{"id":1725,"date":"2015-06-08T09:00:59","date_gmt":"2015-06-08T09:00:59","guid":{"rendered":"\/?p=1725"},"modified":"2018-01-03T13:04:23","modified_gmt":"2018-01-03T13:04:23","slug":"inside-out-2015","status":"publish","type":"post","link":"https:\/\/mcc.sllf.qmul.ac.uk\/?p=1725","title":{"rendered":"Inside Out, 2015"},"content":{"rendered":"

Plot<\/strong> Having been uprooted from her life in Minnesota, eleven-year-old Riley struggles to adjust to her new life in San Francisco. Her emotions – Joy, Sadness, Anger, Fear, and Disgust – guide her via a control centre in her mind where Joy especially works tirelessly to record new memories in special orbs. Riley\u2019s most important core memories are housed in the Headquarters, powering five islands of her personality. After Sadness accidentally creates a sad core memory, causing Riley to cry in front of her new class, Joy attempts to destroy the orb. This displaces the other core memories, shutting down the personality islands and ejecting Joy and Sadness into the expanse of Riley\u2019s long-term memory. Attempting to return to Headquarters, the two seek help from Riley\u2019s childhood imaginary friend, Bing Bong. Meanwhile, Anger, Fear, and Disgust unintentionally distance Riley from her loved ones. As a result, her personality islands are destroyed and Joy and Bing Bong are flung into Riley\u2019s Memory Dump. Frantically searching through forgotten memories, Joy discovers a sad memory that becomes happy, causing an epiphany that reveals Sadness\u2019 vital importance in Riley\u2019s life. Aided by Bing Bong\u2019s sacrifice, Joy is able to return to Headquarters with Sadness to stop Riley from running away. Giving Sadness the controls, Joy and the other emotions watch as Sadness convinces her to return to her family, creating a new type of core memory that is dually happy and sad. Riley adjusts to her life in San Francisco and her emotions work together to regulate her life as she continues to grow into a young adult.<\/p>\n

Film note<\/strong> Inspired by director Pete Docter\u2019s own daughter, Inside Out<\/em> is a 2015 co-production between Pixar Animation Studios and Walt Disney Pictures, both of which are owned and operated by the mass media conglomerate, The Walt Disney Company. Originally competitors, Pixar was purchased by Disney in 2006 and though the two remain separate entities, they consistently produce successful films together. With the \u201cbiggest original box office debut in history\u201d, Inside Out <\/em>is no exception (Terrero). The film grossed nearly $854m worldwide, and more than quadrupled its expensive $175m budget. Much of the film\u2019s success can be attributed to its wide appeal and innovation in tapping into the prominent issue of depression through a unique and touching perspective.<\/p>\n

“I would die for Riley” <\/strong>Until 2012 with the release of Brave<\/em>, all of Pixar\u2019s \u201cunfathomably successful movies [\u2026] [had] male leads\u201d usually in the form of non-human characters (Stein). This contrasted with the stereotypical Disney film, whose protagonists are always princesses, and set Pixar apart from their parent company. Compared to the \u201cDisney formula [\u2026] of princesses and fairy-tale fantasies, Pixar\u2019s stories are perceived as fresh and innovative\u201d, however their refusal to include average female characters with average female problems is anything but (Ebrahim 44).<\/p>\n

The third original Disney-Pixar film, Brave <\/em>certainly signified a departure from the Pixar norm as it finally ventured into the world of female protagonists, and female directors \u2013 albeit briefly. Yet by attempting to reinvent the classic Disney princess story and avoid the \u201cgender stereotypes\u201d Disney is known to perpetrate in its films, Pixar removed the emphasis on romance in favour of permitting Merida \u201cto be another female stereotype, the tomboy\u201d (Dockterman). By de-feminising the princess and placing more emphasis on archery and action, academic Lissa Paul notes that Pixar created a \u201cfemale [character] who [takes] on traditionally male characteristics in an attempt to subvert the kinds of traditional female roles [\u2026] Disney princesses have taken on\u201d (qtd. in Ebrahim 45). The implementation of tomboy traits upon the heroine and inclusion of action sequences could in part be due to the fears of Pixar executives that a princess narrative would deter its male audience. However, the film had a \u201cgender-balanced audience\u201d and performed well, receiving similar praise to Disney\u2019s Frozen<\/em> (2013) for seemingly offering a more realistic role model for younger audiences (Ebrahim 47). Arguably, Pixar\u2019s first realistic female portrayal only came about three years later with Inside Out<\/em>, and it was worth the wait.<\/p>\n

