Читать книгу Understanding Disney - Janet Wasko - Страница 7

Growing up in southern California in the 1950s and 1960s meant a good deal of exposure to Disney’s world. Disneyland was just up the freeway from where I lived in San Diego, and The Wonderful World of Disney and The Mickey Mouse Club were essential television viewing. For me, as for most American children, more than a few family memories involved Disney, in one way or another. I again dedicate this book to my family, especially to my brother, Jack, whose first girlfriend moved from San Diego to Los Angeles to become one of the minor Mouseketeers, with whom I shared many of these childhood memories, and who found pleasure and delight in trips to Disney’s “magical worlds.”

I also must admit that, once upon a time, I found myself working “down on Uncle Walt’s farm” (AKA Disney’s studio) in Burbank, California. It was the final in a series of film/television industry jobs that propelled me back to academe to try to understand why the entertainment industry behaved the way it does, and to question its role in society. I now find myself at a university that has a Disney character as a mascot, and I still work on trying to understand media and society.

Many years ago, it seemed like a good idea to offer a course on Disney at the University of Oregon. The course became known by the same title as this book and has covered some of the same territory. Initially, it was an attempt to expand upon a political economic approach to the media, as well as to respond to all those critics who say that political economists are uninterested in texts, audiences, or culture. But it also seemed like it would be a potentially popular course on media – and it has been. Over the years, literally hundreds of students have helped to sort through many of the questions posed in the book, offered their thoughts about the Disney phenomenon, as well as shared their own Disney memories (some of which are included in chapter 7). My thanks to all of them – whether they liked the course or not.

Many other acknowledgments are due. Research assistance was provided by Kris Wright, Adrian Black, Elim Hernandez, Phil Duncan, and Zak Roman. Many thoughtful individuals have forwarded articles, clippings, and email stories (special thanks to Greg Kerber, Brent Cowley, Chris Chavez, and Jeremy Swartz); others have passed along interesting Disney paraphernalia (especially Bill Kunz, Jörg Becker, and Andrew Jakubowicz). Photographs were provided by Andrew Jakubowicz, Rodrigo Gomez, Gabriela Martinez, Graham Murdock, David Gracon, and Ulli Becker. And very special thanks to Wade Larsen and Jeremy Swartz for the cover design.

The people at Polity Press and Blackwell have been (as always) helpful and efficient. Special thanks to Ellen MacDonald-Kramer, Mary Savigar, Andrea Drugan, Elen Griffiths, and Lauren Mulholland for their incredible patience. Also, to Gail Ferguson for careful copy-editing.

And, finally, for years of intellectual stimulation and moral support, thanks to Eileen Meehan, Deborah Phillips, and Jeremy Swartz. And to Joey . . .

Figure 1.1: The Alameda Avenue entrance to the Walt Disney Studios in Burbank, California. Photo by Coolcaesar.