Walt Disney Company

Disney and its spectacularly successful theme parks are analyzed
through the lens of its consumers. We focus on how Disney
manages the consumption experience and discuss Disney strategies from several perspectives. Disney provides a paradigm for contemporary consumption. A framework is presented to
understand consumption in Disney and Disneyesque settings.
Finally, we offer cautions and critiques regarding such strategies-a
guide for the informed consumer

The purpose of this paper is to discuss the influence of Pixar Animation Studios on the work of Disney’s animated films since its acquisition by the Walt Disney Company in 2006, from a film industry studies approach.

Since the 1980s, a number of global media corporations have assimilated all of the key Hollywood studios (Schatz 45). In fact according to Thomas Schatz, Disney is the ‘only major studio to avoid acquisition by a conglomerate’ (45), by becoming one itself. At present, The Walt Disney Company owns media networks ABC and ESPN, and Marvel Entertainment, Lucas Film and Maker Studios are the latest additions to the Walt Disney Studios banner. In 2006, the studio purchased Pixar Animation Studios for $7.4 billion, a deal that has proven invaluable to the success of Disney’s animated feature films. Prior to the acquisition market research suggested that mothers with children under the age of 12 generally rated Pixar’s brand higher than Disney’s (Price 252). The recent success of Tangled (Greno and Howard, 2010), Wreck-it-Ralph (Moore, 2012) and Frozen (Buck and Lee, 2013), measured in terms of box office figures, critical reviews and merchandise sales, demonstrate a renewed trust in the Disney brand. In a recent Variety article Bob Iger partly attributed this success to the purchasing of Pixar (Graser 2014). As chief creative officer for both Disney and Pixar Animation Studios, John Lasseter has been a key figure in the revival of Disney animation. As Chris Pallant suggests, Lasseter wanted to ‘remould Disney into a filmmakers’ studio, with an emphasis on perfection’ (131).

My paper will discuss the significance of Disney’s purchase of Pixar as an entertainment franchise, with a focus on merchandise and marketing strategies.

El caso de LACC número 712-S11 es la versión en español del caso de HBS número 709-462.

En noviembre de 2005, Robert Iger, el recién nombrado consejero delegado de Walt Disney Company, esperaba ansiosamente los resultados de la recaudación de Chicken Little, el segundo largometraje de dibujos animados generado por ordenador (CG) de la compañía. Sabía que, para que para que Disney como un todo tuviera éxito como empresa, debía enderezar el negocio de la animación, especialmente perfeccionando la nueva tecnología CG, que estaba sustituyendo muy rápidamente la animación dibujada a mano. Sin embargo, la compañía había dependido de un contrato con los estudios de animación Pixar, que había producido éxitos como Toy Story y Buscando a Nemo, para la mayoría de sus ingresos recientes por películas de animación. Y el acuerdo de coproducción, negociado durante el mandato de su predecesor Michael Eisner, expirabaen 2006, después del estreno de Cars, la quinta película del acuerdo para cinco películas. Desgraciadamente, las negociaciones para la renovación del contrato entre Steve Jobs, consejero delegado de Pixar, y Eisner habían fracasado en 2004 debido a conflictos de carácter personal. Cuando asumió su nuevo rol, Iger reabrió las líneas de comunicación entre ambas empresas. De hecho, acababa de llegar a un acuerdo con Jobs para vender algunos espectáculos televisivos propiedad de Disney y producidos por los estudios ABC-como Mujeres desesperadas-a través del iTunes Music Store de Apple. Iger sabía que podía llegar a un acuerdo con Pixar; la cuestión estribaba en qué términos debía hacerlo. ¿Tenía sentido para Disney sencillamente comprar Pixar?