According to Eliana Dockterman, \u201c[w]hat\u2019s so radical about Inside Out<\/em> [\u2026] is that it\u2019s about a normal girl with normal problems\u201d. Riley is not a princess preoccupied with love and marriage, but a child on the brink of adolescence dealing with real life issues. The unique perspective offered by the bright humanoid characters representing her emotions provides great insight into her mind\u2019s inner workings. The emotions reveal her concerns with moving to a new town, fitting in at school, and yes, a brief reference to an idealised boy in the boyfriend generator of Riley\u2019s Imagination Land who announces, \u2018I would die for Riley\u2019. Though the emphasis is on the mundane and ordinary, the creative internalised perspective prevents the story from being dull. The film is much more than a tale about a young girl disliking her new home and deciding to run away; it is an introspective into the mental state of a person, not a princess. By employing the fantastic to convey the normal, Inside Out<\/em> is able to universalise Riley\u2019s concerns so as to resonate with both male and female children. As Shepard argues, having had princess narratives with unrealistic expectations and \u201canthropomorphized animals and objects\u201d to discuss the pains of growing up, it was about time that children were given a protagonist in the same position as them (qtd. in Ebrahim 46). The film also encourages adults to reminisce on their own childhood and gives parents an insight into what their eleven-year-olds are going through.<\/p>\n

Though Riley adheres to some tomboy characteristics in her love for hockey for example, her identity as a female character is not compromised. In fact, her physical appearance is not entirely acknowledged as \u201c[h]er mind is the centrepiece, and we only get glimpses at what Riley actually looks like\u201d (Dockterman). When we do see Riley she is often in jeans and trainers, has a no-maintenance hairstyle and doesn\u2019t wear make-up like other girls in her class. As little attention is drawn to her outward appearance, Inside Out<\/em> is able to tell the story of a girl without accentuating her femininity. She even has a unisex name that doesn\u2019t gender her and enables everyone to connect to some aspect of her story as she is not represented in a limiting way. Docter has said that Riley\u2019s varied interests are meant to create \u201ca well-rounded, fleshed-out character\u201d and this is even carried through to her five emotions (Stewart). Though her mother\u2019s mind is composed of female emotions, and her father\u2019s male, Riley\u2019s mind is split. Joy, Sadness, and Disgust are portrayed as female, while Anger and Fear are animated to appear male. By incorporating emotions of both genders, the film-makers do not define Riley as a girl, but rather place her on a spectrum which is not specifically gendered in an attempt to create a genuine character that all audiences can identify with. As a result, Riley\u2019s ordinariness differentiates her from Brave<\/em>\u2019s Merida because even though both aren\u2019t overly feminised or stereotyped like Disney princesses, Riley\u2019s experiences are rooted in the real world.<\/p>\n

Though Riley is the main character in the classical sense, she shares her role as protagonist with two of her emotions, Joy and Sadness. According to a report by San Diego State University, \u201c[o]nly 12% of protagonists and 30% of all major characters in the top 100 grossing movies of 2014 were women\u201d (Dockterman). Inside Out<\/em> serves as a stark contrast with not one, but three major female characters. Furthermore, there are two more secondary female characters in Disgust and Riley\u2019s mother, outweighing the male characters with a total 5:3 ratio of female to male. Again, this contradicts the industry norm of having \u201conly one female character for every three male characters in family films\u201d (Dockterman).<\/p>\n

