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| disney's racist history: Disney Culture John Wills, 2017-03-17 Over the past century, Disney has grown from a small American animation studio into a multipronged global media giant. Today, the company’s annual revenue exceeds the GDP of over 100 countries, and its portfolio has grown to include Pixar, Marvel, Lucasfilm, ABC, and ESPN. With a company so diversified, is it still possible to identify a coherent Disney vision or message? Disney Culture proposes that there is still a unifying Disney ethos, one that can be traced back to the corporate philosophy that Walt Disney himself developed back in the 1920s. Yet, as cultural historian John Wills demonstrates, Disney’s values have also adapted to changing social climates. At the same time, the world of Disney has profoundly shaped how Americans view the world. Wills offers a nuanced take on the corporate ideologies running through animated and live-action Disney movies from Frozen to Fantasia, from Mary Poppins to Star Wars: The Force Awakens. But Disney Culture encompasses much more than just movies as it explores the intersections between Disney’s business practices and its cultural mythmaking. Welcome to “the Disney Way.” |
| disney's racist history: Walt Disney Marc Eliot, 1995 This biography of the man behind the magic reconciles the private 'monster' with the artistic genius of popular culture by showing that the disturbing problems of his own life provided the rich, dark side of the animated movies. |
| disney's racist history: Framing Blackness Ed Guerrero, 1993-11-19 From D.W. Griffith's The Birth of a Nation to Spike Lee's Malcolm X, Ed Guerrero argues, the commercial film industry reflects white domination of American society. Written with the energy and conviction generated by the new black film wave, Framing Blackness traces an ongoing epic—African Americans protesting screen images of blacks as criminals, servants, comics, athletes, and sidekicks. These images persist despite blacks' irrepressible demands for emancipated images and a role in the industry. Although starkly racist portrayals of blacks in early films have gradually been replaced by more appealing characterizations, the legacy of the plantation genre lives on in Blaxpoitation films, the fantastic racialized imagery in science fiction and horror films, and the resubordination of blacks in Reagan-era films. Probing the contradictions of such images, Guerrero recalls the controversies surrounding role choices by stars like Sidney Poitier, Eddie Murphy, Whoopie Goldberg, and Richard Pryor. Throughout his study, Guerrero is attentive to the ways African Americans resist Hollywood's one-dimensional images and superficial selling of black culture as the latest fad. Organizing political demonstrations and boycotts, writing, and creating their own film images are among the forms of active resistance documented. The final chapter awakens readers to the artistic and commercial breakthrough of black independent filmmakers who are using movies to channel their rage at social injustice. Guerrero points out their diverse approaches to depicting African American life and hails innovative tactics for financing their work. Framing Blackness is the most up-to-date critical study of how African Americans are acquiring power once the province of Hollywood alone: the power of framing blackness. In the series Culture and the Moving Image, edited by Robert Sklar. |
| disney's racist history: Diversity in Disney Films Johnson Cheu, 2013-01-24 Although its early films featured racial caricatures and exclusively Caucasian heroines, Disney has, in recent years, become more multicultural in its filmic fare and its image. From Aladdin and Pocahontas to the Asian American boy Russell in Up, from the first African American princess in The Princess and the Frog to Spanish-mode Buzz Lightyear in Toy Story 3, Disney films have come to both mirror and influence our increasingly diverse society. This essay collection gathers recent scholarship on representations of diversity in Disney and Disney/Pixar films, not only exploring race and gender, but also drawing on perspectives from newer areas of study, particularly sexuality/queer studies, critical whiteness studies, masculinity studies and disability studies. Covering a wide array of films, from Disney's early days and Golden Age to the Eisner era and current fare, these essays highlight the social impact and cultural significance of the entertainment giant. Instructors considering this book for use in a course may request an examination copy here. |
