This thesis chronicles an attempt to delve into the murky world of image and semblance, illusion and contrivance. The examination and especially the celebration of image and style--of simulation--throughout recent cultural debate is incisively expressed through the framework of popular culture. Walt Disney World, as a cultural artifact and profit-making commodity, is the consummate model of all the entangled processes of popular culture: a turbulent melange of aesthetic, ethical, and sociological concerns. / America is Disney World; borne of fantasy and ubiquitous iconism. Our cultural atlas reverberates with the energy of cinematic, pulsating and seductive imagery; restrained and unfulfilled by the voyeuristic stance of the pseudo-event. / This study registers a pilgrimage into the shadows of our own creative aspirations: how can we engage in exploring new possibilities for architectural making, addressing imaginatively and ethically the rupture of the fabric symbolically connecting the actor and the drama?

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The objective of this study is to examine the emotional regulation strategies used by Walt Disney World on-stage employees as a way to fulfill requirements set forth by the company. Ten Disney on-stage employees were interviewed off-property in Orlando. The emotional regulation framework was divided into several categories: (1) a distinction between deep acting and surface acting, (2) emotional deviance, and (3) emotional exhaustion. “Surface acting” is a strategy by which employees display company-imposed emotions not genuinely felt, whereas “deep acting” occurs when employees do feel the emotions that they are required to express (Hochschild, 1983). Throughout the data reduction process, five key themes surfaced as the most relevant to the initial research questions: (1) Self-Motivated Deep Acting, (2) Organizational Expectations for Surface Acting, (3) “Back-Stage” vs. “Front-Stage” Dichotomy, (4) Benefits of Emotional Training, and (5) Negative Effects of Emotional Regulation. Overall, the researcher found that a key strategy of emotional regulation that Disney employees use frequently is surface acting, although deep acting was found to be more successful. In addition, while emotional exhaustion was a common problem among employees, very few of them will actually engage in emotional deviance in order to avoid the negative consequences of surface acting. Lastly, it was found that highly skilled Walt Disney World employees will have already internalized emotional regulation training and display rules that manage emotional behavior. Therefore, it becomes less essential for the Disney Company to formally monitor its employees’ facial expressions and emotional behavior in the future

Thesis (M.A.)--Florida State University, 2004. / Advisor: Dr. Frederick Davis, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Jan. 12, 2005). Includes bibliographical references.

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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

This study is primarily about the theory of uneven geographical development. In an era when it is proclaimed that, through globalization, the world has become flat, the unevenness of economic and social development is often overlooked or suppressed. As the nexus between global and local processes, the urban space often becomes the site of conflict between those defining the hegemonic narrative of the space, from a global and flat perspective; and those experiencing heterogenous local narratives, whose uneven positions are reinforced by this hegemonic narrative. This study explores the conditions of uneven geographical development in the urban space of central Florida. Focusing primarily on the Reedy Creek Improvement District (RCID), better known by much of the world as Walt Disney World, and on Celebration, the community developed by the Disney Corporation in the 1990s, the relationship between urban development and tourism, the defining economic sector in the region, are explored in the context of space-place, global-local narratives. This is done using the four conditions of David Harvey's Theory of Uneven Geographical Development. First, the history of sociopolitical processes within the urban space are explored as creating a framework upon which contemporary uneven geographical development could be built. Second, the development and continued power of the RCID in central Florida are examined within the context of accumulation by dispossession. Third, Celebration as a consumed company town is examined in the context of accumulation across space-time. Finally, the relationships between the RCID and Celebration, and the rest of the central Florida region, are developed in the context of struggles occurring simultaneously across multiple scales. This study shows that the theory of uneven geographical development applies well to a region that is heavily dependent upon the tourist sector for its economy, and thereby works to control the narrative of that space to continue attracting consumers. It also shows that, while the theory of uneven geographical development works well for a space that is a primary global tourist sink, it needs additional theoretical sophistication in order to better suit rapidly changing global processes.