In standard Pixar fashion, two opposing characters \u201cembark on a psychological and\/or physical journey together [\u2026] [and] their interaction is key to the characters\u2019 growth\u201d (Ebrahim 48). Though there have been many male-female pairs in this trend, notably, Marlin and Dory of Finding Nemo<\/em> (2003), Joy and Sadness are the first female twosome. As they venture into Riley\u2019s long-term memory, they succeed and grow in identical fashion to the male pairs in previous Pixar films. Like Carl and Russell in Up<\/em> (2009), Joy and Sadness are complete opposites throughout their journey until Joy realises that Sadness is in fact her ally (Doo). The equality of the success of all of Pixar\u2019s pairs, regardless of gender, again places sex in the background. As Dockterman notes, \u201cRiley, Joy and Sadness are permitted to function in a universe where their gender doesn\u2019t much matter\u201d and this un-gendering of the film shows that Pixar are not afraid of going against the norm of female portrayal and setting the standard for other animated films.<\/p>\n

Take her to the moon for me <\/strong>Inserting adult content into children\u2019s films is not a new trend. For decades, film-makers, particularly animators, have found success in sneaking sexual innuendo and mature humour into family movies. DreamWorks, a competitor of Pixar, is known for creating such films. Their noteworthy pictures The Road to El Dorado<\/em> (2000), Shrek<\/em> (2001), and Kung Fu Panda <\/em>(2008) all achieved great success through employing cheap laughs, adult humour, and, in the case of The Road to El Dorado<\/em>, even a sly suggestion at characters partaking in oral sex. However, Pixar\u2019s employment of adult content is slightly different. Rather than creating movies that are \u201cheld together by toilet humour and pop-culture references\u201d, Pixar aims to discuss bigger, mature issues that \u201cteach us something\u201d (Weinman).<\/p>\n

Since its debut with Toy Story <\/em>(1995), \u201cPixar has shown an uncanny ability to talk about the pains and joys of growing up and ageing\u201d (King 591). No issue is too serious or dark for the animators to confront and as the years have gone by, \u201cPixar films have moved toward bigger issues, even if they\u2019re using robots and rats to make their points\u201d (Weinman). The company has openly discussed the fear of being left behind (Toy Story)<\/em>, losing a loved one (Finding Nemo<\/em>), fertility issues (Up<\/em>) and an array of others. Though these complex \u201cstory choices may seem unusual now in an era where every other animated studio is doing comedies about wisecracking animals\u201d, Pixar prides itself on placing commercial interest in a secondary role and \u201cmaking a good movie first\u201d (Huxley qtd. in Weinman). The decision to discuss the complex, and occasionally taboo, has consistently set Pixar apart from its rivals.<\/p>\n

Reporter Rumy Doo observes that \u201c[i]n recent years, large-scale animations that succeeded globally catered to both children and adults, with mature and layered plotlines\u201d. There is no doubt that Inside Out, <\/em>like all of Pixar\u2019s previous productions, is layered with an \u201cintricate plotline\u201d with one of the subplots being Riley\u2019s imaginary friend, Bing Bong (Doo). By bringing him to life, the film forces children to face the harsh reality that imaginary friends are only temporary. Older audiences are able to understand this concept whilst younger ones might not yet fully comprehend the notion that some of their friends are simply figments of their imagination. Yet, the film respects them by giving Bing Bong a life of his own and having him save Riley because he cares about her. In the scene of his sacrifice, he says to Joy, \u201ctake her to the moon for me, okay?\u201d, before fading away into oblivion. The fact that one character can embody innocence, loneliness and growth highlights the complex layers to Inside Out<\/em>. Bing Bong is aware that he is irrelevant now in Riley\u2019s life and that he doesn\u2019t have a place in her future. Leading up to his final moments, parts of his body become transparent, symbolising that Riley\u2019s childhood is slipping away and he therefore represents the end of her childhood that she herself is conflicted about. To make a film about the pains of growing up is representative of reality because growing up isn\u2019t always a smooth process and Pixar clearly do not shy from tackling difficulties.<\/p>\n