Home on the Range (Will Finn and John Sanford, 2004) concluded what had been, for Disney, a stylistically progressive sequence of theatrically released features defined in this article as the Neo-Disney period that broke with the hyperrealist conventions most commonly associated with the studio's output. It is this critically neglected sequence of films, comprising Fantasia 2000 (James Algar et al., 1999), The Emperor's New Groove (Mark Dindal, 2000), Atlantis: The Lost Empire (Gary Trousdale and Kirk Wise, 2001), Lilo and Stitch (Dean DeBlois and Chris Sanders, 2002), Treasure Planet (Ron Clements and John Musker, 2002), Brother Bear (Aaron Blaise and Robert Walker, 2003) and Home on the Range, which provide the focus of this article. By analysing the artistic and narratological composition of these films, this article seeks to demonstrate that the studio's feature animation is more heterogeneous and progressive than received notions of Disney allow for.

Los mitos y figuras creados en la literatura han sufrido, desde el s. XX y aún en el XXI, trasvases a otros soportes de ficción como son el cine, la televisión, el cómic y los videojuegos. Este fenómeno, que recibe ‒entre otros‒ el nombre de transmedialidad, no es un mero cambio de formato, ya que los personajes y obras tomados por los nuevos medios se ven, en la mayoría de las ocasiones, modificados por las características propias e idiosincrásicas de cada código.

Esto le ocurrió a una figura romántica: el pirata. Nacido como símbolo de libertad, rebeldía y masculinidad, el bucanero ha llegado hasta nuestros días como figura de ficción; sin embargo, ha sufrido notables y significativos cambios en su concepción debidos no tanto a las nuevas aportaciones de autores literarios, sino a los múltiples trasvases a estos nuevos y modernos medios.

Este trabajo trata de recoger la evolución del pirata de ficción desde el Romanticismo, tomando como referencia primera La isla del tesoro de Robert Louis Stevenson y, como última, la saga cinematográfica Piratas del Caribe. Se centra sobre todo en el pirata desde su concepción decimonónica, poniendo de manifiesto que, aún en la actualidad, el bucanero sigue siendo un estereotipo romántico y, más aún, se ha creado a su alrededor un cliché folclórico del que es difícil desprenderse como receptores.

In 2018 Mickey Mouse, an iconic brand hero of Disney, celebrated the 90th birthday anniversary in the National Film Archive – Audio-Visual Institute (Pol. FINA) in Warsaw, Poland. By this occasion, the global corporation positioned itself in the local public domain as a social agent through cooperation with the mentioned national institution. The glocalisation strategy has been reflected in the PR activities and has found its visual form in specific PR tools. The paper aims to analyse this case study as the exemplification of a successful implementation of organisational aesthetics in the public realm. The paper analyses the global organization’s visual communication practice in the local framework.

I am sharing the introduction and the conclusion of my new book on Disney, Hollywood and cultural capitalism. This book sheds new light on the socio-economic impact of multinational corporations. Combining Cultural Studies and International Political Economy, it provides a revealing analysis of the Walt Disney Company, and by extension the wider Hollywood studio system. It does so by examining the cultural and economic forces powering the industry's expansion, the 'civilisation' that Disney disseminates, and the various ways that societies beyond the USA have adopted facets of the Hollywood productions to which they are exposed. Identifying both the strengths and the weaknesses of these transnational firms, it demonstrates the significance of their contribution to American power and predominance.

The Disney international college program has become popular among Brazilian University students. Every year, hundreds of them embark on this experience. While in the program, they develop a strong emotional bond with the Disney Company. Then, when they return to their home country this youngsters miss their Disney way of life. This after Disney emotional effect is called by the program participants as post-Disney depression. Our research objective is to explore the post-Disney depression in the light of Freud's sublimation concept. Our finds have shown that upward sublimation, participants' emotional link with Disney might also be grounded on work fetishism.

"Thanks to their huge market success, animations from The Disney Company and blockbuster franchises like Harry Potter have dominated 'family film' production. Yet there is a long, varied and largely untold history of films made for 'family' audiences of adults and children outside the United States, and of non-Disney family films in Hollywood.

Family Films in Global Cinema is the first serious examination of films for child and family audiences in a global context.  Whereas most previous studies of children’s films and family films have concerned themselves solely with Disney, this book encompasses both live-action and animated films from the Hollywood, British, Australian, East German, Russian, Indian, Japanese and Brazilian cinemas.  As well as examining international family films previously ignored by scholars, the collection also presents a fresh perspective on familiar movies such as The Railway Children, The Nightmare Before Christmas, Babe, and the Harry Potter series.

