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Journal articles on the topic 'Disney World'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

Barnes, Jane. "A Disney World." Prairie Schooner 77, no. 2 (2003): 75–86. http://dx.doi.org/10.1353/psg.2003.0045.

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2

van Wert, William F. "Disney World and Posthistory." Cultural Critique, no. 32 (1995): 187. http://dx.doi.org/10.2307/1354535.

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3

CAMP, GREGORY. "Mickey Mouse Muzak: Shaping Experience Musically at Walt Disney World." Journal of the Society for American Music 11, no. 1 (January 16, 2017): 53–69. http://dx.doi.org/10.1017/s1752196316000523.

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AbstractThe academic assessment of the products of the Walt Disney Company is usually highly negative, drawing out their sexist, racist, and mercenary factors. Although such views are not easily denied, their strong ideology often hides how Disney texts actually operate and how their audiences interact with them. This article explores how recorded music is used in the Disney theme parks to condition audience response, finding a middle ground between an ideological view, exploring the part music plays in social control, and a hermeneutic view, seeing how music functions in articulating and enhancing the experiences in which Disney's guests participate. Disney's Imagineers draw on the language of film music to create a wide variety of narrative musical spaces that give guests the impression that they navigate through these carefully staged narratives as protagonists. Film-musicological models show that guests are encouraged to feel that they control the respective spaces, although filtering the model through critical theory will demonstrate that the spaces can actually be seen as controlling them. While critical theory and structuralist hermeneutics might seem at first like strange bedfellows, analyses of both the narratives themselves and of their social effects can usefully reflect each other, together providing a more nuanced view of Walt Disney World's experiential texts than has been presented either in the academy or by Disney itself.
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4

Bateman, DE, and I. Pople. "Brown-Séquard at Disney World." Lancet 352, no. 9144 (December 1998): 1902. http://dx.doi.org/10.1016/s0140-6736(98)08248-8.

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5

Pike, David L. "The Walt Disney World Underground." Space and Culture 8, no. 1 (February 2005): 47–65. http://dx.doi.org/10.1177/1206331204269432.

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6

LeBlanc, Gary A., and Steve Obremski. "Walt Disney World Now Accessible." Journal of Visual Impairment & Blindness 79, no. 5 (May 1985): 204–5. http://dx.doi.org/10.1177/0145482x8507900505.

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7

Spudis, Ed. "Dispositional Cortex at Disney World." Archives of Pediatrics & Adolescent Medicine 157, no. 9 (September 1, 2003): 939. http://dx.doi.org/10.1001/archpedi.157.9.939.

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8

Clarke, Susan E. "Married to the Mouse: Walt Disney World and Orlando By Richard E. Foglesong. New Haven, CT: Yale University Press, 2001. 251p. $27.95." American Political Science Review 96, no. 3 (September 2002): 635–36. http://dx.doi.org/10.1017/s0003055402490363.

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This account of the development of Walt Disney World in Florida is an engaging contribution to the growing literature on tourism and urban politics. The many pleasures of reading this book include learning that Disney World was initially slated for St. Louis, that Henry Kissinger declared that Epcot would enhance world peace more than this shuttle diplomacy, that Disney prepared a proposal for a HUD planning grant for Disney World, and that even Walt Disney thought that Disneyland Anaheim was tacky. Foglesong meticulously details more than three decades of negotiations among the Walt Disney corporate conglomerate, the city of Orlando, and Orange and Osceola counties in Florida over the location and development of Walt Disney World and its spinoff theme parks. Not surprisingly, the Mouse wins most of the battles.
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9

Hodge, Matthew. "Disney ‘World’: The Westernization of World Music in EPCOT’s “IllumiNations: Reflections of Earth”." Social Sciences 7, no. 8 (August 13, 2018): 136. http://dx.doi.org/10.3390/socsci7080136.

