *Eek! The Cat* presents a playful yet critical engagement with the postmodern condition.
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