Thesis (Ph. D.)--University of California, Santa Cruz, 1997. / Typescript. Includes bibliographical references (leaves 318-338).

Finns det ett religiöst anspråk i Disneyfilmer? Är det kristna symboler åskådaren bevittnar, är de återkommande samt vad har dessa för inverkan på det psykologiska hos människan och vilken inverkan Disney har på omvärlden? Utifrån ett jungianskt perspektiv tar denna uppsatsen ansats i att förstå hur symboler gör anspråk på det psykologiska hos en människa och vad dessa symboler kan innebära. Baserat på symbollexikon och andra källor har en symbolanalytisk analys utförts genom att identifiera symboler och vilka betydelser symbolerna innefattar. Studien behandlar även hur ett barn påverkas av det världsomfattande bolaget Walt Disneyskapade, samt vad symboler som integreras i Disneyfilmer har för inverkan på barn. Genom att titta på ett urval av Disneyfilmer och noterat symboler som är anmärkningsvärda har en uppsats vuxit fram.

En tant que première destination touristique aux Etats-Unis, les parcs à thèmes Disney représentent un phénomène culturel important et une opportunité unique d’évaluer les médias de masse à l’aune de leur influence sur les usages et les conduites. L’analyse se propose d’interroger le concept d’imachination (imagineering), qui désigne chez Disney la conception des environnements thématiques et narratifs des parcs. Au travers de l’examen des protocoles de création des parcs, il s’agit de déterminer comment leurs concepteurs réunissent dans l’environnement certains critères de la narrativité ainsi que les récits qu’ils s’attachent à y raconter. Ainsi, le parc offre l’image d’un monde fictionnel qui, reflétant sous une forme objective certaines valeurs portées par la société américaine, décrit les conditions d’une bonne entente entre le visiteur et son environnement. Investi par le moyen de récits d’attributs psychologiques (souvenirs, valeurs), l’espace du parc oeuvre à la répartition des tâches entre le paysage et l’usager : en assignant un rôle à l’un et à l’autre, l’espace narratif soumet leurs interactions à un script préalable, si bien que les conduites et les émotions du second y relèvent d’une performance.En même temps qu’ils décrivent implicitement les conditions du bon usage du parc, les récits servent à la mobilisation d’acteurs distincts, et, ce faisant, à l’élaboration d’un système sociotechnique : de grands récits de progrès technique et économique ont ainsi permis à la compagnie de s’attacher le concours de grandes corporations américaines et d’obtenir pour son complexe floridien un statut juridique particulier, donnant le jour à un système de production inédit. / As the number-one tourist destination in the United States, the Disney theme parks are asignificant cultural phenomenon and present a unique opportunity to evaluate mass communication inlight of its influence on the user’s behavior and practices. This study aims to provide an analysis of “Imagineering”—that is, the design of narrative environments in the Disney-branded theme parks. By examining the design processes at work in the parks, the analysis shows what stories theso-called “Imagineers” intend to tell as well as how these stories fulfill the requirements of narratives in the very environment of the parks. The park thus presents the image of a fictional world that reflects the values of American society in an objective form, and in so doing provides the conditions for conformity between the user and the environment. As the repository of subjective and psychological traits (memories, values), the narrative space of the park distributes the tasks at hand between the visitor and the environment. By assigning each its role, the park subjects their interaction to a pre-established script—so well that the visitor’s behaviorsand emotions take on the appearance of performances. Besides providing implicit instructions for the proper use of the parks, narratives also serve to mobilize various social agents and in doing so create new sociotechnical systems. Grand narratives of technical and economic progress have thus helped the company secure the collaboration of prominent American corporations as well as a specific legal status for its Florida resort, giving rise to a new production system.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / To conceive a movie as a document and as a historic tool is important nowadays, when images are considered fundamental in the acceptance and reception of specific purposes in the teaching level or in people s everyday lives. This dissertation intends to study the representative connections of the American approach policies in the 40 s through a cinematographic perspective, especially through the Disney movies Saludos, amigos! (1942) and The three caballeros (1945). These movies highlight some aspects of the Argentinean and Brazilian history, as well as of some other Latin-American countries, revealing the American impressions about South American countries and Mexico during World War II. This period featured the approximation of the North American and Latin American politics. This dissertation intends to provide a critical analysis of the historical and political fields in relation to the cultural and cinematographic universes, highlighting their closeness and detachments, taking in consideration the theoretic studies that relate the movies as an advertisement tool, spreader of ideologies, of moral codes, of philosophical divagations and of political propositions that would result in the spectator s acceptance and abidance. / Conceber um filme como documento e instrumento da história é importante nos tempos de hoje em que as imagens são tratadas como fundamentais na aceitação e na recepção de determinados propósitos sejam eles em nível de docência ou no cotidiano das pessoas. Esta dissertação pretende estudar os vínculos representativos das políticas de aproximação dos Estados Unidos na década de 1940 a partir do viés cinematográfico, em especial o cinema de Walt Disney nos filmes Saludos, amigos! (1942) e The three caballeros (1945). Esses filmes evidenciam aspectos da história da Argentina e do Brasil e de outros países latino-americanos -, a partir de questões culturais e históricas, revelando, também, uma visão dos Estados Unidos sobre os países sul americanos e sobre o México, durante o período da Segunda Guerra Mundial. Esse momento se caracterizou pelo estreitamento dos laços entre a política norte-americana e a América Latina. Desse modo, a realização desta dissertação visa proporcionar uma análise crítica entre os campos históricos e políticos com os universos culturais e cinematográficos, evidenciando suas proximidades, seus distanciamentos e, levando em conta os estudos de teóricos que relacionam o cinema enquanto instrumento de propaganda, divulgador de ideologias, de questões morais, de divagações filosóficas e de proposições políticas que remeteriam à aceitação e a cooptação do espectador.