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Although Disney’s EPCOT theme park markets itself as a place to experience other cultures and reflect on Earth’s history, the dominance of a Western perspective omits true authenticity, specifically in the music of its nighttime show IllumiNations: Reflections of Earth. This 13-minute long presentation offers a visual retelling of humanity’s existence accompanied by an original musical score that guides the narrative. The consecutive music section titles provide insight into critical points within Disney’s story arc: Prologue: Acceleration, Chaos, Space, Life, Adventure, Home, Celebration, and Meaning. While sounds of music from other cultures do present themselves—albeit in stereotypical and clichéd fashions— they are arbitrarily highlighted within a framework of Western musical components. This framing allows Disney composers to control the perception of ‘others’ through music. Furthermore, the final Meaning section is entirely built of Euro-American musical conventions, insinuating that cultures arrive at their most enlightened, evolved selves when they become Westernized. Despite its impressive technological advances and complex musical composition, IllumiNations: Reflections of Earth is guilty of implementing Western musical frameworks that Disney utilizes in the majority of its films and theme parks.
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10

Yoon, Sangho, and Gihwan Yi. "Disneyland, Disney World, and Coase Theorem." Review of Institution and Economics 14, no. 2 (May 31, 2020): 121–66. http://dx.doi.org/10.30885/rie.2020.14.2.121.

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11

BERLEANT, ARNOLD. "The Critical Aesthetics of Disney World." Journal of Applied Philosophy 11, no. 2 (October 1994): 171–80. http://dx.doi.org/10.1111/j.1468-5930.1994.tb00106.x.

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12

Causer, Craig. "The world of Walt Disney Imagineering." IEEE Potentials 38, no. 5 (September 2019): 4–9. http://dx.doi.org/10.1109/mpot.2019.2919883.

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13

Wasko, Janet. "The Magical-Market World of Disney." Monthly Review 52, no. 11 (April 5, 2001): 56. http://dx.doi.org/10.14452/mr-052-11-2001-04_5.

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14

Setiawati, Beta. "Americanization of Non-American Storiesin Disney Films." Register Journal 1, no. 1 (June 30, 2016): 81. http://dx.doi.org/10.18326/rgt.v1i1.81-114.

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The study is intended to know the Disney’s animation films characteristics which are adapted from non American stories that contain Americanization in order to be American popular culture products. This qualitative and library research is carried out within the field of American Studies. Disney’s animated films which are regarded as artifacts in order to identify American society and culture is used as her primary data. She then compares those Disney films with the original stories to discover the changes in making those stories become American popular products. She furthermore uses the sources such as books, magazines, journals, articles, and also internet data for her secondary data. The result of this study shows that most of folk narratives which were used in Disney films were adapted from other countries’ stories. However, Disney intentionally adapts foreign countries’ stories in its animated films by using Disney formula to blow up the sale of its products. Since Disney is one of the most powerful media conglomerates in the world, it works endlessly to set out world entertainment. Disney formula in its animated films which has dominated those adapted films are only intended to obtain as much profit as possible without paying attention to the values in children entertainment.Keywords: Americanization; Non American Stories; Animation; Popular culture; Formula
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15

Linando, Inesia. "Disney Portrayal of Gender Roles in Snow White and the Seven Dwarfs, Beauty and the Beast and Frozen." IMOVICCON Conference Proceeding 2, no. 1 (July 6, 2021): 208–14. http://dx.doi.org/10.37312/imoviccon.v2i1.76.

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Many parents consider giving fairytales books and films with the “happily ever after” theme with princesses and princes charming characters to their little ones. For parents, fairytale means Disney’s products. Disney, as one of the largest media companies in the world has been using traditional approach for producing their films. However, Disney changed their approach and recently has been using progressive approach in the contemporary setting. Disney also sets an example to transgress and shape ways of thinking in the society worldwide. Using Mulvey’s theory about male gaze and three Disney’s films which are Snow White and the Seven Dwarfs (1937), Beauty and the Beast (1991), and Frozen (2013), this paper will discuss the change of view from damsels in distress to heroines. This analysis aims to identify the gender roles displayed in the Disney’s characters and how within the films, Disney has changed in few decades.
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16

Maanen, John Van, and Stephen M. Fjellman. "Vinyl Leaves: Walt Disney World and America." Contemporary Sociology 22, no. 4 (July 1993): 583. http://dx.doi.org/10.2307/2074440.