| disney's racist history: Birth of an Industry Nicholas Sammond, 2015-08-27 In Birth of an Industry, Nicholas Sammond describes how popular early American cartoon characters were derived from blackface minstrelsy. He charts the industrialization of animation in the early twentieth century, its representation in the cartoons themselves, and how important blackface minstrels were to that performance, standing in for the frustrations of animation workers. Cherished cartoon characters, such as Mickey Mouse and Felix the Cat, were conceived and developed using blackface minstrelsy's visual and performative conventions: these characters are not like minstrels; they are minstrels. They play out the social, cultural, political, and racial anxieties and desires that link race to the laboring body, just as live minstrel show performers did. Carefully examining how early animation helped to naturalize virulent racial formations, Sammond explores how cartoons used laughter and sentimentality to make those stereotypes seem not only less cruel, but actually pleasurable. Although the visible links between cartoon characters and the minstrel stage faded long ago, Sammond shows how important those links are to thinking about animation then and now, and about how cartoons continue to help to illuminate the central place of race in American cultural and social life. |
| disney's racist history: A Brief History of Walt Disney Brian J. Robb, 2014-10-16 Animator, innovator and business magnate, Walt Disney undeniably had a huge impact on American culture ... an illuminating account of Disney's artistic creations ... and an insightful history of the entertainment behemoth he created, from Dumbo to Pixar's Toy Story, as well as the hugely popular theme parks. The company Disney built is today stronger than ever, encompassing not onlyu the ongoing legacy of Disney animation, but also acting as the guardian of other well-loved creative endeavours .. [This] explores the man, the films he created and the company he built, with a special emphasis on animation, which has always been the heart and soul of the company--Publisher's description. |
| disney's racist history: The True Story of Pocahontas , 2016-11-30 The True Story of Pocahontas is the first public publication of the Powhatan perspective that has been maintained and passed down from generation to generation within the Mattaponi Tribe, and the first written history of Pocahontas by her own people. |
| disney's racist history: Disney's Most Notorious Film Jason Sperb, 2012-12-01 Looks at the racial issues surrounding Disney's Song of the South, as well as how the public's reception of the film has changed over the years, and why, while not releasing the film in its entirety in nearly two decades, Disney has chosen to continue to repackage and repurpose bits and pieces of the film. |
| disney's racist history: Disney's Most Notorious Film Jason Sperb, 2012-12-01 The Walt Disney Company offers a vast universe of movies, television shows, theme parks, and merchandise, all carefully crafted to present an image of wholesome family entertainment. Yet Disney also produced one of the most infamous Hollywood films, Song of the South. Using cartoon characters and live actors to retell the stories of Joel Chandler Harris, SotS portrays a kindly black Uncle Remus who tells tales of Brer Rabbit, Brer Fox, and the “Tar Baby” to adoring white children. Audiences and critics alike found its depiction of African Americans condescending and outdated when the film opened in 1946, but it grew in popularity—and controversy—with subsequent releases. Although Disney has withheld the film from American audiences since the late 1980s, SotS has an enthusiastic fan following, and pieces of the film—such as the Oscar-winning “Zip-a-Dee-Doo-Dah”—remain throughout Disney’s media universe. Disney’s Most Notorious Film examines the racial and convergence histories of Song of the South to offer new insights into how audiences and Disney have negotiated the film’s controversies over the last seven decades. Jason Sperb skillfully traces the film’s reception history, showing how audience perceptions of SotS have reflected debates over race in the larger society. He also explores why and how Disney, while embargoing the film as a whole, has repurposed and repackaged elements of SotS so extensively that they linger throughout American culture, serving as everything from cultural metaphors to consumer products. |
| disney's racist history: Popular Culture in the Age of White Flight Eric Avila, 2006-04 In Popular Culture in the Age of White Flight, Eric Avila offers a unique argument about the restructuring of urban space in the two decades following World War II and the role played by new suburban spaces in dramatically transforming the political culture of the United States. Avila's work helps us see how and why the postwar suburb produced the political culture of 'balanced budget conservatism' that is now the dominant force in politics, how the eclipse of the New Deal since the 1970s represents not only a change of views but also an alteration of spaces.—George Lipsitz, author of The Possessive Investment in Whiteness |