Chan, Yu Kwan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves [108]-120). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-05-26T11:54:49Z No. of bitstreams: 1 Fabrício Almeida Brandão Martins.pdf: 3906573 bytes, checksum: 1da8de3505e3b46245ab16a040d5b683 (MD5) / Made available in DSpace on 2017-05-26T11:54:50Z (GMT). No. of bitstreams: 1 Fabrício Almeida Brandão Martins.pdf: 3906573 bytes, checksum: 1da8de3505e3b46245ab16a040d5b683 (MD5) Previous issue date: 2017-05-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation has as main research goal the design of the perceptive experience for structuring a platform of experience configured to promote the engagement between people and companies in large scale. For this, it features a MyMagic+, digital platform that connects all Disney attractions and narratives, promoting a comprehensive, engaging and irresistible experience. Making a counterpoint to marketing yearnings according to a vision of marketing executives and thinkers such as Steven J. Heyer, Kevin Roberts, Lee Cockerell, and Philip Kotler, this research addresses subjects such as experience, media, design, synaesthesia, and engagement through authors Like Merleau-Ponty, Maturana and Varela, McLuhan and Jenkins, an interdisciplinary analysis necessary also includes concepts worked by Donald Norman, emotional design researcher and game designer Scott Rogers. They are analyzed as perceptions of magic and dream described by Disney consumers, the importance of constructing a utopian thematic world, a technical articulation of the means for a configuration of desires and the role of affectivity in the interaction, always with a view to understanding what is engagement and the role of a platform in technology-mediated engagement / Esta dissertação tem como meta principal de pesquisa o design da experiência perceptiva para a estruturação de uma plataforma de experiência configurada para promover o engajamento entre pessoas e empresas em grande escala. Para isso, apresenta a MyMagic+, plataforma digital que conecta todas as atrações e narrativas Disney, promovendo uma experiência abrangente, envolvente e irresistível. Fazendo um contraponto com os anseios mercadológicos de acordo com a visão de executivos e pensadores do marketing como Steven J. Heyer, Kevin Roberts, Lee Cockerell e Philip Kotler, esta pesquisa aborda temas como experiência, meio, design, sinestesia e engajamento através de autores como Merleau-Ponty, Maturana e Varela, McLuhan e Jenkins em uma análise interdisciplinar necessária que inclui também conceitos trabalhados por Donald Norman, pesquisador do design emocional e o designer de games Scott Rogers. São analisadas as percepções de magia e sonho descritas pelos consumidores da Disney, a importância da construção de um mundo temático utópico, a articulação tecnificada dos meios para a configuração dos desejos e o papel da afetividade na interação, sempre tendo em vista o entendimento do que é engajamento e o papel de uma plataforma digital no engajamento mediado pela tecnologia

The significance of brands within our media-intensive culture can hardly be overstated. Having emerged in the mid-20th century as platforms for the distribution of commodities, brands have since become, as scholar Celia Lury argues, “the logos of the global economy.” Brand interfaces not only differentiate mass production, but produce cultural assemblages that rewrite social and political relations. This dissertation concerns itself with the meaning of theatrical production within brand performance, with a specific focus on the Walt Disney Company. Although there are many corporate producers in commercial theatre today — Warner Brothers, MGM, Universal, and Cirque du Soleil, to name a few — Disney has the distinction of being the first to make live theatre a cornerstone of its brand relationships. Disney has also had, in branding terms, the most depth, breadth and consistency of any global entertainment brand. Using the concept of assemblage as an applied framework, I consider how Disney’s brand theatre functions as a form of communicative/affective capitalism, as an interface for consumer interactivity and exchange. Following Deleuze and Guattari, DeLanda and Lury, I argue that Disney’s theatre assemblages are heterogeneous, contingent, emergent and most of all generative. At the heart of this project is the question of how Disney’s theatre assemblages cohere – the question of identifiable, intensive continuities. What kinds of historical contingencies are replicated in Disney’s texts and territories? How does the company code cultural flows? In what ways are Disney’s theatre assemblages networked to social formations like childhood, gender, race, sexuality, and nation? What kinds of consumer interactions and socio-technical conditions are most important to the ongoing process of developing brand relations? Although Disney’s multi-modal theatre assemblages are a function of neoliberal logic and labor norms, and sustain dominant modes of production, they are also highly mutable, often supporting contested claims of intelligibility and citizenship. The company produces a vast range of theatre experiences. This dissertation focuses on character encounters, children’s theatre, Broadway musicals, a re-creation of Buffalo Bill’s Wild West and animal/safari performance. The chapters are composed as a nested set of assemblages, starting with theatre for Disney’s most important demographic: children. I then move into larger social fields/assemblages, considering theatre that addresses the nation, theatre that reframes transnational/global space, and finally, animal/ecological theatre. Taken together, the chapters present an argument for the significance of brand theatre as a localized, expressive, collaborative and extremely flexible site of cultural affiliation, agency and assembly.