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17

Trichur, Raghuraman S. "Vinyl leaves: Walt Disney World and America." Annals of Tourism Research 21, no. 3 (January 1994): 671–73. http://dx.doi.org/10.1016/0160-7383(94)90130-9.

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18

Digón-Regueiro, Patricia. "The outdated Disney world: A proposal of critical analysis to work on at school." Comunicar 13, no. 26 (March 1, 2006): 163–69. http://dx.doi.org/10.3916/c26-2006-25.

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The image of innocence and the defence of moral values that Disney company sells make any attempt of a critical analysis of products such as Disney cartoon movies quite difficult. However, Disney culture fills up our lives aiming not only at entertaining but also educating us in some clearly conservative values. In this paper, stereotypes and values transmitted by these media products are reviewed and a specific proposal of analysis to work on at schools is presented. La imagen de inocencia y defensa de la moral que nos vende la megacompañía Disney dificulta un análisis crítico de productos como las películas Disney de dibujos animados. Sin embargo, la cultura Disney impregna nuestras vidas buscando no sólo entretener sino también educar en determinados valores claramente conservadores. En este artículo se revisan los estereotipos y valores que se transmiten en estos productos mediáticos y se presenta una propuesta de análisis concreta para trabajar en la escuela.
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19

Entrikin, J. Nicholas, and Sharon Zukin. "Landscapes of Power: From Detroit to Disney World." Contemporary Sociology 22, no. 2 (March 1993): 208. http://dx.doi.org/10.2307/2075752.

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20

Causer, Craig. "Around the world: International parks are distinctly Disney." IEEE Potentials 38, no. 5 (September 2019): 44–50. http://dx.doi.org/10.1109/mpot.2019.2919864.

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21

Kratz, Corinne A., and Ivan Karp. "Wonder and Worth: Disney Museums in World Showcase." Museum Anthropology 17, no. 3 (October 1993): 32–42. http://dx.doi.org/10.1525/mua.1993.17.3.32.

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22

Cenzatti, Marco. "Landscapes of Power: From Detroit to Disney World." Journal of Architectural Education 46, no. 3 (February 1993): 191–95. http://dx.doi.org/10.1080/10464883.1993.10734555.

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23

Gibson, Lay James, and Sharon Zukin. "Landscapes of Power: From Detroit to Disney World." Geographical Review 83, no. 2 (April 1993): 222. http://dx.doi.org/10.2307/215268.

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24

Cenzatti, Marco, and Sharon Zukin. "Landscapes of Power: From Detroit to Disney World." Journal of Architectural Education (1984-) 46, no. 3 (February 1993): 191. http://dx.doi.org/10.2307/1425161.

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25

Apel, Kenn. "Walt Disney World, Clinical Practice, and Scholarly Journals." Language, Speech, and Hearing Services in Schools 38, no. 2 (April 2007): 91. http://dx.doi.org/10.1044/0161-1461(2007/008).

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26

Pettigrew, Simone. "Hearts and minds: children’s experiences of Disney World." Consumption Markets & Culture 14, no. 2 (May 11, 2011): 145–61. http://dx.doi.org/10.1080/10253866.2011.562016.

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27

&NA;, &NA;. "101 st AOA Congress Set for Disney World." Optometry and Vision Science 75, no. 1 (January 1998): 4. http://dx.doi.org/10.1097/00006324-199801000-00010.