| disney's racist history: White Fragility Robin DiAngelo, 2019-02-07 The International Bestseller 'With clarity and compassion, DiAngelo allows us to understand racism as a practice not restricted to bad people. In doing so, she moves our national discussions forward. This is a necessary book for all people invested in societal change' Claudia Rankine Anger. Fear. Guilt. Denial. Silence. These are the ways in which ordinary white people react when it is pointed out to them that they have done or said something that has - unintentionally - caused racial offence or hurt. After, all, a racist is the worst thing a person can be, right? But these reactions only serve to silence people of colour, who cannot give honest feedback to 'liberal' white people lest they provoke a dangerous emotional reaction. Robin DiAngelo coined the term 'White Fragility' in 2011 to describe this process and is here to show us how it serves to uphold the system of white supremacy. Using knowledge and insight gained over decades of running racial awareness workshops and working on this idea as a Professor of Whiteness Studies, she shows us how we can start having more honest conversations, listen to each other better and react to feedback with grace and humility. It is not enough to simply hold abstract progressive views and condemn the obvious racists on social media - change starts with us all at a practical, granular level, and it is time for all white people to take responsibility for relinquishing their own racial supremacy. 'By turns mordant and then inspirational, an argument that powerful forces and tragic histories stack the deck fully against racial justice alongside one that we need only to be clearer, try harder, and do better' David Roediger, Los Angeles Review of Books 'The value in White Fragility lies in its methodical, irrefutable exposure of racism in thought and action, and its call for humility and vigilance' Katy Waldman, New Yorker 'A vital, necessary, and beautiful book' Michael Eric Dyson |
| disney's racist history: Who's Afraid of the Song of the South? Jim Korkis, 2012 Brer Rabbit. Uncle Remus. Song of the South. Racist? Disney thinks so. And that's why it has forbidden the theatrical re-release of its classic film Song of the South since 1986. But is the film racist? Are its themes, its characters, even its music so abominable that Disney has done us a favor by burying the movie in its infamous Vault, where the Company claims it will remain for all time? Disney historian Jim Korkis does not think so. In his newest book, Who's Afraid of the Song of the South?, Korkis examines the film from concept to controversy, and reveals the politics that nearly scuttled the project. Through interviews with many of the artists and animators who created Song of the South, and through his own extensive research, Korkis delivers both the definitive behind-the-scenes history of the film and a balanced analysis of its cultural impact. What else would Disney prefer you did not know? Plenty. Korkis also pulls back the curtain on such dubious chapters in Disney history as: Disney's cinematic attack on venereal disease Ward Kimball's obsession with UFOs Tim Burton's depressed stint at the Disney Studios Walt Disney's nightmares about his stomping an owl to death Wally Wood's Disneyland Memorial Orgy poster J. Edgar Hoover's hefty FBI file on Walt Disney Little Black Sunflower's animated extinction Plus 10 more forbidden tales that Disney wishes would go away. Whether you're a film buff, an armchair academic, or a Disney fan eager to peek behind Disney's magical (and tightly controlled) curtain, you'll discover lots you never knew about Disney. With a foreword by Disney Legend Floyd Norman, Who's Afraid of the Song of the South? is both authoritative and entertaining. Jim Korkis is the best-selling author of Vault of Walt, and has been researching and writing about Disney for over three decades. The Disney Company itself uses his expertise for special projects. Korkis resides in Orlando, Florida. |
| disney's racist history: They Drew as They Pleased Didier Ghez, 2016-04-05 As the Walt Disney Studio entered its first decade and embarked on some of the most ambitious animated films of the time, Disney hired a group of concept artists whose sole mission was to explore ideas and inspire their fellow animators. They Drew as They Pleased showcases four of these early pioneers and features artwork developed by them for the Disney shorts from the 1930s, including many unproduced projects, as well as for Snow White and the Seven Dwarfs, Pinocchio, and some early work for later features such as Alice in Wonderland and Peter Pan. Introducing new biographical material about the artists and including largely unpublished artwork from the depths of the Walt Disney Archives and the Disney Animation Research Library, this ebook offers a window into the most inspiring work created by the best Disney artists during the studio's early golden age. They Drew as They Pleased is the first in what promises to be a revealing and fascinating series of books about Disney's largely unexamined concept artists, with six volumes spanning the decades between the 1930s and 1990s. Copyright ©2015 Disney Enterprises, Inc. All rights reserved. |