Submitted by Mariana Brandão (marianabrandao@globo.com) on 2013-11-14T18:10:52Z No. of bitstreams: 1 DISSERTAÇÃO Brandao Mariana.pdf: 1999924 bytes, checksum: 63a84564210e89a902105c9f3e44489b (MD5) / Approved for entry into archive by ÁUREA CORRÊA DA FONSECA CORRÊA DA FONSECA (aurea.fonseca@fgv.br) on 2013-12-09T17:49:41Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO Brandao Mariana.pdf: 1999924 bytes, checksum: 63a84564210e89a902105c9f3e44489b (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2013-12-12T13:38:49Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO Brandao Mariana.pdf: 1999924 bytes, checksum: 63a84564210e89a902105c9f3e44489b (MD5) / Made available in DSpace on 2013-12-12T13:39:00Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO Brandao Mariana.pdf: 1999924 bytes, checksum: 63a84564210e89a902105c9f3e44489b (MD5) Previous issue date: 2013-10-07 / O Disney International College Program (ICP) é um programa de estágio patrocinado pela Walt Disney Company, destinado a estudantes universitários estrangeiros. Uma vez aceitos no programa, estes jovens viajam para os Estados Unidos durante as férias de verão para trabalhar por três meses no Walt Disney World Resort na Flórida. O ICP tornou-se um programa popular dentre os estudantes universitários brasileiros. Todos os anos, aproximadamente trinta mil jovens candidatam-se para o programa. Contudo, apenas cerca de oitocentos conseguem ser aprovados. Durante o programa esses jovens desenvolvem uma 'identidade Disney' que passará a fazer parte do self deles. O objetivo deste trabalho é explorar o papel ICP na vida dos seus participantes, assim como desvendar seus efeitos na construção do self destes jovens. O presente estudo também procurou avaliar como os participantes conseguem sustentar sua 'identidade Disney', mesmo após deixarem o programa. Para tanto, foi desenvolvido um estudo de caso qualitativo, no qual o caso analisado foi a identidade de participantes do ICP. Após uma breve análise da literatura sobre identidade, consideramos o self como a capacidade do individuo em manter viva uma narrativa particular. Assim, nossos dados foram coletados e analisados por meio do método de análise narrativo. Através deste estudo, descobrimos que a Walt Disney Company realiza um trabalho eficiente em convencer os participantes do ICP que a sua missão e seus valores são muito importantes. Com isso, estes jovens passam a louvar a marca Disney. Também foi observada a existência de uma comunidade de Disney Alumni (pessoas que participaram do ICP) unida por princípios, ideias e consumo. / The Disney International College Program (ICP) is an internship program sponsored by The Walt Disney Company, in which foreign university and college students travel to the United States, to spend their summer vocation working on the Walt Disney World Resort on Florida. The ICP has become very popular among Brazilian university students. Every year, almost thirty thousands of them apply for this program, though only about eight hundred manage to become a cast member. While on the program these youngsters develop a Disney Identity that is joined to their self. This research's goal is to explore the ICP role on the participants` life, showing its effects on these youngsters self-construction. In addition, we have aimed to investigate how ICP Alumni (people who took part of the ICP) manage to sustain their Disney identity, even after leaving the program. In order to meet our goal we have developed a qualitative case study, in which the case studied was the ICP alumni identity. Moreover, through our literature review we have acknowledged that someone’s self lays in the capacity to keep a particular narrative going on. Hence, our data was collected and analyzed through a narrative inquire method. Athwart our study, we have found out that the Walt Disney Company does an efficient job in convincing these youngsters that their mission and values are very important and thus, the ICP alumni become to praise the Disney Company and brand. We have also observed the existence of an actual Disney alumni community bonded by principles, ideas and consumption.

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<p>  </p> <p>Many viewers—especially those from the continental United States—have praised Disney for such recent actions as casting Pacific Islanders in the animated feature film <em>Moana</em> (2016) and assembling a group of cultural advisors (named the Oceanic Story Trust) to guide the filmmakers’ creative decisions. However, my project contends that Disney continues to play a significant role in the maintenance of settler colonialism in Hawai‘i, despite these seemingly progressive attempts at challenging Hollywood’s whitewashing. In this project, I argue that Disney creates and replicates the structures of settler colonialism in Hawai‘i through a mechanism that I term <em>imagineered imperial tourism</em>. In my formulation, imagineered imperial tourism involves commodifying historical narratives of colonization to serve the Disney brand by “innocently” repackaging them for the purpose of settler tourist consumption. To signal a Disney-specific branding and reproduction of settler colonial tropes and ideologies, I use the term “imagineered”—a play on Disney’s trademarked term <em>Imagineering</em>, which names the work of the creative team tasked with engineering the company’s most innovative devices, built environments, and technologies.</p> <p>Through a sustained study of Disney’s relevant productions—from the feature films <em>Lilo & Stitch</em> (2002) and <em>Moana</em> to its built environments at the Walt Disney World Resort in Orlando, FL, and Aulani, A Disney Resort & Spa in Ko Olina, Hawai‘i—I suggest that over time, Disney has normalized a version of Native Hawaiian people and history in US popular culture that reproduces common settler colonial discourses which have structured popular perceptions of Hawai‘i. The company’s almost century-long history of media production has cemented these discourses into a set of public pedagogies that have been reproduced across generations. Disney’s Pacific Island-themed productions and attractions are rife with tropes of native primitivism and imperialist nostalgia. They also reveal the primacy of the discursive framework of hegemonic multiculturalism vis-à-vis the commodified “spirit of aloha,” a sentiment which is superficially rooted in Native Hawaiian epistemologies and branded as a key selling point by the tourism industry. Furthermore, Disney has actively colonized Hawaiian lands since 2007, capitalizing on the Islands’ exploitative tourist industry while also obscuring longstanding battles over land ownership and denying Native Hawaiians sovereignty over their stolen lands. Ultimately, I suggest that Disney’s ostensibly “innocent” repackaging contributes to the violent erasure of Native Hawaiian history in popular culture. </p>