Coinciding with a surging critical interest in children’s culture, Family Films in Global Cinema brings together film and television critics and historians, children’s literature scholars and folklorists. Contributors interrogate the generic aspects of family films, analysing their key formal and thematic characteristics, revealing their commonalities and variations across social and cultural borders, questioning what makes them enduringly popular for adults as well as children, and underlining their enormous richness and diversity."

Introduction: Children's Films and Family Films; Noel Brown and Bruce Babington

PART I: QUESTIONS OF IDENTITY

1. Ladies and Gentleman, Boys and Girls: Babe and Babe: Pig in the City; Bruce Babington
2. 'A film specially suitable for children': The Marketing and Reception of 2001: A Space Odyssey (1968); Peter Krämer
3. 'Why Can't They Make Kids' Flicks Anymore?': Willy Wonka and the Chocolate Factory and the Dual-Addressed Family Film; Adrian Schober
4. 'This is Halloween': The History, Significance, and Cultural Impact of Tim Burton's The Nightmare Before Christmas; James M. Curtis

PART II: THE CHILD AND THE FAMILY

5. Sabu, the Elephant Boy; Jeffrey Richards
6. The Classical Hollywood Family on Screen: Living with Father and Remembering Mama; Bruce Babington
7. The Railway Children, and Other Stories: Lionel Jeffries and British Family Films in the 1970s; Noel Brown
8. 'Luke, I am your father': Toys, Play Space, and Detached Fathers in Post-1970s Hollywood Family Films; Holly Blackford

PART III: CINEMA AND STATE

9. 'Films to Give Kids Courage!': Children's Films in the German Democratic Republic; Benita Blessing
10. Post-Soviet Parody: Can Family Films about Russian Heroes be Funny?; Natalie Kononenko
11. A Brief History of Indian Children's Cinema; Noel Brown

PART IV: NATIONAL IDENTITIES

12. Brazilian Children's Cinema in the 1990s: Tensions Between the National-Popular and the International-Popular; Mirian Ou and Alessandro Constantino Gamo
13. Narrative, Time, and Memory in Studio Ghibli Films; Tom Ue
14. Dark Films for Dark Times: Spectacle, Reception, and the Textual Resonances of the Hollywood Fantasy Film; Fran Pheasant-Kelly"

Walt Disney’s 2009 film The Princess and the Frog is arguably the most important Disney film since 1989’s The Little Mermaid. The film is one of firsts. Most notably, it is the first Disney Princess movie to feature an African-American in a lead role. It is equally important because Tiana, the main character, is the first American Disney Princess.  And if some of the Hollywood rumors are true, it may be the last of Disney’s storied hand-drawn animation movies. Its release date came just a couple of months after America celebrated the inauguration of its first black president and subsequently, its first black First Lady, Michelle Obama. As Neal Lester notes in the title of his essay on the movie , there is a pressure of being the first African American Princess, especially from a company whose films have had a checkered racial past. The film was a commercial success, but met with mixed feelings among members the African-American community. Tiana has been criticized for her name, her hair, her occupation, her desires, and for not being “black enough.” Prince Naveen has been rejected by most of the black community because in reality, he is not black. He comes from the made up land of Maldonia, and is voiced by a Brazilian actor. His creolized ethnicity has been criticized for paralleling colonial suppression of African-Americans. Disney has also caught flack for its use of voodoo and its choice of setting (New Orleans) for the film. The discourse of this paper will attempt to examine where Princess Tiana fits within Disney’s princess ideological constructs.

