Tuesday, March 27, 2012

Disney's Celebration: An Element of the Culture Industry


My Father is obsessed with buying and selling real estate and one of his favorite places to go to look at houses is Celebration. We have gone there as a family a good number of times, enough for me to comment on personal experiences as well as my own research.


Celebration is a small town that was developed to merge the best aspects of American suburbanism with European modernism. The town is laid out in a grid pattern, with a main street (called Market Street) that encompasses the commercial district. Celebration was a centrally planned town and for this reason is held to Disney’s high standards. There is virtually no litter, housing contracts are not negotiated, crime is negligible, and the image of perfection is conveyed on every square inch of the town.


Once again, Disney is trying to achieve utopia, but instead of a theme park designed for entertainment this is a real place where real people live. In one author wondered “whether Celebration's developers had learned from the past or just gone back to some glorified version of it. Was Celebration selling nostalgia or peddling amnesia?” In Disney’s quest for perfection, they may have ignored progressivism and instead tried to recreate a place where people never have to deal with issues or face pressing problems. Many critics contend that Celebration is a continuation of the Disney Delusion:
“A trip to Disney World represents the perfect vacation—clean, controlled, filled with predictable magic and regulated fantasy. To critics, and there are plenty, Disney's theme parks, combined with its movies and animated films, are illustrations of the defilement of American culture. The parks are, as writer James Howard Kunstler described them in his book The Geography of Nowhere, capitals of unreality dedicated to temporary escape from modern life”
           
 Perhaps the greatest criticism of Celebration is its rejection of creativity and individualism. Builders must adhere to strict codes and residents are usually not allowed to make personal touches on the outside of homes. In an effort to achieve utopia, Disney has embraced totalitarianism and rebuffed democracy. One goal of Celebration is to promote community (this is why yards are small to encourage residents to walk to parks) but this community is forced instead of organically created. Although Celebration might try to recreate small town America, the demographics are not nearly diverse enough to establish Celebration as a microcosm of America. The town is made up of mostly white, upper or middle class families that do not represent the country as a whole. For this fact alone, residents are robbed of the experience of living in a “real” community setting where all different cultures are put into a melting pot and a new culture comes out.
            
Of course, Disney probably had no intention of creating a realistic expression of the American town. Instead, Disney tried to take the best elements of American culture and put them in a town where everything can be controlled and regulated. This is, in essence, part of the Disney way of doing business. Celebration is really just a festering wound covered in makeup. In an effort to put their own dash of the culture industry on this town, Disney has succeed in bringing their own view of the American Dream to thousands of visitors each year. 


sources: http://ezinearticles.com/?New-Urbanism---A-Critique-of-Disneys-Celebration---Social-Elitism,-Developers-Practicality-Profit&id=851222

http://www.nytimes.com/books/first/f/frantz-celebration.html

http://en.wikipedia.org/wiki/Celebration,_Florida

Sunday, March 25, 2012

a PHENOMENAL blog post


                The first Disney Park opened its doors in 1955 and since then parks have been opened in various countries around the globe as we all know. The Disney phenomenon is the name which I am assigning to the process by which Disney has successfully ingrained itself into the lives of many young and old individuals alike. In many ways we feel as if we have a relationship with the characters, the parks, the movies because we grew up as Disney evolved itself, not to mention that the backstories for many of the characters are so well developed that we form bonds and relationships with them because we can identify with the problems and hardships they endure.

One Reason Why Animal Kingdom is Awful

I have a lot of opinions about the parks. It's the part of the company I've spent the most time with, and because of that I feel like I have some justifications for my opinions. For this blog post I'm going to focus on just one part of what makes Animal Kingdom the worst park.

Everybody knows the feeling of entering the Magic Kingdom. You go through the turnstyles and are greeted by a large floral design and the Main Street Train Station. After you go through the train station and grab a map you're presented with the main attraction. The shops of Main Street line the road leading up to Cinderella Castle. You can already see the details of the castle and know that you're in the heart of Walt Disney World. This effect, of hiding a large and impressive structure and then bringing it right to the forefront of everyone's attention, is known as "the reveal". This occurs (at least) in every WDW theme park.

