Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 117 WE'RE GOING TO DISNEY WORLD: CONSUMER CREDIT AND THE CONSUMPTION OF SOCIAL EXPERIENCE Lloyd Klein, Queensborough Community College

ABSTRACT Consumercredit is an importantfacet ofeveryday social life. Public interest in material items, services, and social experience is facilitated by the instantaneous availability ofthe various commodities. Social experience is a unique product available through credit cards. Cultural wants and desires are marketed and made accessible to consumers through extended consumer credit lines. DisneyWorld, and its Disneyland forerunner, are prototypical models forescapistentertainment made financially available to average consumers through credit cards. This paper offers an analysis of consumer credit and how credit cards facilitate tourism and the consumption ofcultural experience. Atheoretical analysis oftourism, and the influence ofculture, accompanies adiscussion ofh,ow consumer credit (in the form ofcredit cards) enhances the marketing ofDisneyWorld as a renowned cultural experience.

INTRODUCTION accessing experiences previously unaffordable The development of consumer credit (as for the average consumer. facilitating the purchase of products, services The normal sociological conception ofcon­ and experiences with the promise to provide sumer culture assumes that manufactured future reimbursement) is symptomatic of so­ goods (or the products stemming from the cial-economic changes occurring in post-in­ concept 9f the production of consumption as dustrial society. Post-industrial society is trans­ advanced. by Featherstone (1991 14) carry a formed through expanded demand for differ­ specific exchange value justifying their pricing ent goods and services. The resulting post­ in the marketplace. Marx (1850) and members Fordist period, where evolving consumer de­ of the subsequent Neo-Marxist Frankfurt mand is fulfilled, encourages manufacture School (Horkheimer, Adorno 1972; Lefebvre and distribution of various consumer goods 1971; Marcuse 1964) reiterate the establish­ and invites expansion of the marketplace. ment of culture value inherent in the creation Sociologists or economists generally of markets for new commodities. emphasize the mechanistic market manipula­ Featherstone (1991 14) reiterates the ten­ tions and relationships between producer and dency toward product diversification, promo­ consumer. However, the analysis offered in tion ofnew consumer goods and services, and the discussion ofleisure and tourism assumes consumption ofthe specific commodities (oth­ that a social relationship exists between con­ erwise known as post-Fordism). The relation­ sumerculture and the consumption oftangible ship between the creation and consumption of goods and intangible experiences. The credit new products, leisure time and cultural value card facilitates leisure and the acquisition of is rather interesting. As Schor(1991) observes cultural capital through arranging expensive in a recent book on the decline of leisure time, airline travel; car rental; the attainment offood, leisure was commoditized into a diversified lodging, souvenirs, and specialized tours; and product incorporating many different goods provides cash for unexpected emergencies. and services. Productivity increased while lei­ Further, the images and experiences offered in sure was transformed into a scarce commod­ the travel experience encompass a staged ity. Schor refers to increased productivity: authenticity transferring sightseeing into a cultural pursuit. Workers can only achieve the Since 1948, productivity has failed to rise in only cultural experience through utilizing the credit five years. The level ofproductivity ofthe U.S. card throughout the vacation or leisure activ­ worker has more than doubled. In otherwords, ity. we could now produce our 1948 standard of The everydayconception ofconsumercredit living (measured in terms of marketed goods eventually extends credit card ownership be­ and services) in less than halfthe time ittook in yond the everyday use as a financial device that year. We actually could have chosen the enabling the purchase of tangible consumer four-hourday.Oraworkingyearofsixmonths. goods. Consumer credit promotes and facili­ Or, every workerin the United States could now tates the acquisition of recreation activities, be taking every otheryear offfrom work-with tourism and the search for alternative social pay. Incredible as it may sound, this isjustthe experiences. Creditcards form the gatewayfor simple arithmetic of productivity growth in Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 118

operation. (Schor 1991 2) decline in leisure time places greater premium on the limited time that American workers can Schor continues by noting that the narrow­ enjoy. Workers utilize alternatives provided by ing of time for leisure time pursuits has a the consumer culture in enjoying their limited significant impact on the marketing ofspecific leisure time. Consumption is commoditized in alternatives: terms of its cultural value. Featherstone offers an interesting Marxist interpretation. of the But between 1948 and the present we did not relationship between leisure and exchange use any ofthe productivity dividend to reduce value: hours. In the first two decades after 1948, productivity grew rapidly, at about 3 percent a Leisure time pursuits, the arts and culture in year. During that period, work time did not fall general become filtered through the culture appreciably. Annual hours per laborforce par­ industry; reception becomes di.ctated byex­ ticipant fell only slightly. And on a per-capita change value as the higher purposes and val­ (ratherthan alaborforce) basis, they even rose ues of culture succumb