In this article, we analyze letters designs of Disney imaginary from visual culture. We investigate the styles that have supposed some of the most emblematic productions of this film producer, as a consequence as sample they are chosen 12 representative films of the 60 titles of Disney Classics set. Using a case study we developed a comparative to find out visual messages made with letters have clearly penetrated collective imagination. Communication and technology go together in this stylistic evolution. We also provide an educational perspective on the subject, attending to our involvement in training teacher, offering a detailed examination of posters and credits. We believe that this material can be useful to better understand the influence of Disney sensibility on successive generations of audiences. Disney’s power in the media directly affects our reception of classical literature, something that is maintained in every process or change that happens, since Disney has demonstrated for a century its ability to adapt to technological uses and currents aesthetic. The letters of the Disney iconography offer us an exclusive catalog of adaptation to fashions from constant innovation in its ideological, aesthetic, technological, communicative and cultural proposals

A lo largo de la historia del cine, el personaje femenino ha sido encasillado en diferentes roles que lo califican o estigmatizan. Con este artículo, se pretende estudiar cómo los Walt Disney Animation Studios1 han generado una determinada imagen de la mujer a través de sus largometrajes de animación y cómo esta representación ha evolucionado a lo largo de la historia del cine.

Walt Disney’s 2009 film The Princess and the Frog is arguably the most important Disney film since 1989’s The Little Mermaid. The film is one of firsts. Most notably, it is the first Disney Princess movie to feature an African-American in a lead role. It is equally important because Tiana, the main character, is the first American Disney Princess.  And if some of the Hollywood rumors are true, it may be the last of Disney’s storied hand-drawn animation movies. Its release date came just a couple of months after America celebrated the inauguration of its first black president and subsequently, its first black First Lady, Michelle Obama. As Neal Lester notes in the title of his essay on the movie , there is a pressure of being the first African American Princess, especially from a company whose films have had a checkered racial past. The film was a commercial success, but met with mixed feelings among members the African-American community. Tiana has been criticized for her name, her hair, her occupation, her desires, and for not being “black enough.” Prince Naveen has been rejected by most of the black community because in reality, he is not black. He comes from the made up land of Maldonia, and is voiced by a Brazilian actor. His creolized ethnicity has been criticized for paralleling colonial suppression of African-Americans. Disney has also caught flack for its use of voodoo and its choice of setting (New Orleans) for the film. The discourse of this paper will attempt to examine where Princess Tiana fits within Disney’s princess ideological constructs.

This course is a historical survey of international animation from the earliest days of cinema up to recent digital animation, with special foci on Disney, anime, experimental, and political animation techniques and forms. Not only will students be introduced to film animation as a rich and complex art form, but they will also study its primary practitioners over the past 100 years. The course does not presume familiarity with animation or film studies, and as such, will introduce students to key principles and concepts of both during the course of the semester.

This white paper examines the varied contexts of organizational cultures and how they can affect organizational behaviors in employees. With the understanding that an organizational culture is essentially that organization's "DNA", permeating everything about that organization, the paper then supposes a solution for leaders who wish to better understand or more closely refine their own cultures. To establish a new organizational culture or refine an already existing one, the five solutions are: establish myths and legends; create artifacts that everyone can hang onto as inspiration; found a creed that is easy to remember; lead by example, stressing balance in all things; adjust culture based on where it fits within Cameron and Quinn's four types of clan, adhocracy, market and hierarchy.

Model of a Film Fairy Tale in the Disney Golden Age (with Later Modifications)

The article attempts to determine the constitutive elements of a model film fairy tale in the so-called Disney Golden Age and to examine how it was used in later works, both these created by the studio and those by unrelated creators. After preliminary remarks, the author analyses three feature-length animated films: "Snow White and the Seven Dwarfs" (1937), "Cinderella" (1950), and "Sleeping Beauty" (1959). In these works, as he notes, one can notice a set of features that make up the classic Disney model of a film fairy tale. Next, the author discusses modifications applied to the pattern during the Disney Renaissance and Revival. Finally, he cites examples of cultural texts polemical to this paradigm which point to the cultural vitality and heterogeneity of the studio's films.

Through a case study of Pixar Animation Studios, this chapter offers an exploration of the relationship between screen narratives, branded production cultures, and cultural value. It analyses the representation and mediation of the company’s Emeryville campus across a range of paratextual materials (primarily journalistic exposés and DVD bonus features), before comparing this to the critical reception of its films.