By giving the \u201ccharacters adult-like problems\u201d, Pixar shows the respect they have for their audience\u2019s intelligence (Weinman). Yet, there is a fine line between discussing bigger issues and breaching the depth of understanding of an adolescent mind and Pixar haven\u2019t always been so successful in balancing the two. Ratatouille <\/em>(2007) was the first Disney-Pixar collaboration, and \u201cperformed less well in North America than expected\u201d as its lengthy running time and extended conversation on \u201cfood, art and creation\u201d became \u201ctoo complex for children\u201d (Weinman). Having learned their lesson, Inside Out<\/em> strikes a fine balance with its level of complexity and maintains an appropriate format for younger viewers. Running 94 minutes, much closer to the average Pixar film length of 99 minutes, the film is action-packed and creative, emphasising the imaginary and fantastic in a way that appeals to children while still maintaining serious undertones.<\/p>\n

We can\u2019t make Riley feel anything<\/strong> Inside Out<\/em> \u201cshows what\u2019s happening \u2013 chemically \u2013 through the perspective of [Riley\u2019s] emotions\u201d (Godfrey). What neuroscientists understand as \u201cthe cerebral connections formed among a host of neurotransmitters\u201d, the film-makers altered to five animated emotions running around inside the brain (Carroll 255). Discussing the chemical reactions of dopamine and serotonin in the brain would not have communicated well with children. However, portraying Joy as the captain of the control centre in the brain makes the situation understandable and conveys the same general idea. Though obviously not wholly accurate, Pixar\u2019s representation of the functioning of the mind remained mostly precise.<\/p>\n

During the three-year production process, Inside Out<\/em>\u2019s creators met with Dacher Keltner, a psychology professor at the University of California, Berkeley to understand \u201cwhat makes people happy\u201d (Godfrey). The film-makers wanted to realistically convey the inner workings of a child\u2019s mind and emphasise those facets of the brain that are not widely known about. The most significant of these is sadness. Psychologists praised the prominence of the emotion in the film and clinical psychologist, Dr. Erica Chin, \u201cwas taken with the fact that the movie put in the position that sadness is OK and sadness is reasonable to feel\u201d (Schonfeld). Though once incredibly taboo, the development of the psychology and a greater understanding of mental illness has increased awareness of sadness and its harsher cousin, depression, in today\u2019s society and media. Now recognised as a chemical imbalance in the brain, it has become socially acceptable and understandable to not always have Joy at the helm of the mind. Child psychiatrist Kevin Kalikow explains that \u201c[n]ot everybody is born with the same control panel. [\u2026] Some people are born happier. Some people are born more irritable\u201d (Schonfeld). Such a variance is conveyed when the inner workings of other characters\u2019 minds are revealed. Riley\u2019s mother has Sadness in control of her mind, contrasting a school bus driver seen in the film\u2019s credits who is shown to have five Angers dominating his mind. Furthermore, by placing different characters in control, Pixar references other formerly denounced mental issues, such as anxiety through Fear. The variety seen here emphasises that it is normal for people to be different and that sometimes feelings are inevitable.<\/p>\n

A variety of films produced over the years have shown depression, including Girl, Interrupted<\/em> (1999), Little Miss Sunshine <\/em>(2006) and The Perks of Being a Wallflower <\/em>(2012). However, \u201cInside Out <\/em>is perhaps the only major motion picture ever to deal so directly with the inner workings of a child\u2019s mind\u201d (Schonfeld). In the film\u2019s climactic scene where Riley runs away and the remaining three emotions are powerless to stop her, Anger states \u2018we can\u2019t make Riley feel anything\u2019 which very clearly alludes to depression. Pixar\u2019s bold address and normalisation of depression in children in a mainstream film is an unparalleled move. In addition, by showing Riley admitting her real feelings to her parents after she returns home, Inside Out<\/em> highlights to children the importance of opening up to someone as being the first step towards getting better. Prior to release, there was much concern that a younger audience would not understand the complex material dealing with depression but a test screening quelled all fears as the company discovered that children were not confused by the film and that they \u201ctotally got it\u201d (Miller).<\/p>\n