| disney's racist history: Why Race Still Matters Alana Lentin, 2020-04-22 'Why are you making this about race?' This question is repeated daily in public and in the media. Calling someone racist in these times of mounting white supremacy seems to be a worse insult than racism itself. In our supposedly post-racial society, surely it’s time to stop talking about race? This powerful refutation is a call to notice not just when and how race still matters but when, how and why it is said not to matter. Race critical scholar Alana Lentin argues that society is in urgent need of developing the skills of racial literacy, by jettisoning the idea that race is something and unveiling what race does as a key technology of modern rule, hidden in plain sight. Weaving together international examples, she eviscerates misconceptions such as reverse racism and the newfound acceptability of 'race realism', bursts the 'I’m not racist, but' justification, complicates the common criticisms of identity politics and warns against using concerns about antisemitism as a proxy for antiracism. Dominant voices in society suggest we are talking too much about race. Lentin shows why we actually need to talk about it more and how in doing so we can act to make it matter less. |
| disney's racist history: Social Order and Authority in Disney and Pixar Films Kellie Deys, Denise F. Parrillo, 2021-11-04 Social Order and Authority in Disney and Pixar Films contributes to an essential, ongoing conversation about how power dynamics are questioned, reinforced, and disrupted in the stories Disney tells. Whether these films challenge or perpetuate traditional structures (or do both), their considerable influence warrants careful examination. This collection addresses the vast reach of the Disneyverse, contextualizing its films within larger conversations about power relations. The depictions of surveillance, racial segregation, othering, and ableism represent real issues that impact people and their lived experiences. Unfortunately, storytellers often oversimplify or mischaracterize complex matters on screen. To counter this, contributors investigate these unspoken and sometimes unintended meanings. By applying the lenses of various theoretical approaches, including ecofeminism, critiques of exceptionalism, and gender, queer, and disability studies, authors uncover underlying ideologies. These discussions help readers understand how Disney’s output both reflects and impacts contemporary cultural conditions. |
| disney's racist history: How to Be a Disney Historian Jim Korkis, 2016-03-08 Disney History - Written by You. Who writes the Disney history you love to read? A select group, immersed in the history and culture of Disney, from films to theme parks. Now these authors reveal their inspirations, their methods, and their secrets. Why just read Disney history when you can write it yourself! |
| disney's racist history: Walt Disney Neal Gabler, 2006-10-31 ONE OF THE HOLLYWOOD REPORTER'S 100 GREATEST FILM BOOKS OF ALL TIME • The definitive portrait of one of the most important cultural figures in American history: Walt Disney. Walt Disney was a true visionary whose desire for escape, iron determination and obsessive perfectionism transformed animation from a novelty to an art form, first with Mickey Mouse and then with his feature films–most notably Snow White, Fantasia, and Bambi. In his superb biography, Neal Gabler shows us how, over the course of two decades, Disney revolutionized the entertainment industry. In a way that was unprecedented and later widely imitated, he built a synergistic empire that combined film, television, theme parks, music, book publishing, and merchandise. Walt Disney is a revelation of both the work and the man–of both the remarkable accomplishment and the hidden life. Winner of the Los Angeles Times Book Prize for Biography and USA Today Biography of the Year |
| disney's racist history: Multiculturalism and the Mouse Douglas Brode, 2005 Douglas Brode's spirited defence of Disney entertainment argues that Disney paved the way for today's multicultural values through its positive portrayal of women, ethnic minorities, gays, and non-Christian spirituality and it was this portrayal of difference that promoted diversity decades before the 1990s. |
| disney's racist history: Good Girls & Wicked Witches Amy M. Davis, 2007-02-20 An in-depth view of the way popular female stereotypes were reflected in—and were shaped by—the portrayal of women in Disney’s animated features. In Good Girls and Wicked Witches, Amy M. Davis re-examines the notion that Disney heroines are rewarded for passivity. Davis proceeds from the assumption that, in their representations of femininity, Disney films both reflected and helped shape the attitudes of the wider society, both at the time of their first release and subsequently. Analyzing the construction of (mainly human) female characters in the animated films of the Walt Disney Studio between 1937 and 2001, she attempts to establish the extent to which these characterizations were shaped by wider popular stereotypes. Davis argues that it is within the most constructed of all moving images of the female form—the heroine of the animated film—that the most telling aspects of Woman as the subject of Hollywood iconography and cultural ideas of American womanhood are to be found. “A fascinating compilation of essays in which [Davis] examined the way Disney has treated female characters throughout its history.” —PopMatters |