The chapter discusses the legitimating implications of ‘behind the scenes’ narratives more generally, and demonstrates the potential for commodified production cultures to frame their output (and those who consume it) in very particular, culturally valuable ways. In Pixar’s case, Emeryville acts as a physical space for the reification of intangible brand values – a nexus point for the conceptions of creativity, fun and artistry that purportedly distinguish its films from those of its rivals.

Patrice Ballester (2021), 26 avril 2021, Marvel Studios - Walt Disney Company and the world expos / world's fairs : the identity of a nation ? Episode 5 Saison #1 Anticipations Archifictionnelles -https://culturesvisuelles.org/archifictions/

LES
EXPOSITIONS UNIVERSELLES ET INTERNATIONALES PEUVENT ELLES SERVIR DE TRAME SCÉNARISTIQUE POUR LES SUPERPRODUCTIONS HOLLYWOODIENNES REPOSANT SUR LE MYTHE DE L’AMÉRIQUE CONQUÉRANTE ET LES AVENTURES DES SUPER
HÉROS DANS CETTE ÉTUDE DE CAS, LE CINÉMA ET SES DISPOSITIFS NOUS AIDENT À PENSER ET À VOIR LA VILLE OU LES VILLES DU MCU PAR DEUX TEMPORALITÉS SE COMPLÉTANT LA TEMPORALITÉ
IMAGINAIRE URBAINE DES FILMS DE SUPER HÉROS ET LA TEMPORALITÉ AVÉRÉE DES EXPOSITIONS UNIVERSELLES TENUES AUX ÉTATS UNIS LES FILMS QUE NOUS ANALYSONS SONT LES TÉMOINS,
VOIRE LA PROPAGANDE D’UN MONDE OCCIDENTAL SE PERMETTANT DE RECRÉER UNE CHRONOLOGIE FICTIVE AU SEUL BUT D’INCLURE DANS LE SCÉNARIO D’UNE SUPERPRODUCTION HOLLYWOODIENNE UN ÉLÉMENT DE CULTURE DE MASSE, DITE POP CULTURE POUVANT SERVIR DE CADRE ET DE DÉCOR À TOUT UN PANEL DE SPECTATEURS LES EXPOSITIONS UNIVERSELLES SONT UTILISÉES COMME DES RÉFÉRENTS COMMUNS AUX ÉTATS UNIS PAR LES TRACES DE MÉMOIRE DES GRANDES MANIFESTATIONS DE NEW YORK, CHICAGO
ET SEATTLE QUI S’ADDITIONNENT AUX SOUVENIRS DES FÊTES GÉANTES PARISIENNES, LONDONIENNES OU ASIATIQUES UN PREMIER REGARD SUR DES FACILITÉS SCÉNARISTIQUES CRÉATRICES DE LÉGENDES URBAINES S’ANALYSE PAR LES REPRÉSENTATIONS DU
PROGRÈS ET DE SES AFFRES POUR DES HÉROS COMME TONY STARK ALIAS IRON MAN, TOUT EN RAPPELANT LES LIENS ÉTROITS ENTRE CINÉMA, ARCHITECTURE ET EXPOSITION UNIVERSELLE (I) PERMETTANT D’ENTREVOIR LA CRÉATION D’UNE LIGNE TEMPORELLE
FICTIVE D’EXPOSITION UNIVERSELLE COMME ÉLÉMENT FÉDÉRATEUR D’UNE HISTOIRE FANTASTIQUE POUR LES MASSES DANS LE CADRE DE LA FRANCHISE MARVEL STUDIO ET DU PREMIER DES VENGEURS CAPTAIN AMERICA (II). ENFIN, LA VILLE EST UN ENVIRONNEMENT QUI OFFRE DES CONTRE POINTS IMPORTANTS AU SCÉNARIO DU MCU AVEC NOTAMMENT LA DÉCLINAISON ET TRANSPOSITION DE SES FILMS (LES AVENGERS) DANS LE CADRE DES PARCS DE LOISIRS
DISNEY QUI RETRANSCRIVENT LES SCÉNARIOS ET LA STAR EXPO OU WORLD EXPO (III) COMME IDENTITE D'UN GROUPE ET D'UNE NATION?

