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Hirohito and his Mickey Mouse watch, Goofy and Donald as our "Goodwill Ambassadors:" Disney Discourse is an interdisciplinary examination of the founder and his empire. These essays use an interdisciplinary approach to read through Disney's domestic cultural production "innocent" national icons, as well as theme parks, cartoons and television to analyze the global impact of American popular culture, the politics of Disney, and the complex reception Disney productions have received around the world. The Disney corporation's ever-increasing visibility the opening of Euro Disney and new stores in malls and vast influence over global culture demands critical attention not only in film and television studies, but in international diplomacy, architecture, economics and other related fields. Disney Discourse consolidates the best of the current work on Disney and provides a representative sample of past analyses of the Disney empire. Contributors: Julianne Burton-Carvajal, Lisa Cartwright, Brian Goldfarb, Richard deCordova, Douglas Gomery, David Kunzle, Jon Lewis, Moya Luckett, Richard Neupert, Susan Ohmer, José Piedra, Mitsuhiro Yoshimoto, Alexander Wilson.
Hirohito and his Mickey Mouse watch, Goofy and Donald as our "Goodwill Ambassadors:" Disney Discourse is an interdisciplinary examination of the founder and his empire. These essays use an interdisciplinary approach to read through Disney's domestic cultural production "innocent" national icons, as well as theme parks, cartoons and television to analyze the global impact of American popular culture, the politics of Disney, and the complex reception Disney productions have received around the world. The Disney corporation's ever-increasing visibility the opening of Euro Disney and new stores in malls and vast influence over global culture demands critical attention not only in film and television studies, but in international diplomacy, architecture, economics and other related fields. Disney Discourse consolidates the best of the current work on Disney and provides a representative sample of past analyses of the Disney empire. Contributors: Julianne Burton-Carvajal, Lisa Cartwright, Brian Goldfarb, Richard deCordova, Douglas Gomery, David Kunzle, Jon Lewis, Moya Luckett, Richard Neupert, Susan Ohmer, José Piedra, Mitsuhiro Yoshimoto, Alexander Wilson.
Disney Stories: Getting to Digital explores how Disney, the man and the company, used technological innovation to create characters and stories that engage audiences in many different media, in particular in Video Games and on the Internet. Drawing on Disney films from the twenties and thirties, as well as the writings of historians, screenwriters and producers, Disney Stories: Getting to Digital explains how new film and animation techniques, many developed by Disney, worked together to evolve character and content development and produce entertaining stories that riveted audiences. Through an insider’s perspective of Disney’s legendary creation process, the book closely examines how the Disney Company moved its stories into the digital world in the 1990s and the virtual, online communities of the 2000s. By embracing the digital era, Disney led storytelling and technological innovation by granting their audience the unique opportunity to take part in their creation process through their online games, including The Lion King Animated Story Book, Disney Blast and Toontown. Disney Stories: Getting to Digital is intended for Disney fans and current practitioners looking to study the creation process of one of the most famous animation studios in existence. Professors teaching courses in new media, animation and interactive storytelling will also find this book a valuable asset.
Since the 1930s, the Walt Disney Company has produced characters, images, and stories that have captivated audiences around the world. How can we understand the appeal of Disney products? What is it about the Disney phenomenon that attracts so many children, as well as adults? In this updated second edition, with new examples provided throughout, Janet Wasko examines the processes by which the Disney company – one of the largest media and entertainment corporations in the world – continues to manufacture the fantasies that enthrall millions. She analyses the historical expansion of the Disney empire into the twenty-first century, examines the content of Disney’s classic and more recent films, cartoons and TV programs and discusses how they are produced, considering how some of the same techniques have been applied to the Disney theme parks. She also discusses the reception (and sometimes, reinterpretation) of Disney products by different kinds of audiences. By looking at the Disney phenomenon from a variety of perspectives, she provides an updated and comprehensive overview of one of the most significant media and cultural institutions of our time. This important book by a leading scholar of the entertainment industries will be of great interest to students in media and cultural studies, as well as a broader readership of Disney fans.
Demystifying Disney: A History of Disney Feature Animation provides a comprehensive and thoroughly up-to-date examination of the Disney studio's evolution through its animated films. In addition to challenging certain misconceptions concerning the studio's development, the study also brings scholarly definition to hitherto neglected aspects of contemporary Disney. Through a combination of economic, cultural, historical, textual, and technological approaches, this book provides a discriminating analysis of Disney authorship, and the authorial claims of others working within the studio; conceptual and theoretical engagement with the constructions of 'Classic' Disney, the Disney Renaissance, and Neo-Disney; Disney's relationship with other studios; how certain Disney animations problematise a homogeneous reading of the studio's output; and how the studio's animation has changed as a consequence of new digital technologies. For all those interested in gaining a better understanding of one of cinema's most popular and innovative studios, this will be an invaluable addition to the existing literature.