| disney's racist history: A Brief History of Walt Disney Brian J. Robb, 2014-10-16 Both a fascinating account of Walt Disney’s own significant artistic creations, from the iconic Mickey Mouse to the groundbreaking Snow White in 1937, and an insightful history of the hugely successful entertainment behemoth he created, from Dumbo to Pixar’s Toy Story, as well as the hugely popular theme parks. But Disney’s dark side is also explored: his disputed parentage; industrial disputes; his work for the FBI; and his anti-Communist and allegedly racist and antisemitic views. The company Disney built is today stronger than ever, encompassing not only the ongoing legacy of Disney animation, but also acting as the guardian of other well-loved creative endeavours, such as Pixar, The Muppets, Marvel Comics and now Star Wars. Sections include ‘Before Mickey: The Road to the Mouse House’, covering from 1901 to 1945 – the creation of Mickey Mouse, the creation of the world’s first full-length animated feature film, the Golden Age of animation and Disney’s help for the American war effort, despite labour disputes; ‘Disney Studios: The Disney Genius’ – difficult times, theme parks and television, live-action movies, including Mary Poppins; ‘Animation’s Second Coming’, from the Lady and the Tramp to The Sword in the Stone, and Walt Disney’s death; ‘After Walt: The Disney Legacy’ – family attempts to keep the studio afloat, decline and the loss of lustre in the 1970s and 1980s; ‘Disney Resurgent’ – a triumphant rebirth under new management with Who Framed Roger Rabbit? The Lion King and other blockbuster hits; ‘From Eisner to Iger’ – the corporate battle for the soul of Disney; ‘Disney Goes Digital’ – from Pixar to Star Wars, via Marvel Comics and The Muppets, Disney buyy up other studios, themselves often enough inspired by the original. |
| disney's racist history: From Mouse to Mermaid Elizabeth Bell, Lynda Haas, Laura Sells, 1995-11-01 A collection of essays that explicate Disney ideology through fifty-five years of feature films, including Bambi, Beauty and the Beast, Pinocchio, and more. From Mouse to Mermaid, an interdisciplinary collection of original essays, is the first comprehensive, critical treatment of Disney cinema. Addressing children’s classics as well as the Disney affiliates’ more recent attempts to capture adult audiences, the contributors respond to the Disney film legacy from feminist, marxist, poststructuralist, and cultural studies perspectives. The volume contemplates Disney’s duality as an American icon and as an industry of cultural production, created in and through fifty years of filmmaking. The contributors treat a range of topics at issue in contemporary cultural studies: the performance of gender, race, and class; the engendered images of science, nature, technology, family, and business. The compilation of voices in From Mouse to Mermaid creates a persuasive cultural critique of Disney’s ideology. The contributors are Bryan Attebery, Elizabeth Bell, Claudia Card, Chris Cuomo, Ramona Fernandez, Henry A. Giroux, Robert Haas, Lynda Haas, Susan Jeffords, N. Soyini Madison, Susan Miller, Patrick Murphy, David Payne, Greg Rode, Laura Sells, and Jack Zipes. “In this volume of 16 essays about Disney films, several pieces . . . begin the work of filling in a major gap in our understanding of animation.” —Film Quarterly |
| disney's racist history: J M Barrie and the Lost Boys Andrew Birkin, 2003-07-11 This literary biography is “a story of obsession and the search for pure childhood . . . Moving, charming, a revelation” (Los Angeles Times). J. M. Barrie, Victorian novelist, playwright, and author of Peter Pan, or The Boy Who Wouldn’t Grow Up, led a life almost as interesting as his famous creation. Childless in his marriage, Barrie grew close to the five young boys of the Davies family, ultimately becoming their guardian and surrogate father when they were orphaned. Andrew Birkin draws extensively on a vast range of material by and about Barrie, including notebooks, memoirs, and hours of recorded interviews with the family and their circle, to describe Barrie’s life, the tragedies that shaped him, and the wonderful world of imagination he created for the boys. Updated with a new preface and including photos and illustrations, this “absolutely gripping” read reveals the dramatic story behind one of the classics of children’s literature (Evening Standard). “A psychological thriller . . . One of the year’s most complex and absorbing biographies.” —Time “[A] fascinating story.” —The Washington Post |
| disney's racist history: The Mouse that Roared Henry A. Giroux, Grace Pollock, 2010-03-16 How are children—and their parents—affected by the world's most influential corporation? Henry A. Giroux explores the surprisingly diverse ways in which Disney, while hiding behind a cloak of innocence and entertainment, strives to dominate global media and shape the desires, needs, and futures of today's children. |