In Epcot there isn't a lot blocking the view, but you're still presented with Spaceship Earth looming above you and the Leave a Legacy walls framing it. After you pass under Spaceship Earth you're treated with another new view, the main fountain of Future World and the building surrounding it. And even once you past that you're given a third reveal. At the end of the long bridge leading to World Showcase is World Showcase Lagoon and right across the water you can see the American Adventure building, the largest building in World Showcase. Although the effect is diminished for Spaceship Earth, you still have a chance to appreciate the fountain and the layout of World Showcase, all thanks to Disney's classic reveal.

Now think about Hollywood Studios. Again, the effect for the Sorcerer's Hat (formerly the view directly to the Chinese Theater) is diminished because of the positioning of the turnstyles, but the real reveal is of Tower of Terror. As you get to the end of Hollywood Boulevard and turn right onto Sunset Boulevard, the buildings seem to part ways for the view to Tower of Terror. You can't really see it until you're right there on the street looking up at it. Another successful reveal.

And Animal Kingdom. After you go through the turnstyles you're put in front of a dense forest. Nothing really special. As you go through the forest you might see some animals. Sometimes. Maybe. Again, nothing spectacular. Then you get to the main bridge leading you to Discovery Island. You can see the Tree of Life now, but it's so far away you can't see any of the details. And the river running underneath the bridge is dirty and full of moss or some kind of algae. Yes, there's also Expedition Everest, but you can approach it from so many different directions, there isn't a single controlled reveal. And you can't even get close to the Tree of Life to be able to see its details, unlike every other building that gets a reveal. It's just a poorly designed set up and reveal for a structure that should be really impressive.

Friday, March 23, 2012

New Fantasyland

I am still working on my makeup posts, and the one about the Disney Princesses in particular is taking a long time, so I thought I'd make a post now about a Section 3 topic.

Right now Walt Disney World is busy constructing the biggest expansion to Fantasyland in the Magic Kingdom ever. It will literally double the size of the place. The project is called New Fantasyland and according to their website, it should be fully finished by 2013.

In New Fantasyland it looks like each of the main Princesses will get their own special area where kids will be able to meet them and take pictures and stuff. There will be a Snow White area with a new seven dwarfs mine cart inspired roller coaster. The Little Mermaid is getting her own ride too using the same sort of technology that's in the Haunted Mansion and Harry Potter rides where guests will be able to journey under the sea. Beauty and the Beast is getting --what I consider-- a pretty big new section. Maurice's cottage (Belle's dad in the movie) will be a place for little kids to have some sort of story time activity with Lumiere and take pictures with Belle. Gaston's Pub will be a new restaurant and will be made in the style of his hunting lodge (he uses antlers in all of his decorating!). And finally, Beast's castle is being built and will house the Be Our Guest Restaurant. Sneak peak provided at this link---> http://www.youtube.com/watch?v=j_zJMY46qSs

There will also be a Princess Fairytale Hall where guests can meet with all of the other princesses like Rapunzel, Tiana, Aurora, and so on.

To do all of this not only are they expanding and changing a bit of current Fantasyland (the old Snow White ride will be closed) but they are also taking out Mickey's Toontown Fair, where previously guests could walk through all the iconic Disney character's homes (Mickey, Minnie, Donald, etc). They are planning on putting a new Mickey/Minnie meet and greet thing towards the front of the park instead. And on top of Mickey's Toontown Fair they are building Storybook Circus, which actually just opened. It's Dumbo/Circus based. There will be a new Dumbo ride, lots of carnival style games, and a revamped Barnstormer coaster.

Tuesday, March 13, 2012

The Disney Renaissance and the Culture Industry


This is a revision of my last blog post, which sort of missed the point about how the “Culture Industry” of Disney affected the development of the Disney Renaissance. I believe that Beauty and the Beast, like many of the movies that our generation grew up watching as a part of the Disney Renaissance, were a direct result of the Disney Brand.