This is partly a result of Inside Out<\/em>\u2019s production designers who intentionally based the visual structure of the film \u201con contrast between the outside real world and the inside mind world\u201d (Lin). The \u201cexterior\u201d shots of Riley\u2019s outer life were made to look real and imperfect, often embodying a duller colour scheme to represent Riley\u2019s bleak outlook of the world. Where the happy memories in Minnesota are animated to be bright and colourful, the sequences in San Francisco are \u201cconstrued in drabs and greys\u201d (Miller). Meanwhile, the \u201cinterior\u201d scenes are much more visually perfect, reflecting the bright colour of whichever emotion is currently in control. When Sadness begins to take over Riley\u2019s mind, blue overwhelms the scenery. This symbolic tinting is especially predominant when Sadness turns numerous happy memories blue simply by touching the orbs. Dr. Chin explains that \u201c[m]emories are not so concrete. [Pixar] did a good job of capturing that memories can be reframed\u201d, especially when in a depressed mental state (Schonfeld). Such an honest portrayal of depression did not exist within the realm of family films until Inside Out<\/em>.<\/p>\n

Inside Out<\/em> has not only contributed to an ongoing discussion surrounding mental health, it has also been embraced in contemporary culture. Through the \u201cacute respect\u201d shown to Sadness in the film, Pixar opened the door to even greater discussion of depression (Collin). Sadness was named one of Time Magazine<\/em>\u2019s \u201c16 Most Influential Fictional Characters of 2015\u201d for bringing \u201cmillions of viewers to tears\u201d, and is \u201cnow being used as a teaching tool to help kids get in touch with their emotions\u201d (D\u2019Addario). Elisabeth Guthrie, a child psychiatrist at Columbia University Medical Centre, \u201cplans to use the film in sessions with children\u201d. Guthrie notes, \u201cI thought it was helpful in putting feelings into words, for helping kids identify their feelings and start a dialogue about it\u201d (qtd. in Schonfeld). Opening the door to discussion about emotions is likely the most successful attribute of the film, and of any of Pixar\u2019s creations thus far because it ultimately taps into something common to everyone and concludes that all emotions are necessary.<\/p>\n

Without doubt, Pixar\u2019s 15th<\/sup> film, Inside Out<\/em>, has struck a chord. The film reflects society\u2019s desire for more realistic representations of females in films as well as the shift in contemporary culture whereby mental health problems are acknowledged and better understood. With such an honest take on the reality of growing up through the experience of an ordinary female protagonist yet to figure out her new identity, the film is able to resonate with all audiences. Overall, the film is very special and tender in how it represents the \u2018little voices inside our heads\u2019.<\/p>\n

References<\/strong><\/p>\n

Carroll, V. Susan. “Taking a Look Inside.” Journal of Neuroscience Nursing<\/em> 47.5 (2015): 255. Web. 5 Nov. 2015.<\/p>\n

Collin, Robbie. “How Pixar found the secret of happiness.” The Telegraph.<\/em> 29 Jun. 2015. Web. 5 Nov. 2015.<\/p>\n

D’Addario, Daniel. “The 16 Most Influential Fictional Characters of 2015.” Time.com<\/em>. 8 Dec. 2015. Web. 2 January 2016.<\/p>\n

Dockterman, Eliana. “Why It Matters That Inside Out<\/em>‘s Protagonist Is a Girl \u2013 Not a Princess.” Time.com<\/em>. 22 Jun. 2015. Web. 2 Jan. 2016.<\/p>\n

Doo, Rumy. “[Weekender] Target grown-ups — the recipe for hit animation films.” The Korea Herald.<\/em> 4 Sept. 2015. Web. 5 Nov. 2015.<\/p>\n

Ebrahim, Haseenah. “Are the “Boys” at Pixar Afraid of Little Girls?” Journal of Film & Video<\/em> 66.3 (2014): 43-56. Web. 2 Jan. 2016.<\/p>\n

Godfrey, Alex. “Pixar’s Pete Docter on the story (and science) of ‘Inside Out’.” WIRED Magazine.<\/em> 20 Jul. 2015. Web. 5 Nov. 2015.<\/p>\n