MOTS CLÉS : RECOMPOSITION, ESTHÉTIQUE, ARCHITECTURE SPECTACLE, TRANSMÉDIA, TOURISME, URBAIN, SUPER HÉROS.

CAN WORLD’S FAIRS SERVE AS A BACKDROP FOR
HOLLYWOOD BLOCKBUSTERS CENTERED ON THE MYTH OF CONQUERING AMERICA AND THE ADVENTURES OF
SUPERHEROES? IN THIS CASE STUDY, THE CINEMA AND ITS DEVICES HELP US TO THINK AND SEE THE CITY OR CITIES OF THE MCU THROUGH TWO COMPLEMENTING TEMPORALITIES THE IMAGINARY URBAN TEMPORALITY OF SUPERHERO FILMS AND THE PROVEN TEMPORALITY OF THE WORLD EXPO HELD AT THE UNITED STATES THE FILMS THAT WE ANALYZE ARE THE WITNESSES, EVEN THE PROPAGANDA OF A
WESTERN WORLD ALLOWING ITSELF TO RECREATE A FICTITIOUS CHRONOLOGY WITH THE SOLE AIM OF INCLUDING IN THE SCENARIO OF A HOLLYWOOD BLOCKBUSTER AN ELEMENT OF MASS CULTURE, KNOWN AS POP CULTURE THAT CAN BE USED SETTING
AND DECOR FOR A WHOLE PANEL OF SPECTATORS THE WORLD'S FAIRS ARE USED AS COMMON REFERENCES IN THE UNITED STATES BY THE REMEMBRANCE TRACES OF THE MAJOR EVENTS IN NEW YORK, CHICAGO AND SEATTLE WHICH ARE ADDED TO THE MEMORIES OF THE GIANT FESTIVALS IN PARIS, LONDON OR ASIA A FIRST LOOK AT THE SCRIPTWRITING FACILITIES CREATING URBAN LEGENDS IS ANALYZED BY THE REPRESENTATIONS OF PROGRESS AND ITS PANGS FOR HEROES LIKE TONY STARK ALIAS IRON MAN, WHILE RECALLING THE CLOSE LINKS BETWEEN CINEMA, ARCHITECTURE AND
UNIVERSAL EXHIBITION (I);  PROVIDING A GLIMPSE OF THE CREATION OF A FICTIONAL WORLD EXPO TIMELINE AS A UNIFYING ELEMENT OF A FANTASY STORY FOR THE MASSES AS PART OF THE MARVEL STUDIO FRANCHISE AND THE AVENGERS' FIRST CAPTAIN
AMERICA (II);  FINALLY, THE CITY IS AN ENVIRONMENT THAT OFFERS IMPORTANT COUNTER POINTS TO THE MCU SCENARIO WITH IN PARTICULAR THE VARIATION AND TRANSPOSITION OF ITS FILMS (THE AVENGERS) WITHIN THE FRAMEWORK OF THE DISNEY LEISURE
PARKS WHICH TRANSCRIBE THE SCENARIOS AND THE STAR EXPO OR WORLD EXPO LIKE COMPANY OR NATION IDENTITY ? (III).

KEYWORDS
RECOMPOSITION AESTHETICS, SHOW ARCHITECTURE,
TRANSMEDIA, TOURISM, URBAN, SUPERHEROES

In 2018 Mickey Mouse, an iconic brand hero of Disney, celebrated the 90th birthday anniversary in the National Film Archive-AudioVisual Institute (Pol. FINA) in Warsaw, Poland. By this occasion, the global corporation positioned itself in the local public domain as a social agent through cooperation with the mentioned national institution. The glocalisation strategy has been refl ected in the PR activities and has found its visual form in specifi c PR tools. The paper aims to analyse this case study as the exemplifi cation of a successful implementation of organisational aesthetics in the public realm. The paper analyses the global organization's visual communication practice in the local framework. W 2018 roku Myszka Miki, kultowy bohater Disneya, obchodziła 90. rocznicę urodzin w Narodowym Archiwum Filmowym-Instytucie Audiowizualnym (FINA) w Warszawie. Dzięki współpracy ze wspomnianą instytucją narodową globalna korporacja wykorzystała tę okazję do pozycjonowania siebie jako podmiotu społecznego. Strategia glokalizacji znalazła odzwierciedlenie w działaniach PR, a ich wizualną formę-w konkretnych narzędziach PR. Celem artykułu jest analiza tego studium przypadku jako przykładu udanego wdrożenia estetyki organizacji w sferze publicznej. W artykule przeanalizowano praktykę komunikacji wizualnej organizacji globalnej w kontekście lokalnym. License This work is licensed under a Creative Commons Attribution 4.0 international (CC BY 4.0). The content of the license is available at

