Understanding Disney

The Manufacture of Fantasy

Janet Wasko

• Editorial: Polity
• Año: 2020
• ISBN:
  9780745695679
• Edición: 2
• Categoría: Sozialwissenschaften
• Categoría: Medienwissenschaften

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 anddiscusseshow 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.

1
Introducing the Disney Multiverse

From Mickey to Marvel

Since the early 1930s, the Disney company has manufactured stories, characters, and experiences that have been not only popular but beloved by many around the world. Over the years, Disney films, comics, books, toys, theme parks, and other products have been sources of pleasure for many – if not most – young American children, who learn and have reinforced ideas and values that may last a lifetime. Many adults have joined their children in these forms of leisure, dutifully introducing them to the same stories, characters, values, and ideals, or revisiting these sites on their own, renewing the pleasure and satisfaction experienced as children. Indeed, Disney holds an almost sacred place in the lives of many Americans.

The Disney company started in the late 1920s as a small entrepreneurial enterprise when Walt Disney and his brother Roy Disney began producing Mickey Mouse cartoons. The company grew gradually, sometimes experiencing financial difficulties but eventually establishing itself as an independent production company in Hollywood. Never one of the major studios (in fact, the company relied on other companies to distribute its film products), the Disney brothers built a reputation for quality animation, utilizing cutting-edge technological developments such as sound and color.

Despite the independent status of the Disney company in Hollywood, the popularity of Disney’s products and characters was instantaneous and unmistakable. Indeed, the image of Mickey Mouse was a global phenomenon by the mid-1930s. Thanks to the international distribution of Disney films and the merchandising efforts that accompanied them, the Disney company developed a reputation that was magnified far beyond the relatively small company’s resources.

And that reputation has continued as the company has grown. The aggressive marketing of a multitude of Disney products through a wide range of distribution channels all over the world has contributed to a proliferation of Disney images and characters that could hardly have been imagined in the 1930s. Disney products are almost everywhere.

Disney grew to become a dominant player in the entertainment business as the company successfully diversified far beyond the arena of children’s programming. And, since the turn of the century, the company has expanded its scope even further with key acquisitions of other successful companies, as well as adjusting some of its messages and characters, sometimes even including overt portrayals of violence and sexual content. Yet it still maintains its reputation for producing family entertainment that is safe, wholesome, and entertaining. Thus Disney is able to remain extremely influential, if not dominant, in the marketing of children’s and family entertainment, as well as its other lines of business.

From universe to multiverse

In 1973, in his book Mass-Mediated Culture, Michael Real described the Walt Disney Company as the “Disney universe.”¹ He argued that the term was appropriate because: (1) the Disney organization used it; (2) it signified the “universality” of Disney’s products; and (3) the Disney message created “an identifiable universe of semantic meaning.” Following Real’s lead in the previous edition of Understanding Disney, the concept of the Disney universe was defined as “the company, its parks, products, and policies, the individuals who manage and work for the company, as well as Disney characters and images, and the meanings they have for audiences.”

But, as noted above, the Disney company has expanded dramatically since 2000, becoming one of the largest and most dominant media and entertainment corporations in the world. The company has added several key companies and franchises that also have become known as universes – Pixar, Marvel, Lucasfilm, and 21st Century Fox. These are now owned by the Disney corporation, which has become greater than just one universe. We can now refer to something called the “Disney Multiverse.”

The definition of “multiverse” refers to many universes or, more specifically, “a hypothetical collection of potentially diverse observable universes.” Though scientists are not all convinced of the actual existence of multiverses, it is a concept that is often used as a metaphor.

The notion of a Disney Multiverse has received some attention from fans who explore overlapping films and worlds, game designers who have created a few Disney Multiverse games, and so on. The company itself has provided examples of their multiverse, for instance at their theme parks, and most recently in the film, Ralph Breaks the Internet. But, as in the Marvel and Star Wars universes, these examples relate only to narrative universes, or in other words, focus on locations, time periods, stories, and characters from films, television programs, books, and so on.

In this discussion, the Disney Multiverse refers to the totality of Disney, not merely its various narrative universes. It includes all of the previously mentioned components of the Disney corporation – its corporate management, directors, shareholders, and employees; its corporate ethos, policies, and strategies; its divisions, products, services, and properties; its content, values, and meanings; and its audiences, consumers, and fans; as well as the other universes that it owns (Pixar, Marvel, Lucasfilm, and 21st Century Fox) (see Figure 1.2). Not only are we interested in how these universes are different – with their own products, characters, narratives, etc. – but also important are the ways in which they are controlled by the Disney corporation and influenced by its policies and strategies, as well as how these universes may connect/interact as part of the Disney Multiverse. More details about these components and their relationships will be explored in this volume as we seek to understand this immense, multifaceted, and significant entity.

Figure 1.2: The Disney Multiverse

Interestingly, a 2009 episode of the Fox-distributed satirical television show Family Guy was called “Road to the Multiverse.” In the program, Stewie and Brian travel by time machine and at one point visit the “Disney universe,” where they find the characters, dialogue, songs, and settings to be very obviously “Disney-like.”² In this edition of Understanding Disney, we will be exploring the road to the Disney Multiverse.

Studying Disney

Studying Disney can be challenging in many ways. When it is introduced as a topic for discussion, Disney is most often accepted with unqualified approval, and even reverence, by the American public, as well as by many international audience members. Many feel that the Disney company is somehow unique and different from other corporations, and its products are seen as innocent and pleasurable. There is a general sense that its products are only entertainment, as Walt Disney constantly reminded everyone. It is as though the company and its leaders can do no wrong – after all, they’re making so many people so happy. And they do it so well – how can one not be awed by their success?

There is also some hesitancy to discuss Disney as a business, despite the overwhelming emphasis on stockholder value and corporate goals by the company itself. In some settings, calling Walt Disney a “capitalist” would be considered risky, despite his role as head of a profit-motivated company. Furthermore, taking a critical stance towards the company that has created the happiest places on earth may be considered overly pessimistic, not to say downright un-American. After all, why should it be taken so seriously? As we’re told continuously, it’s just entertainment.

Nevertheless, it is important to consider the Disney phenomenon seriously and to insist that it is a legitimate focal point for cultural and social analysis. It is appropriate not only to look more closely at the Disney company and its products but also to critique their role in our culture. Indeed, with the proliferation of Disney products and the diversification of corporate activities, one must insist that Disney is fair game for serious critical review.

This is not to say that the Disney phenomenon has gone unnoticed. Indeed, the attention that Walt Disney, the Disney company, and Disney products have received in print is staggering. Several books consist mainly of references to Disney material,³ while a search on Amazon’s website in September 2018 resulted in more than 50,000 books listed with “Disney” in the title. (Of course, many of these are Disney products.) To this must be added the constant attention that the company an...