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28

Epstein, Shifra. "Disney World and A Moscow Circus Imagining Hasidim." Zutot: Perspectives on Jewish Culture 7, no. 1 (January 1, 2011): 65–73. http://dx.doi.org/10.1163/187502111795240412.

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29

Davis, Susan G., and Sharon Zukin. "Landscapes of Power: From Detroit to Disney World." Journal of American Folklore 106, no. 421 (1993): 356. http://dx.doi.org/10.2307/541432.

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30

Henig, Martin. "The World of Disney: From antiquarianism to archaeology." Journal of the History of Collections 33, no. 2 (June 1, 2021): 388–90. http://dx.doi.org/10.1093/jhc/fhab018.

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31

Dorel, Gérard. "Les parcs Disney aux Etats-Unis : un impact considérable. Le cas de Disney-World (Floride)." Travaux de l'Institut Géographique de Reims 73, no. 1 (1988): 91–100. http://dx.doi.org/10.3406/tigr.1988.1226.

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32

Amernic, Joel H., and Russell J. Craig. "ACCOUNTABILITY AND RHETORIC DURING A CRISIS: WALT DISNEY'S 1940 LETTER TO STOCKHOLDERS." Accounting Historians Journal 27, no. 2 (December 1, 2000): 49–86. http://dx.doi.org/10.2308/0148-4184.27.2.49.

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In 1940, Walt Disney was faced with crafting a message of corporate accountability under duress. His company, the product of his creative genius, had been forced to submit to public accountability. It had a pressing need to raise preferred equity finance for a major expansion during a period of market uncertainty, war, and reported losses. This paper conducts a “close reading” of the “Letter to Stockholders” in Walt Disney Productions' 1940 annual report, the first such letter signed by Walt Disney. The letter's rhetorical features, including metaphor and ideology, are examined in the context of the times. What is revealed is an accountability document skillfully crafted with the exigencies faced by Disney's company firmly in mind. The letter offers suggestive insight to the world as Disney made sense of it. The paper contributes to understanding the use of rhetoric by top management in activities related to aspects of financial accountability and reporting. It also helps to understand better a significant public persona of the 20th century, Walt Disney.
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33

Maier, Kodi. "Camping Outside the Magic Kingdom’s Gates: The Power of Femslash in the Disney Fandom." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 3 (October 17, 2017): 27–43. http://dx.doi.org/10.31165/nk.2017.103.514.

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Walt Disney Studios has long been considered the curator and creator of the American fairy tale canon, establishing the tacit narratives that reflect the United States’ unique set of values, which are then disseminated throughout the Western world. As such, the fairy tales, myths, and legends the studio chooses to animate have enormous influence in arbitrating who does and does not belong in Western society. Because Disney’s canon representation of queer women in these narratives has been non-existent, many queer female fans feel they are othered, obscured, and erased in real life. Not content to simply wait for such recognition, these Disney fans have rallied together to create their own positive representation, lovingly cutting and stitching characters from Disney’s animated texts to create femslash narratives that satisfy their desire to see themselves reflected in the films they love. In other words, in a society that rejects and discriminates against queer female relationships, Disney femslash fans poach Disney’s animated canon in order to create a space that validates their queer identities.
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34

Shortsleeve, Kevin. "The Wonderful World of the Depression: Disney, Despotism, and the 1930s. Or, Why Disney Scares Us." Lion and the Unicorn 28, no. 1 (2004): 1–30. http://dx.doi.org/10.1353/uni.2004.0012.

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35

Arnal, W. "The Segregation of Social Desire: "Religion" and Disney World." Journal of the American Academy of Religion 69, no. 1 (March 1, 2001): 1–20. http://dx.doi.org/10.1093/jaarel/69.1.1.

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36

&NA;, &NA;. "101st AOA Congress???They??re Going to Disney World." Optometry and Vision Science 75, no. 5 (May 1998): 305–6. http://dx.doi.org/10.1097/00006324-199805000-00008.