With stakes in film, television, theme parks, and merchandising, Disney continues to be one of the most dominant forces of popular culture around the globe. Films produced by the studio are usually blockbusters in nearly every country where they are released. However, despite their box office success, these films often generate as much disdain as admiration. While appreciated for their visual aesthetics, many of these same films are criticized for their cultural insensitivity or lack of historical fidelity. In Debating Disney: Pedagogical Perspectives on Commercial Cinema, Douglas Brode and Shea T. Brode have assembled a collection of essays that examine Disney’s output from the 1930s through the present day. Each chapter in this volume represents the conflicting viewpoints of contributors who look at Disney culture from a variety of perspectives. Covering both animated and live-action films as well as television programs, these essays discuss how the studio handles social issues such as race, gender, and culture, as well as its depictions of science and history. Though some of the essays in this volume are critical of individual films or television shows, they also acknowledge the studio’s capacity to engage audiences with the quality of their work. These essays encourage readers to draw their own conclusions about Disney productions, allowing them to consider the studio as the hero—as much as the villain—in the cultural deliberation. Debating Disney will be of interest to scholars and students of film as well as those with an interest in popular culture.
These scholarly essays examine Disney’s cultural impact from various perspectives—including film studies, history, musicology, gender and more. The academic field of Disney Studies has evolved greatly over the years, as the twelve essays collected in this volume demonstrate. With a diversity of perspectives and concerns, the contributors examine the cultural significance and impact of the Disney Company’s various outputs, such as animated shorts and films, theme park attractions, television shows, books, music, and merchandising. By looking at Disney from some of its many angles—including the history and the persona of its founder, a selection of its successful and not-so-successful films, its approaches to animation, its branding and fandom, and its reception and reinterpreted within popular culture—Discussing Disney offers a more holistic understanding of a company that has been, and continues to be, one of the most important forces in contemporary culture.
A historical account of the context, impact, and legacy of one of the most successful series in American television history. This year marks the 50th anniversary of the Walt Disney Company's network television series Disneyland/The Wonderful World of Color. The series, part of Walt Disney's quest to re-create American entertainment, premiered October 27, 1954 on ABC and was the longest-lived program in television history. Over the years, Walt Disney's visions have evolved into family-oriented cinema, television, theme parks. From the lovable Mickey Mouse and Donald Duck to magical places like Frontierland, Disneyland/The Wonderful World of Color generated some of the most popular fads of the era. In Disney TV, J. P. Telotte examines the history of the Disney television series while placing it in context—the film industry's reaction to television in the post-World War II era, the Disney Studios' place in the American entertainment industry, and Walt Disney's dream to create the modern theme park. Telotte's guiding principle in this examination is to illustrate how Disney changed the relationship between cinema and television and, perhaps more importantly, how it affected American culture. The conciseness of Telotte's book is a major advantage over other leading Disney scholarship. Detailed, without including minutia, Telotte provides the reader with the key issues that surrounded the development of the Disney phenomenon. This book will attract a wide array of readers—scholars of television, media, and film studies, popular culture students, and all those touched by the magic of Disney.
This is an examination of the concepts of spectatorship in the light of historical accounts of audience reception. The book looks at how audiences have historically talked about Hollywood movies, and the ways in which 'word-of-mouth' responses have affected the reception of individual movies.
Childhood and Modernity in Cold War Mexico City traces the transformations that occurred between 1934 and 1968 in Mexico through the lens of childhood. Countering the dominance of Western European and North American views of childhood, Eileen Ford puts the experiences of children in Latin America into their historical, political, and cultural contexts. Drawing on diverse primary sources ranging from oral histories to photojournalism, Ford reconstructs the emergent and varying meanings of childhood in Mexico City during a period of changing global attitudes towards childhood, and changing power relations in Mexico at multiple scales, from the family to the state. She analyses children's presence on the silver screen, in radio, and in print media to examine the way that children were constructed within public discourse, identifying the forces that would converge in the 1968 student movement. This book demonstrates children's importance within Mexican society as Mexico transitioned from a socialist-inspired revolutionary government to one that embraced industrial capitalism in the Cold War era. It is a fascinating study of an extremely important, burgeoning population group in Mexico that has previously been excluded from histories of Mexico's bid for modernity. Childhood and Modernity in Cold War Mexico City will be essential reading for students and scholars of Latin American history and the Cold War.