Understanding Disney
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Оглавление
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
Отрывок из книги
Second Edition
JANET WASKO
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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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