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37

Wallace, M. "Mickey Mouse History: Portraying the Past at Disney World." Radical History Review 1985, no. 32 (January 1, 1985): 33–57. http://dx.doi.org/10.1215/01636545-1985-32-33.

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38

Janzen, Michelle. "Disney And The Magical World Of Writing; How Combining Creativity With Learning Disabilities Can Promote Academic Success." Contemporary Issues in Education Research (CIER) 12, no. 1 (January 18, 2019): 19–26. http://dx.doi.org/10.19030/cier.v12i1.10259.

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Through a Disney perspective, this author discusses how students can use creative strategies to cope with learning disabilities in secondary, post-secondary and even graduate levels of academic achievement. In particular, the paper will be presenting how the author, who has an infinity for “everything Disney”, chose to use both Disney Characters and Disney Song titles from movies and television shows, as a creative strategy in the organization of her master’s research thesis. The research study entitled “Why is it so hard to go a good thing? The Paradox and Dilemma of Parental Advocacy within the Individual Education Planning Process” took a qualitative, phenomenological approach to investigate the experiences of parental advocacy and to seek out macro/micro factors that may have contributed to positive or negative outcomes within the IEP process. The author used Disney song titles as an adaptive tool not only to help in the organization of the findings of the research, but also to help illuminate the phenomenological existential themes that were revealed through the analysis. The paper hopes to demonstrate that through the use of creative strategies in otherwise conventional academic expectations, students experiencing disabilities may increase the potential of achieving academic success.
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39

Borrie, William T. "Disneyland and Disney World: Designing and Prescribing the Recreational Experience." Loisir et Société / Society and Leisure 22, no. 1 (January 1999): 71–82. http://dx.doi.org/10.1080/07053436.1999.10715576.

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40

Di Giovanni, Elena. "New imperialism in (re)translation: Disney in the Arab world." Perspectives 25, no. 1 (November 8, 2016): 4–17. http://dx.doi.org/10.1080/0907676x.2016.1234490.

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41

Reyers, Anne, and Jonathan Matusitz. "Emotional Regulation at Walt Disney World: An Impression Management View." Journal of Workplace Behavioral Health 27, no. 3 (July 2012): 139–59. http://dx.doi.org/10.1080/15555240.2012.701167.

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42

Salamone, Virginia A., and Frank A. Salamone. "Images of Main Street: Disney World and the American Adventure." Journal of American Culture 22, no. 1 (March 1999): 85–92. http://dx.doi.org/10.1111/j.1542-734x.1999.00085.x.

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43

Fjellman, Stephen M. "Taming the Robot:The bird and the Robotat Walt Disney World." Science as Culture 3, no. 1 (January 1992): 7–24. http://dx.doi.org/10.1080/09505439209526334.

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44

BLACK, PETER W. "Vinyl Leaves: Walt Disney World and America. STEPHEN M. FJELLMAN." American Ethnologist 22, no. 3 (August 1995): 666–67. http://dx.doi.org/10.1525/ae.1995.22.3.02a00660.

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45

Kent, D., S. Shultz, T. Wyatt, and D. Halcrow. "Soil Volume and Tree Condition in Walt Disney World Parking Lots." Landscape Journal 25, no. 1 (January 1, 2006): 94–107. http://dx.doi.org/10.3368/lj.25.1.94.

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46

Riley, Robert B. "From Sacred Grove to Disney World: The Search for Garden Meaning." Landscape Journal 7, no. 2 (1988): 136–47. http://dx.doi.org/10.3368/lj.7.2.136.

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47

Everhart, Jennifer L., and Jennifer R. Jones. "A (Disney) world of archeology: Highlights of the 81stannual SAA meeting." Evolutionary Anthropology: Issues, News, and Reviews 25, no. 3 (May 6, 2016): 84–85. http://dx.doi.org/10.1002/evan.21494.