Since 1994, and for the first time in Spain, the Disney dealer Buenavista Pictures has been providing the videotapes Welcome to Disney Classics. They contain the original versions with subtitles in English. This paper focuses on forty-seven songs from sixteen Disney animated films and analyses them from the perspective of English discourse. The choice of songs under analysis was unsystematic. When the project of this study was begun, there were sixteen issues available. This researcher considers that the material - both in quantity and quality - is highly significant and represents the development of Disney lyrics from their beginnings to this day. The words of these songs are, according to this researcher, a unique source of magic inspiration. They bring hope, fantasy and patterns of behaviour to children and teenagers, as well as humour and entertainment to adults. This collection of the most famous songs conveys an image of the man - Walt Disney, whom many consider as el "Mago de las cintas de los dibujos animados" (Universitas 1949: 395-405) or el "Mago de Burbank" (Fonte & Mataix, 2000) - and whose films have had an incalculable influence on our generations (1937-1996), merchandising and culture. Disney Lyrics are "magic words" that continue to attract, astonish or enchant the audience.

While political praise and condemnation of Disney is commonplace in the literature, my research will focus instead on the origination of Disney's design plan for Disneyland and the theoretical and physical connections between key historical figures and the finished product. I will not consider what Disneyland means to the world today---that is a subject many others have covered, some even brilliantly; instead, I will consider what social concepts contributed to the initial design in an attempt to see the underlying values at work in this post-modern utopia. In this thesis, I intend to show that Walt Disney's initial design for Disneyland was influenced by Ebenezer Howard's Garden City concept. In addition to Howard's vision, Disney also incorporated concepts from Frank Lloyd Wright's architecture and Henry Ford's mass market manufacturing theories. I do not intend to claim that these are the only influences on Disney's initial plan for his amusement park, but I will show that the physical layout of the park reflects Howard's Garden City plan, the architecture considers some of Wright's designs, and the way the park is run incorporates some of the ideas of Henry Ford. I have purposely avoided any works that consider the corporate aspects of Disney and the current Disney Corporation. Instead, I have focused my research on the intentions surrounding Disney's initial design plan. My position is that Disney's parks are real, successful, and expanding internationally - not mere fantasy like earlier 19th social reformers whose actual accomplishments are relatively small and have not been not sustainable locally or internationally. Disney realized the importance of a TEMPORARY place rather than a PERMANENT residence. Disney understood the literal definition of utopia to mean "no where" and therefore did not create a utopia that was a real place. Both Howard and Disney sought to offer a utopia. Howard had hopes of revitalizing the social order with his new cities, and Disney hoped to offer the average family a place where they could have fun and enjoy one another in a safe and entertaining environment.

This dissertation aims to analyse the re-creation and transformation of animated films into theatrical spectacles, by examining two Walt Disney animations and productions as case studies: Beauty and the Beast (1991 & 1994) and The Lion King (1994 & 1997), designed by Stanley Meyer (Beauty and the Beast [1994]) and Julie Taymor (The Lion King [1997]), respectively. Through a semiotic analysis of the productions viewed in the Monte-Teatro in Johannesburg (Beauty and the Beast [2007]) and the Lyceum in London (The Lion King [2010]), the scenographic choices of the designers are examined to ascertain the ways in which the re-creation and transformation from animation to theatre occurs. A study of the different styles is conducted, as the case studies were visually different from each other, and from their animated counterparts. Each case study contributes to an understanding of the process whereby an animated film can be transformed and re-created for the theatre. An investigation into The Walt Disney Company, from its inception to its present day theatrical productions, is undertaken to illustrate how The Walt Disney Company has become an influential force in the international performance industry. Responses by reviewers are used to demonstrate how The Walt Disney Company was influenced to alter the conceptual approach for its subsequent theatrical production. To aid in the analysis of the scenographic designs, the theoretical writings of Martin Esslin (1987) and Keir Elam (1980) are consulted to develop an understanding of how designs are integral to the reception of any production. Developments of scenography are explored from Aristotle who states that theatre does not need any spectacle (design) to portray the poetry of the performance, to Sternfeld’s analysis of megamusicals which illustrates the spectacular designs that have become integral to the development of certain productions, and genres. Using Wickstrom’s article on The Lion King an examination of how the commodities produce meaning from the production is undertaken. This dissertation provides insight into the development of scenographic designs and the recreation and transformation of specific elements from animated film to theatrical spectacle through an appropriation of theories about transposing theatre into film (Egil Tornqvist, 2009). This, in conjunction with Guy Debord’s theories (1995) on the society of the spectacle, aids in the analysis of the spectacle/scenography. / Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2010.