to the logic of the abit. Since then, productivity growth has been production process and the market. Traditional lower but still positive, averaging just over 1 forms ofassociation in the family and private life percent ayear. Yet hours have risen steadily for as well as the promise ofhappiness and fulfill­ two decades. In 1990, the average American ment, the 'yearning for atotally different other' owns and consumes more than twice as much which the best products of high culture strive as he or she did in 1948, but also has less free for, are presented as yielding to an atomized, time. How did this happen? Why has leisure manipulated mass who participate in an ersatz been such a conspicuous casualty of pros­ mass- produced commodity culture targeted at perity? In part, the answer lies in the difference the lowest common denominator. (199114) between the markets for consumer products and free time. Considerthe former, the legend­ As Featherstone claims, the post-modern aryAmerican market. Itis averitable consumer's interpretation ofleisure and culture emphasized paradise, offering adazzling array ofproducts the view that varying in style, design, quality, price, and coun­ try of origin. The consumer is treated to GM emphasis shifts from production to reproduc­ versus Toyota, Kenmore versus GE, Sony, or tion, to the endless reduplication ofsigns, im­ Magnavox, theApple versus the IBM. We've got ages and simulations through the media which Calvin Klein, Anne Klein, Liz Claiborne, and effaces the distinction between the image and Levi-Strauss; McDonald's, Burger King, and reality. (199115) Colonel Sanders. Marketing experts and advertisers spend vast sums ofmoneyto make Consumer society becomes cultural as social these choices appealing-even irresistible. And life becomes deregulated and social relation­ they have been successful. In cross-country ships become more variable. comparisons, Americans have been found to The postmodern view of consumer credit spend more time shopping than anyone else. and consumer culture views credit cards as They also spend ahigherfraction ofthe money variable symbols useful in extending cultural they earn. And with the explosion ofconsumer capital (orcredit cards as quantifiable financial debt, many are nowspending whatthey haven't instruments). The creditcard extendsthe acqui­ earned. (Schor 1991 2) sition of cultural experience by making the unaffordable "affordable." Few people will Schor (1991 3) then points out that the express surprise with the notion that credit American standard of living is the highest in cards act as symbols enabling us to consume the world. Schor also observes that increased other symbols of consumer and popular cul­ work hours result when manufacturers seek ture. even more productivity and workers need ad­ Experiences made accessiblethrough con­ ditional income for satisfying consumer debt sumer credit dictate a new realm of social and increased spending. Leisure (or the con­ reality. Consumer culture bridges the cultural sumption offree time) is sharply curtailed-and bound elements of our sensual society with therefore becomes a more valuable commod­ economic propriety. Each tourist or lifestyle ity. device examined in this section embodies Schor (1991) staunchly believes that the cultural experiencesthatare facilitated ormade Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 119 accessible through consumer credit. In some marketplace. Since then, there have been cases, experiences are marketed as tangible numerous imitations produced by competing products. Some examples ofcultural products companies. The original manufacturer coun­ intended for· consumer consumption include tered with the marketing of the same product the proliferation of economically profitable in various colors. The last step was successful theme parks. Zukin's (1991) examination of in redefining the product according to appear­ Disneyland as a cultural manifestation planned ance instead of original utility. for economic gain is one such example. One Human experience works according to the could also apply these ideas as a rationale for same principle. The introduction ofthe original why Jim and Tammy Fae Bakker's Heritage Disneyland brought forth cultural alternatives USA was the second most attended theme enabling the formation of redefined consumer park in the United States. cultural experiences. Consumer credit as an The economicfacilitation ofconsumercredit economic resource facilitates the immediate promotes the accessibility ofthese niche mar­ acquisition of knowledge, para-social experi­ keted cultural alternatives. The link between ence, or a temporary escape from the realities actual tourist sites and para-social services of everyday life. The imagery associated with rests with a consumer desire for real or figura­ interactional cues from actual surroundings in tive escape within an ever changing social theme parks or malls encourages exposure to world. DisneyWorld met consumer desires the product ofhuman experience and encour­ through marketing promotion and emphasis aged consumption. The inevitable outcome of upon intangible consumer desires (e.g., the niche marketing is a myriad number of per­ fulfillment of cultural fantasies or the immedi­ sonal choices reflecting products gaining cul­ ate consumption of heavily marketed cultural tural acceptance at any given time. images, such as the opportunity to attend world renowned stage spectacles or actually "TOURISM" AND THE DEVELOPMENT OF meet legendary Disney characters). CONSUMER CULTURE These artifacts, as derived from a post­ Acceptance of the postmodern condition modern society, are meaningless unless we wherein cultural choices and consumer reflect on the social historical process leading