Understanding Disney

Understanding Disney
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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?<br /> <br /> 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.<br /> <br /> 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.

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Janet Wasko. Understanding Disney

Contents

Guide

Pages

Understanding Disney. THE MANUFACTURE OF FANTASY

Copyright page

Preface and Acknowledgments

1 Introducing the Disney Multiverse. From Mickey to Marvel

From universe to multiverse

Studying Disney

Why another book (and a second edition) on Disney?

Notes

2 Disney History(ies)

Walt Disney, the man. Once upon a time . .

“It all started with a mouse”

Hooray for Hollywood

Hollywood’s Horatio Alger

Disney’s Folly

The animation factory

Conflict in Wonderland

World War II: Disney and the US government

Postwar period

Diversification, Disney-style

Genius on ice?

The Disney corporate legacy

Notes

3 The Disney Empire

The evolution of corporate Disney. In Walt’s shadow

Team Disney and the Disney Decade

The unraveling of Team Disney

The Iger rejuvenation

Expanding the brand

Muppets

Pixar

Marvel

Lucasfilm

21st Century Fox

Owners, directors, and managers

Stock ownership and control

Directors and connections

Managers and money

Dissecting the Disney empire

Studio Entertainment

Theatrical markets

Home entertainment market

Television and other markets

Disney Theatrical Group

Disney Music Group

Media Networks

Cable networks

ESPN Inc

Disney-branded channels

Broadcasting

Broadcast television

Television production and distribution

Domestic television stations

Equity investments

Parks, Experiences, and Consumer Products

Parks and resorts

Other Disney vacation experiences

Consumer products

Merchandising licensing

Retail

Online business

Games and interactive experiences

Publishing and digital media

Direct-to-Consumer and International

Mickey Inc

Notes

4 Corporate Disney in Action

Working together: synergy in action

Case study: Frozen (2013) Pre-release strategies

Film release

Post-release promotion/activities

Case study: Star Wars: The Force Awakens (2015)

Pre-release promotion

Force Friday

Merchandise madness

Final pre-release events

Film release and beyond

Beyond case studies: other examples of synergy

Expanding the Multiverse: building the brand, maintaining franchises, and deepening the demographics

The Disney Princess franchise

Controlling the Multiverse

Controlling intellectual property

Case study: the Oregon Duck

Controlling labor: working for the Mouse House

Studio workers/animation

Theme-park workers

Box 4.1: Guidelines for a “Guest Service Fanatic”

The rewards: salaries, promotions, perks

Mickey as Teamster

Controlling through tough tactics

Conquering the world: Disney’s globalization

Global agility: political persuasion

Global opportunities: exploiting labor

Making the magic: technology

Media content

Theme parks

Consumer products

Disney research

Marketing The Mouse

Playing nice: corporate social responsibility

Philanthropy

Environment

Summary: corporate responsibility = public relations

Conclusion: the bottom line, after all

Notes

5 Analyzing the World According to Disney

Approaches and methods of studying media content

What is Disney?

The Classic Disney model

Characteristics of Classic Disney

Box 5.1: The Classic Disney

Classic Disney stories. Reinventing folk tales

Narrative style

Classic Disney characters

Classic Disney themes and values

Individualism and optimism

Escape, fantasy, magic, imagination

Innocence

Romance and happiness

Good triumphing over evil

Revised Classic Disney

Disney as art: aesthetic analysis

Walt Disney, the artist, the auteur

Disney as art

Analyzing Mickey Mouse

Critique of Disney’s interpretation of children’s literature

Snow White and the Seven Dwarfs

Box 5.2: Comparison of Grimms and Disney versions of Snow White

Classic Disney and Snow White

Feminist analysis of Disney products

Introducing a feminist analysis of popular culture

Women in Classic Disney

Women in Revised Classic Disney

The Little Mermaid (1989)

Frozen (2013)

Progressive Disney or Revised Classic Disney?

Disney’s representation of race

Marxist analysis/the imperialist Disney

A note on Disney comics

Disney’s representation of the natural world

True-Life Adventures

The Living Desert

Disney as a model for nature films

Disneynature

Reading the Disney Multiverse

Notes

6 Dissecting Disney’s Worlds

History of Disney’s worlds

Current overview

Disneyland Resort

Walt Disney World Resort

Tokyo Disneyland Resort

Disneyland Paris

Hong Kong Disneyland Resort

Shanghai Disneyland Resort

Analyzing Disney worlds

Themes from a theme park. Synergy

Commodification/consumption

Commercialization/corporatism

“I’m going to Disneyland”

“Backstage magic”

Predictability and expectations

Control, control, control

Control of the theme-park experience

Control over imaginations

Control as a motif

Control over the appearance and behavior of employees

Control over the environment

Control over its destiny

Classic Disney and beyond

The past: Walt Disney’s America

Back to the future?

Mobility/transportation

Postmodern analysis and synthetic experiences

Celebration: living in a Disney world?

Disney parks outside the United States

Tokyo Disneyland

Disneyland Paris

Hong Kong Disneyland

Shanghai Disney

Understanding Disney’s worlds

Notes

7 Disney and the World

Defining Disney audiences/consumers

The Disney brand

Audiences or consumers?

“Children of all ages”

Studying Disney audiences. Disney’s market research

Academic audience research

Early academic research on Disney audiences

Studying Disney, gender, and audiences

Other Disney audience studies

Global Disney/international audiences

Disney confessions

Disney archetypes

Disney fanatics

Disney lifestyle

Disney birthdays

Disney weddings

Disney collecting/Disneyana

Disney fan clubs

Disney publications

Disney fans

Disney consumers

Enthusiastic consumers

Admiring consumers

Reluctant consumers

Disney cynics

Disney disinterested

Disney resisters

Disney antagonists

Appropriating The Mouse

“Professional” appropriation of Disney. Artists

Popular media

Film/video/television

Magazines/popular press/books

Disney films/self-references

Fan appropriation of Disney

Disney fan creations

Fan fiction

Fan art

Fan films/videos/music

Fan games

Disney’s response to appropriation

Disney fans and foes

Notes

8 Living Happily Ever After?

Understanding Disney in review

So what have we learned about Disney? The universal Disney

The Disney Multiverse

Disney endurance?

The sacred Disney

The vulnerable Disney?

Notes

Appendix

Index

POLITY END USER LICENSE AGREEMENT

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Second Edition

JANET WASKO

.....

However, the studio began to lose its charm for at least some of its workers. By the end of the 1930s, there was increasing dissatisfaction at the studio, especially due to the inconsistent wage scales, the erratic distribution of bonuses and other forms of compensation. And although the studio was known for its creativity, it was always Walt’s personal visions that prevailed. Furthermore, screen credits were provided only for the company’s feature films, often with “Walt Disney” as the only name attached to the cartoons. The dissatisfaction finally erupted in 1941.

Hollywood had experienced a wave of unionization during the 1930s, with most of the industry’s workers being represented by the end of the decade by labor organizations both from within and outside the film industry.40 The Screen Cartoonists Guild (SCG) had been founded in 1936 to organize the growing number of animators in the industry and, by the early 1940s, had gained contracts at MGM and Schlesinger’s animation unit at Warner Brothers. Meanwhile, at the Disney studio, the Federation of Screen Cartoonists was formed as a company union in 1937.

.....

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