| disney's racist history: Rupturing Rhetoric Byron B Craig, Patricia G. Davis, Stephen E. Rahko, 2024-06-20 Contributions by Maksim Bugrov, Byron B Craig, Patricia G. Davis, Peter Ehrenhaus, Whitney Gent, Christopher Gilbert, Oscar Giner, J. Scott Jordan, Euni Kim, Melanie Loehwing, Jaclyn S. Olson, A. Susan Owen, Stephen E. Rahko, Nick J. Sciullo, Arthur D. Soto-Vásquez, and Erika M. Thomas The events surrounding the 2014 killing of Michael Brown in Ferguson, Missouri, marked a watershed moment in US history. Though this instance of police brutality represented only the latest amid decades of similar unjust patterns, it came to symbolize state complicity in the deployment of violence to maintain racial order. Rupturing Rhetoric: The Politics of Race and Popular Culture since Ferguson responds to the racial rhetoric of American popular culture in the years since Brown's death. Through close readings of popular media produced during the late Obama and Trump eras, this volume details the influence of historical and contemporary representations of race on public discourse in America. Using Brown’s death and the ensuing protests as a focal point, contributors argue that Ferguson marks the rupture of America’s postracial fantasy. An ideology premised on colorblindness, the notion of the “postracial” suggests that the United States has largely achieved racial equality and that race is no longer a central organizing category in American society. Postracialism is partly responsible for ahistorical, romanticized narratives of slavery, Jim Crow segregation, and American exceptionalism. The legitimacy of this fantasy, the editors contend, was the first casualty of the tanks, tear gas, and rubber bullets wielded against protesters during the summer of 2014. From these protests emerged a new political narrative organized around #BlackLivesMatter, which directly challenged the fantasy of a postracial American society. Essays in Rupturing Rhetoric cover such texts as Fresh Off the Boat; Hamilton; Green Book; NPR’s American Anthem; Lovecraft Country; Disney remakes of Dumbo, The Lion King, and Lady and the Tramp; BlacKkKlansman; Crazy Rich Asians; The Hateful Eight; and Fences. As a unified body of work, the collection interrogates the ways contemporary media in American popular culture respond to and subvert the postracial fantasy underlying the politics of our time. |
| disney's racist history: If I Ran the Zoo Dr. Seuss, 1950 Gerald tells of the very unusual animals he would add to the zoo, if he were in charge. |
| disney's racist history: The Queens of Animation Nathalia Holt, 2019-10-22 From the bestselling author of Rise of the Rocket Girls, the untold, richly detailed story of the women of Walt Disney Studios, who shaped the iconic films that have enthralled generations (Margot Lee Shetterly, New York Times bestselling author of Hidden Figures). From Snow White to Moana, from Pinocchio to Frozen, the animated films of Walt Disney Studios have moved and entertained millions. But few fans know that behind these groundbreaking features was an incredibly influential group of women who fought for respect in an often ruthless male-dominated industry and who have slipped under the radar for decades. In The Queens of Animation, bestselling author Nathalia Holt tells their dramatic stories for the first time, showing how these women infiltrated the boys' club of Disney's story and animation departments and used early technologies to create the rich artwork and unforgettable narratives that have become part of the American canon. As the influence of Walt Disney Studios grew -- and while battling sexism, domestic abuse, and workplace intimidation -- these women also fought to transform the way female characters are depicted to young audiences. With gripping storytelling, and based on extensive interviews and exclusive access to archival and personal documents, The Queens of Animation reveals the vital contributions these women made to Disney's Golden Age and their continued impact on animated filmmaking, culminating in the record-shattering Frozen, Disney's first female-directed full-length feature film. A Best Book of 2019: Library Journal, Christian Science Monitor, and Financial Times |
| disney's racist history: Phantasmagorical Culture: A Discussion of Disney as a Creator and a Cultural Phenomenon Genevieve C. Goddard-Pritchett, 2010-09-26 Culture is informed by both the producers and consumers of that culture. However, in the case of the Walt Disney corporation, the producer is so powerful that it is not just informing culture but making a new culture all its own. Through playing on ideas of nostalgia, utopia, and the American dream, Disney has consturcted a world of fantasy that is becoming real in the eyes of consumers. |
| disney's racist history: Ways of Seeing, Ways of Speaking Kristie S. Fleckenstein, Sue Hum, 2007-10-11 The essays in Ways of Seeing, Ways of Speaking: The Integration of Rhetoric and Vision in Constructing the Real explore the intersections among image, word, and visual habits in shaping realities and subjectivities. |