Why are Disney animated features so important to current feminist debates? Drawing on and transforming popular Hollywood cinema – from romantic comedies to superhero films – contemporary Disney films use animation and its seemingly childlike charms in surprisingly subversive ways. My research explores how such films question and re-imagine well-established gender representations.

For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying Disney offers us a rare opportunity to consider childhood, the media industry, and American culture simultaneously. In this course, students will examine representations of race, gender, sexuality, class, and ability on screen and behind the scenes at Disney. We will also explore the wide expanse of Disney’s properties, from movies to TV to theme parks and theater. Students will also gain experience with conducting research, studying primary documents and contributing to public history. In the end, students will have a richer understanding of Disney not only as a company, but as a cultural institution.

In the early 1960s, Hayley Mills was the most popular child film star in the Western world. While she is best known for her performances in six Disney movies made between 1960 and 1965, she also played leading roles in several British-made film dramas of the time. These films raise several broader questions about the phenomenon of child stardom, and about the representation of childhood – and specifically of girlhood – during this period of rapid social and cultural change.

This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/.

Se parte de Disney y Studio Ghibli como referentes del cine de animación en occidente y oriente respectivamente y se presenta el tratamiento que ambas toman sobre el concepto de migración. Siendo conscientes de la influencia de la cultura visual en quienes la consumen se pretende conocer el posicionamiento que un grupo de estudiantes del Grado en Maestro en Educación Primaria de la Universitat de València tiene sobre el concepto de migración en la cultura visual (Disney y Studio Ghibli) y las potencialidades que en esta perciben como recurso didáctico en las aulas. Para ello se recurre a la metodología cualitativa, concretamente al estudio de caso. Los resultados reafirman el potencial del cine de animación como medio para educar al alumnado, pero concluyen la escasa formación que el profesorado tiene al respecto y el desconocimiento de este sector en relación con la didáctica del audiovisual.

For many of us, we have always known and loved the world of Walt Disney. We grew up with these characters, these stories, and these songs. But how often do we ever think deeply about Disney, even discuss and analyze it at length? Studying Disney offers us a rare opportunity to consider childhood, the media industry, and American culture simultaneously. In this course, students will examine representations of race, gender, sexuality, class, and ability on screen and behind the scenes at Disney. We will also explore the wide expanse of Disney’s properties, from movies to TV to theme parks and theater. Students will also gain experience with conducting research, studying primary documents and contributing to public history. In the end, students will have a richer understanding of Disney not only as a company, but as a cultural institution.

The article asks how local audience studies are re-framed when seen within a globalisation perspective. Based on a overview of recent theories of media globalisation, I argue for a bottom-up perspective on media globalisation in order to nuance top-down, often normative, approaches. I document the validity of this approach through an audience study of the ways in which 24 Danish children, aged 6-7, and 24 children, aged 11-12, along with their parents articulate and try to understand the complex universe of the Walt Disney Company, one of the oldest and still one of the largest media giants. Key questions addressed are: How do children and adults, respectively, articulate the narrative aspects of the Disney universe in terms of their possible global traits? How do they lay claim to the Disney universe as a a range of imported, material objects? Does language play a part in these negotiations as a discursive identity marker given that Disney’s animated film are among the only media and ICT products in Denmark which are dubbed rather than subtitled? What about audiences’ take on Disneyland Paris as a very tangible example of Disney’s more global extension into lucrative markets? Comparisons between children and adults are discussed in terms of age and in terms of audience perspectives on the Walt Disney Company ’s change of marketing and distribution strategies in view of intensified media globalization.