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48

Morrison, Toni, Gayatri Chakravorty Spivak, and Ngahuia Te Awekotuku. "Guest Column: Roundtable on the Future of the Humanities in a Fragmented World." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 715–23. http://dx.doi.org/10.1632/003081205x63822.

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As i thought about the subject of this panel, “the future of the humanities in a fragmented world,” the implications of each word proved elusive. What does “future” mean? What aspect of the humanities? When was the world not “fragmented”? Is that a bad or a good thing? And “world,” of course, could reference anything from planet to Disney (between the two of which there may turn out to be no distinction).
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49

Liu, Chang. "The Cultural Communication Significance ofthe Mulan Films Made by Disney." Learning & Education 9, no. 3 (December 29, 2020): 68. http://dx.doi.org/10.18282/l-e.v9i3.1578.

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In September 2020, the live-action film “Mulan” shot by Disney in the United States was released in mainland China. This is the fourth time that Disney has put Mulan, a traditional Chinese character, on the screen. The first time was the animated version in 1998. After the success, the “Mulan II” was released in 2004, the third time was the 2012 animation version for children. This time, Disney put this historical story that is well-known in China on the screen in the form of a live-action version. The Chinese elements presented in these four versions are undoubtedly obvious. Although many people in China think that the Mulan created by Disney is not the Mulan in their minds, and the interpretation of traditional Chinese culture in the play is not necessarily accurate. However, by observing Chinese traditional culture from Westerners’ vision and interpreting Chinese traditional culture with Westerners’ concepts, Disney’s efforts objectively played a role in spreading Chinese traditional culture on a larger scale. It shows the traditional Chinese values of “loyalty, righteousness, courage and filial piety” and the two unique Chinese cultural symbols of dragon and phoenix to audiences all over the world, at the same time, the concept of caring for women and publicity of individuality is integrated into it, which makes this traditional character have a strong contemporary character and is more easily accepted by modern audiences. Its significance in cultural communication is worthy of recognition.
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50

Uppal, Charu. "Over Time and Beyond Disney—Visualizing Princesses through a Comparative Study in India, Fiji, and Sweden." Social Sciences 8, no. 4 (March 31, 2019): 105. http://dx.doi.org/10.3390/socsci8040105.

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Disney animated princesses are broadcasted around the world through Disney Channel and its global affiliates as well as through numerous other networks that purchase distribution rights. In an attempt to provide diversity in the last 25 years, Disney has featured nonwestern princesses such as those in Aladdin (1992), Pocahontas (1995), Mulan (1998), and Moana (2016). This study examines how princesses in animated Disney movies are perceived and understood by girls (8–15 years) in three different countries, over two time-periods with a gap of nearly a decade (2009 and 2018). The primary research question, considering Disney’s global reach, is how race, culture, and presence of a royal family interact with transnational access to the same media content in the perception of the princess concept and about being a girl. The selected countries provide an opportunity to explore differences in perception of Disney princesses between girls raised in countries with and without a royal family, and between girls in nonwestern and western countries. Differences in the perception are attributed to local and national cultures that allow a different lens to view the same content. A mixed method combining interviews, focus groups, and participant-generated images was used to gather data in India, Fiji, and Sweden. Results indicate Disney princesses, with their ubiquitous presence in various formats, e.g., media content, costumes and school stationery, have created a uniform idea of beauty across countries. Princesses in Disney were perceived by participants as being Caucasian and American, regardless of the race or country they represented. Girls in India and Fiji did not identify with Jasmine or Mulan, whom they considered ‘American’, whereas girls in Sweden considered Jasmine and Mulan as princesses of nonwestern origin. Girls in India and Fiji did not think they could be princesses because of their skin color, and did not want to lead a life ‘restricted with responsibilities’, but girls in Sweden considered the same question from the place of a choice, i.e., they preferred not to lead a ‘boring’ and regulated life like that of a princess. Participants from Fiji, with the least access to domestic programming that showed girls of their same Fijian origin, were least likely to consider themselves capable of being a princess.
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