| disney's racist history: Dragons in a Bag Zetta Elliott, 2018-10-23 The dragon's out of the bag in this diverse, young urban fantasy from an award-winning author! When Jaxon is sent to spend the day with a mean old lady his mother calls Ma, he finds out she's not his grandmother--but she is a witch! She needs his help delivering baby dragons to a magical world where they'll be safe. There are two rules when it comes to the dragons: don't let them out of the bag, and don't feed them anything sweet. Before he knows it, Jax and his friends Vikram and Kavita have broken both rules! Will Jax get the baby dragons delivered safe and sound? Or will they be lost in Brooklyn forever? AN ALA-ALSC NOTABLE CHILDREN'S BOOK AN NPR BEST BOOK OF THE YEAR A CHICAGO PUBLIC LIBRARY BEST BOOK OF THE YEAR A KIRKUS REVIEWS BEST BOOK OF THE YEAR The Dragons in a Bag series continues! Don't miss The Dragon Thief, and The Witch's Apprentice. |
| disney's racist history: The Disney Middle Ages T. Pugh, S. Aronstein, 2012-12-10 For many, the middle ages depicted in Walt Disney movies have come to figure as the middle ages, forming the earliest visions of the medieval past for much of the contemporary Western (and increasingly Eastern) imagination. The essayists of The Disney Middle Ages explore Disney's mediation and re-creation of a fairy-tale and fantasy past, not to lament its exploitation of the middle ages for corporate ends, but to examine how and why these medieval visions prove so readily adaptable to themed entertainments many centuries after their creation. What results is a scrupulous and comprehensive examination of the intersection between the products of the Disney Corporation and popular culture's fascination with the middle ages. |
| disney's racist history: The American Historical Imaginary Caroline Guthrie, 2022-10-14 In The American Historical Imaginary: Contested Narratives of the Past in Mass Culture Caroline Guthrie examines the American relationship to versions of the past that are known to be untrue and asks why do these myths persist, and why do so many people hold them so dear? To answer these questions, she examines popular sites where fictional versions of history are formed, played through, and solidified. From television’s reality show winners and time travelers, to the Magic Kingdom in Walt Disney World, to the movies of Quentin Tarantino, this book examines how mass culture imagines and reimagines the most controversial and painful parts of American history. In doing so, Guthrie explores how contemporary ideas of national identity are tied to particular versions of history that valorize white masculinity and ignores oppression and resistance. Through her explanation and analysis of what she calls the historical imaginary, Guthrie offers new ways of attempting to combat harmful myths of the past through the imaginative engagements they have dominated for so long. |
| disney's racist history: Comics and Stuff Henry Jenkins, 2020-04-14 Considers how comics display our everyday stuff—junk drawers, bookshelves, attics—as a way into understanding how we represent ourselves now For most of their history, comics were widely understood as disposable—you read them and discarded them, and the pulp paper they were printed on decomposed over time. Today, comic books have been rebranded as graphic novels—clothbound high-gloss volumes that can be purchased in bookstores, checked out of libraries, and displayed proudly on bookshelves. They are reviewed by serious critics and studied in university classrooms. A medium once considered trash has been transformed into a respectable, if not elite, genre. While the American comics of the past were about hyperbolic battles between good and evil, most of today’s graphic novels focus on everyday personal experiences. Contemporary culture is awash with stuff. They give vivid expression to a culture preoccupied with the processes of circulation and appraisal, accumulation and possession. By design, comics encourage the reader to scan the landscape, to pay attention to the physical objects that fill our lives and constitute our familiar surroundings. Because comics take place in a completely fabricated world, everything is there intentionally. Comics are stuff; comics tell stories about stuff; and they display stuff. When we use the phrase “and stuff” in everyday speech, we often mean something vague, something like “etcetera.” In this book, stuff refers not only to physical objects, but also to the emotions, sentimental attachments, and nostalgic longings that we express—or hold at bay—through our relationships with stuff. In Comics and Stuff, his first solo authored book in over a decade, pioneering media scholar Henry Jenkins moves through anthropology, material culture, literary criticism, and art history to resituate comics in the cultural landscape. Through over one hundred full-color illustrations, using close readings of contemporary graphic novels, Jenkins explores how comics depict stuff and exposes the central role that stuff plays in how we curate our identities, sustain memory, and make meaning. Comics and Stuff presents an innovative new way of thinking about comics and graphic novels that will change how we think about our stuff and ourselves. |