While doing initial research, I stumbled upon something very interesting and no less surprising: Disney introduced something called the “Disney Baby Initiative,” a program that aims to get new mothers into the Disney culture industry. They intend to accomplish this task by sending Disney representatives into 580 different maternity hospitals and give away a free Disney Cuddly Bodysuit. The goal of this program is to get more mothers to be aware of a Disney product and hopefully fall into the brand and buy more and more. This is shocking practice and the clearest definition of brainwashing by a corporation. But it doesn’t stop there; Disney also owns Baby Einstein, which markets DVD’s and other products to new parents who want their children to grow into intelligent young children without having to do the proper parenting work.

From these two practices, as a part of the Disney Baby Initiative, we can see that the culture industry of Disney is more of an indoctrination of the Disney lifestyle and brand upon the innocent and gullible. As a child, I was exposed to the Disney brand through movies like Beauty and Beast, The Lion King, The Little Mermaid, Aladdin, Mulan, Pocahontas, The Hunchback of Notre Dame, and Heucules. But I believe that Disney is transforming from a corporation that makes movies that consumers want to see t to a corporation that forces the Disney culture industry on the newborn.

This is a frightening prospect, especially since this plan is outlined in the Walt Disney Company’s Investor Conference in 2011. Andy Mooney, the Chairman of Disney Consumer Products Worldwide, said that “We believe The Walt Disney Company has a real opportunity to develop a direct connection with first-time moms. The lifetime value of connecting with new families is perhaps more valuable to Disney than any other brand.” He goes on to say that in order to gain a larger market share, Disney needs to “win an infant.” This kind of rhetoric is seemingly opposite of the Disney Brand I grew up knowing. It is more of the gritty business practices that go on behind closed doors (even if it is at a public investor conference).

The Disney Renaissance exemplifies what I believe to be the public side of Disney, while this new Baby Initiative is more of the culture industry that they don’t want you to see. In my opinion, the Renaissance defined the Disney brand and helped it achieve cultural significance, while the Disney Corporation of today is trying to infiltrate culture instead of simply influencing it. I think tis a dangerous program and I hope that others realize how this sort of culture industry has the potential to brainwash our children into a brand that has diverted from the Disney we knew as children.

Sources:

Monday, March 12, 2012

Disney Animation Practices


                So as I looked into Frank and Ollie and how they made their movies, I kept running across this common theme of realism. Not realism in that every animation reflects real life perfectly, but realism in that each character is a believable being that thinks and feels, so that the audience can connect with them. This does have something to do with the physics of how things look when they move, but it mostly has to do with personality.

                One of the ways that Disney artists put real emotion behind their characters was with live action references. Take for example Snow White. She has to dance with that dress on and behave a certain way. Unless you’re unnaturally familiar with how dresses behave while twirling about, or how people behave when they’re twirling their dresses, you’d need to see it a few time to be able to draw it correctly. So starting as early as Snow White (http://bit.ly/zBmBRm), live people would be recorded acting out scenes from the movie, which animators would watch and then animate. The realism it brought to the movies, both through the replication of movement and emotion, was extraordinary.

                One way to make this technique really work for the animator was to use rotoscoping (which Brooke talked about in her powerpoint). The film would be projected onto a drawing surface, and the action would be “traced”. The Disney definition of tracing is a little bit different than the standard definition, because rotoscoping was used to animate one of the initial scenes with Jiminy Cricket (http://bit.ly/zshHWE). Tracing for Disney means copying the emotion conveyed by the live reference.

                This ties back to Frank and Ollie’s striving toward “realism”. Making drawings come to life is not an easy thing to do, and with their twelve principles, they make animated characters real in every sense. With the aid of rotoscoping and live references it becomes easier, but the artists still have to be talented to make it all come together.

More Youtube Videos!
Sleeping Beauty Live Reference - http://bit.ly/Ad9Yvc
Little Mermaid Live Reference - http://bit.ly/9QMfJL
Alice in Wonderland Live Reference - http://bit.ly/xCzC6
Sleeping Beauty Live Reference - http://bit.ly/xLXYyj
Reused Footage - http://bit.ly/ihvj (I actually think this is due to the reuse of live reference footage)