For the past decade, Hollywood’s North American and global box office has boomed thanks in part to the release of films derived from DC comic book heroes (e.g., Superman and Batman) and those by Marvel (e.g., Iron Man, Captain America, Black Panther, and The Avengers). While Hollywood’s box office superpowers are widely recognized, perhaps less obvious is how the US. Department of Defense (DoD) has been assisting Hollywood’s production of superhero films for more than a decade. The most recent of these collaborations is Captain Marvel (McCrae 2019; Secker 2019). This chapter focuses on how the DoD assisted Marvel Studios’ Captain Marvel (2019), a film whose production, storyline, and marketing exemplify a 21st century “DoD– Hollywood complex” product. Part of a steady supply of globally popular militainment products, Captain Marvel serves both DoD publicity goals and Hollywood’s bottom line. The chapter examines Captain Marvel’s production (as assisted by the DoD), content (the story, plot, characters, and themes), and marketing (publicity and cross- promotion), and shows how Captain Marvel helped the US Air Force communicate a positive image of itself to the world, and helped Hollywood turn a global profit. The chapter’s first section highlights Hollywood’s worldwide dominance and Captain Marvel’s global box office success. The second section defines the “DoD–Hollywood complex” and explains how the Air Force Entertainment Liaison office assisted Marvel Studios’ production of Captain Marvel. The third section probes how Captain Marvel’s content and marketing synergistically supported Air Force publicity and recruitment goals. The conclusion critiques Captain Marvel’s politics, especially the notion that this militainment is “progressive” and “feminist,” and considers Captain Marvel’s significance with regard to US “cultural imperialism.”

While much has been written on Disney’s America, the theme park the Walt Disney Company wanted to build in Virginia in 1993, the relation of the surrounding controversy to the ongoing Culture Wars in the US has only marginally been touched upon.  is article there- fore delves deeper into this crucial connection, as well as using these events as a case study to discuss the importance of edutainment, and the role that theme parks play for this similarly o en-discussed issue.

[ENG] The chapter is a comparative analysis of two canonical texts: "Alice's Adventures in Wonderland" by Lewis Carroll and "Alice in Wonderland" produced by Walt Disney. In both I look for objects and their meanings, perceiving them as manifestations of Alice's subconscious. I also analyse those objects within the new humanities and "things studies" that proved to be popular in the last decades.

Repetition within storytelling across centuries suggests that certain structures, topics, and motifs entice and delight us, and what begins with a cultural purpose can be carried over purely for entertainment value. Elements of structure similar to those of Ovid's "Arachne and Minerva" can be observed in the Kalevala's "Wainamoinen and Youkahainen" and Disney's Beauty and the Beast, all of which involve themes of hubris, binary opposition, and challenge. Comparative analysis of these three multiforms reveals a pervasive fascination with the contention of unequal opposing figures, and the importance of the "wise old crone" figure.

New Orleans is unique – which is precisely why there are many Crescent Cities all over the world: for almost 150 years, writers, artists, cultural brokers, and entrepreneurs have drawn on and simultaneously contributed to New Orleans’s fame and popularity by recreating the city in popular media from literature, photographs, and plays to movies, television shows, and theme parks. Addressing students and fans of the city and of popular culture, Popular New Orleans examines three pivotal moments in the history of New Orleans in popular media: the creation of the popular image of the Crescent City during the late nineteenth century in the local-color writings published in Scribner’s Monthly/Century Magazine; the translation of this image into three-dimensional immersive spaces during the twentieth century in Disney’s theme parks and resorts in California, Florida, and Japan; and the radical transformation of this image following Hurricane Katrina in public performances such as Mardi Gras parades and operas. Covering visions of the Crescent City from George W. Cable’s Old Creole Days stories (1873-1876) to Disneyland’s "New Orleans Square" (1966) to Rosalyn Story’s opera Wading Home (2015), Popular New Orleans traces how popular images of New Orleans have changed from exceptional to exemplary.