King, Joel. “Inside Out.\u201d Australasian Psychiatry<\/em> 23.5 (2015): 591. Web. 5 Nov. 2015.<\/p>\n

Lin, Patrick. “The Ins and Outs of Inside Out’s Camera Structure.” International Conference on Computer Graphics and Interactive Techniques. Los Angeles Convention Center, Los Angeles, CA. 9 Aug. 2015. Lecture.<\/p>\n

Miller, Lisa. “How Inside Out<\/em> Director Pete Docter Went Inside the 11-Year-Old Mind.” Vulture<\/em>. 16 Jun. 2015. Web. 5 Jan. 2016.<\/p>\n

Schonfeld, Zach. “Inside Out: Pixar’s latest work of wonder depicts the inner workings of a child’s mind \u2013 so what do child psychiatrists make of it?” The Independent.<\/em> 13 Jul. 2015. Web. 5 Nov. 2015.<\/p>\n

Stein, Joel. \u201cPixar\u2019s Girl Story.\u201d Time<\/em>.com.<\/em> 5 Mar. 2012. 36-41. Web. 2 Jan. 2016.<\/p>\n

Stewart, Sara. \u201c\u2019Inside Out\u2019 is the powerful film little girls need.\u201d New York Post<\/em>. 13 Jun. 2015. Web. 24 Feb. 2017.<\/p>\n

Terrero, Nina. “The mind-blowing success of Inside Out.” Entertainment Weekly. <\/em>24 Jun. 2015. Web. 5 Jan. 2016.<\/p>\n

Weinman, Jaime. “The Problem With Pixar.” Maclean’s<\/em> 121.26\/27 (2008): 76-78. EBSCOhost<\/em>. Web. 12 Nov. 2015.<\/p>\n

Written by Jessica Lee Wilcox (2016); edited by Sladana Tegeltija (2017), Queen Mary, University of London<\/strong><\/p>\n

This article may be used free of charge. Please obtain permission before redistributing. Selling without prior written consent is prohibited. In all cases this notice must remain intact.<\/p>\n

Copyright \u00a9 2017 Jessica Lee Wilcox\/Mapping Contemporary Cinema<\/p>\n","protected":false},"excerpt":{"rendered":"

Production Companies: Walt Disney Pictures, Pixar Animation Studios<\/p>\n

Distributor: Walt Disney Studios Motion Pictures<\/p>\n

Executive Producers: John Lasseter, Andrew Stanton<\/p>\n

Associate Producer: Mark Nielsen<\/p>\n

Producer: Jonas Rivera<\/p>\n

Screenplay: Pete Docter, Meg LeFauve, Josh Cooley<\/p>\n

Director: Pete Docter<\/p>\n

Production Design: Ralph Eggleston<\/p>\n

Editor: Kevin Nolting<\/p>\n

Music: Michael Giacchino<\/p>\n

Running Time: 94 mins.<\/p>\n

Classification: Rated PG for mild thematic elements and some action<\/p>\n

Box-office gross: domestic $356.5m\/worldwide $853.6m<\/p>\n

Tagline: Meet the little voices inside your head.<\/p>\n

Cast: Amy Poehler (Joy), Phyllis Smith (Sadness), Richard Kind (Bing Bong), Bill Hader (Fear), Lewis Black (Anger), Mindy Kaling (Disgust), Kaitlyn Dias (Riley), Diane Lane (Mom), Kyle MacLachlan (Dad) Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":1726,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[219,70,75,212,74,11],"class_list":["post-1725","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-note","tag-219","tag-animation","tag-disney","tag-mental-illness","tag-pixar","tag-us"],"_links":{"self":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/1725","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1725"}],"version-history":[{"count":6,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/1725\/revisions"}],"predecessor-version":[{"id":1761,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/posts\/1725\/revisions\/1761"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=\/wp\/v2\/media\/1726"}],"wp:attachment":[{"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1725"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1725"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mcc.sllf.qmul.ac.uk\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1725"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}