| disney's racist history: Debating Disney Douglas Brode, Shea T. Brode, 2016-06-30 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. |
| disney's racist history: The Disneyfication of Animals Rebecca Rose Stanton, 2020-09-17 This book critically examines how Walt Disney Animation Studios has depicted – and sometimes failed to depict – different forms of harming and objectifying non-human animals in their films. Each chapter addresses a different form of animal harm and objectification through the theories of speciesism, romanticism, and the ‘collapse of compassion’ effect, from farming, hunting and fishing, to clothing, work, and entertainment. Stanton lucidly presents the dichotomy between depictions of higher order, anthropomorphised and neotonised animal characters and that of lower-order species, showing furthermore how these depictions are closely linked to changing social attitudes about acceptable forms of animal harm. An engaging and novel contribution to the field of Critical Animal Studies, this book explores the use of animals not only in Disney’s best known animated films such as 101 Dalmatians, but also lesser known features including Home on the Range and Fun and Fancy Free. A quantitative appendix supplying data on how often each animal species appears and the amount of times animal harm or objectification is depicted in over fifty films provides an invaluable resource and addition to scholars working in both Disney and animal studies. |
| disney's racist history: YOUNG PROFESSIONAL MARXIST BUSINESSMEN: A LEGACY JOSEPH SMITH, 2020-01-22 This is a liberal playhouse book of young professionals and essays about them. It is a greedy liberal playhouse. |
| disney's racist history: Understanding Disney Janet Wasko, 2020-01-20 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. |
| disney's racist history: Disney, Culture, and Curriculum Jennifer A. Sandlin, Julie C. Garlen, 2016-03-10 A presence for decades in individuals’ everyday life practices and identity formation, the Walt Disney Company has more recently also become an influential element within the big curriculum of public and private spaces outside of yet in proximity to formal educational institutions. Disney, Culture, and Curriculum explores the myriad ways that Disney’s curricula and pedagogies manifest in public consciousness, cultural discourses, and the education system. Examining Disney’s historical development and contemporary manifestations, this book critiques and deconstructs its products and perspectives while providing insight into Disney’s operations within popular culture and everyday life in the United States and beyond. The contributors engage with Disney’s curricula and pedagogies in a variety of ways, through critical analysis of Disney films, theme parks, and planned communities, how Disney has been taught and resisted both in and beyond schools, ways in which fans and consumers develop and negotiate their identities with their engagement with Disney, and how race, class, gender, sexuality, and consumerism are constructed through Disney content. Incisive, comprehensive, and highly interdisciplinary, Disney, Culture, and Curriculum extends the discussion of popular culture as curriculum and pedagogy into new avenues by focusing on the affective and ontological aspects of identity development as well as the commodification of social and cultural identities, experiences, and subjectivities. |
| disney's racist history: Re-Orienting the Fairy Tale Mayako Murai, Luciana Cardi, 2020-08-25 Readers will find inspiration and new directions in the cross-cultural and interdisciplinary approaches to fairy tales provided by Re-Orienting the Fairy Tale. |
| disney's racist history: The Way I Heard It Mike Rowe, 2021-10-19 Emmy-award winning gadfly Rowe presents a ridiculously entertaining, seriously fascinating collection of his favorite episodes from America's #1 short-form podcast, The Way I Heard It, along with a host of memories, ruminations, illustrations, and insights. |
| disney's racist history: Horton Hears a Who! Dr. Seuss, 2013-09-24 Choose kindness with Horton the elephant and the Whos of Who-ville in Dr. Seuss's classic picture book about caring for others that makes it a perfect gift! A person's a person, no matter how small. Everyone's favorite elephant stars in this heartwarming and timeless story for readers of all ages. In the colorful Jungle of Nool, Horton discovers something that at first seems impossible: a tiny speck of dust contains an entire miniature world--Who-ville--complete with houses and grocery stores and even a mayor! But when no one will stand up for the Whos of Who-ville, Horton uses his elephant-sized heart to save the day. This tale of compassion and determination proves that any person, big or small, can choose to speak out for what is right. This story showcases the very best of Dr. Seuss, from the moving message to the charming rhymes and imaginative illustrations. No bookshelf is complete without Horton and the Whos! Do you see what I mean? . . . They've proved they ARE persons, no matter how small. And their whole world was saved by the Smallest of All! |
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