purchasing choices shift over time character­ to current cultural expression. The original re­ izes the transitory nature ofAmerican society. lationship between marketing and consumer Economic power in the form of credit cards purchasing decisions consisted ofadvertising and installment credit provides a means for goods for sale. Greatly expanded manufactur­ consuming the latest products, trends orexpe­ ing capacity and consumer desires lead to riences. The formation of cultural capital re­ more choices within the marketplace. The sults in consumable social alternatives imme­ post-Fordist period ushered in an era ofdiver­ diately unaffordable without various credit in­ sified products and choices available for con­ struments. sumeracquisition. The cultural desires prompt­ In a sense, we are all "strangers in a strange ing acquisition of the produced goods and land" (a cliche derived from a popular science services was facilitated through the introduc­ fiction novel written by Robert Heinlein 1959). tion of installment credit and eventually the The cultural objects or environments that we distribution of credit cards. Consumers can consume give meaning to our lives. In effect, utilize credit cards in lieu of available cash. we are reminded of the philosophy espoused Theme parks are immediately affordable for in Field of Dreams. "You build it and they will the average consumer. come" is an appropriate corollary to the devel­ Instantaneous consumer choices fit right opment ofthe tourist industry. Cultural events into the postmodern conception of American provide a context of references shared or society. Contemporary society is a place noted sought by numerous people. Americans de­ for ever-changing cultural patterns. Adver­ fine their lives in terms ofa special experience tised products are the result ofpredetermined enjoyed while on vacation, a meaningful din­ marketing efforts designed for pin pointing ner with friends, mutual activities enjoyed in a what consumers will purchase. One example unique place or shared interaction in the com­ of this is a device known as "The Club." It fits pany of other people or through the auspices on the automobile steering wheel to prevent of a telephone. auto .theft. "The Club" was phenomenally Veblen (1967) was correct in positing the successful upon introduction into the assumption that the consumption ofparticular Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 120 goods or things was conducive to building emphasizing the consumption and experience status formations. MacCannell (1989) takes as a tangible product incorporates the devel­ the analysis one step further in referring to opment of consumer culture. Tourism, as people as fellow travelers seeking everything facilitated by available consumer credit, en­ that life offers. MacCannell (1989) suggests ablesthe consumption ofhitherto unaffordable that the "tourist" is "one of the best models experiences. The consumerculture transforms available for modern-man-in-general." In ef­ places or experiences into symbols for intrin­ fect, the tourist represents how an average sic cultural capital. Peer value or self fulfill­ person makes his orherway through everyday ment is associated with visiting places like life. MacCannell (1989) imposes an anthropo­ DisneyWorld. logical view of social existence based upon structural analysis. Tourist attractions repre­ CULTURAL IMPACT OF DISNEYMANIA sent "an unplanned topology of structure that Perhaps· the ultimate postmodern experi­ provides direct access to the modern con­ ence is found in an examination ofDisneyland sciousness or 'world view'." In other words, and DisneyWorld. The Disney organization tourism serves to structure the creation of constructed idyllic theme park settings offer­ social meaning. MacCannell (1989) utilizes ing the prototypical tourist setting. Tourism formulations of Goffman, Garfinkel, Veblen, and the purchase ofsouvenirs, lodging orfood Marx, Simmel and other social theorists in is facilitated through the use of consumer demonstrating how experience, rather than credit. A family offour cannot easily afford $49 Veblen's reliance upon social class, dictates admission per person, overnight hotel lodg­ the social reality of everyday life. ings, food and other items without the use of Further, MacCannell (1989) compares tour­ credit cards. ist attractions with the "religious symbolism of Cultural capital and nostalgia are two impor­ primitive peoples." He is basically viewing tant factors explaining the appeal ofthe Disney modernity as "disorganized fragments, alien­ theme parks. The tourist attraction must offer ating, wasteful, violent, superficial, unplanned, a special appeal before travelers will spend unstable and unauthentic."The worldwide shift their hard earned money. Cultural capital is in national governments incorporate nostalgia built right into the appeal and image making and a search for authenticity. MacCannell efforts ofDisney Productions and subsequent sees by-products. Featherstone (1991) explains that cultural capital is derived from economic and theempirical and ideologicalexpansion ofmod­ social values placed upon experiences and ern society to be intimately linked in diverse intangible elements linked with social pres­ ways to modern mass leisure, especially to tige. international tourism and sightseeing. (in Disneyland and DisneyWorld operate Featherstone 19913) according to a similar principle. Cultural capi­ tal in the case ofDisneyland and DisneyWorld MacCanneli (1989) places particular sig­ means that the environment transcends the nificance in Goffman's model of everyday economic value attached to admission, sou­ activity. MacCannell repeatedly refers to venirs and other tourist expenditures. The Goffman's (1959) conception of front stage frequent utilization ofconsumer credit enables and back stage as the basis of understanding the physical and emotional purchase of expe­ everyday social reality. MacCannell is inter­ rience. The tourists are actively consuming ested in the structure of social space. Tourist and buying the ideal experience offered by the activities are centered around relating with theme park. Image makers at the Disney "the natives" in a quest for "authentic experi­ theme parks worktowards establishing a prod­ ences, perceptions and insights." The tourist uct with appeal for the average tourist. The is trapped within an endless process wherein product in question is a spotlessly clean, well the truth about native populations is illusive. managed utopia wherein the problems of out­ Economic instruments (in the form of con­ side society are eradicated. The clockwork sumer credit) aid and abet in the perpetual nature ofthe theme park environment and the search for social meaning through the acqui­ staged authenticity of past, present or future sition ofactual or para-social experience in the motifs comprise a prototypical postmodern form of cultural capital. setting. Disneyland and DisneyWorid are trans­ Economic formation and the implicit shifts formed into ersatz cities. A suspension of Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 121 disbelief turns the idealized vision of society example, avast highway and road system fun­ into a real experience in the mind ofnumerous nels many thousands ofcars each day into the tourists. appropriate parking lots. Once the driver has On a more universal level, Zukin views the been led to aparking spot (often with the help of architectural restructuring of inner city areas information broadcast over the car radio), jit­ (and, by extension, the idealization of theme neys are waiting, or soon will arrive, to whisk parks as realms of power) as a postmodern family members to the gates ofthe park. Once reconstruction of in the park, visitors find themselves on what is, in effect, avast (albeit not self-propelled) col'l­ socio-spatial relations by new patterns ofinvest­ veyor belt which leads them from one ride or mentwhich lead to counter-tendencies to urban attraction to another. One mayget offthe larger decentralization through the redevelopment of "conveyor system" to enter one of the local innercity areas and docklands, which become systems that move people to aparticularattrac­ gentrified by members ofthe new middle class tion. Once the attractions themselves are and developed as sites oftourism and cultural reached, the visitors find themselves on one consumption. (in Featherstone 1991107) conveyance or another (cars, boats, subma­ rines, planes, rocket ships, or moving walk­ In effect, the environment becomes museum­ ways) that moves them through and out ofthe ified and equivalent to a theme park atmo­ attractions as rapidly as possible. The speed sphere. with which one moves through each attraction Interpersonal escape is one ofthe commodi­ enhances the experience and reduces the like­ ties purchased by consumers through utiliza­ lihood that one will question the "reality" ofwhat tion of credit devices. Featherstone· under­ one sees. (199351-52) scores the point with a deliberate comparison between fairs and the experiences offered by Rationalization, efficiency and a staged department stores or other exhibitions: authenticity capable of enhancing the cultural capital ofthe Disney theme parks are only one The excitement and fears the fair can arouse is aspect of their appeal. Nostalgia and a look still captured today in films which highlight the toward the future are another major reason for way in which these liminal spaces are sites in the success of these two major theme parks which excitement, danger, and the shock ofthe and their later spin-offs into resort areas, grotesque merge with dreams and fantasies movie studios and Epcot Center. A tourist can which threaten to overwhelm and engulf the visit Tom Sawyer's Island, the Main Street spectators. Today fun fairs and theme parks Cinema, or explore projected advances in such as Disneyland still retain this aspect, albeit nuclear physics, space travel and electronic in amore controlled de-control ofthe emotions, devices. Featherstone most appropriately where adults are given permission to behave summed up the postmodern appeal of like children again. (1991 80) DisneyWorld:

The problem does not end with the idealiza­ If postmodern cities have become centres of tion of experience permitting an exchange of consumption, play and entertainment, saturated economic transaction for cultural transaction. with signs and images to the extentthatanything The task remains for the efficient construction can become represented, thematized and made of the staged authenticity. Popular appeal and object of interest, an object ofthe 'tourist leads to a modernization of travel devices gaze', then it is to be expected that leisure moving crowds from one area into another at activitie~ such as visiting theme parks, shop­ Disneyland and DisneyWorld. Ritzer analyzes ping centres, malls, museums and galleries how efficient theme parks are equated with should show some convergence here. To take McDonald's as organizations establishing ra­ some examples, DisneyWorid is often taken as tional procedures for controlling the flow of the prototypeforpostmodem simulational expe­ people: riences and it is interesting to see thattheformat of moving between spectacular experiences New Heights in people-moving have been (white-knuckle rides, hologram illusions etc.) reached by modern amusement parks, particu­ and the simulation ofhistorical national-founder larly Disneyland and DisneyWorld. At or childhood worlds (the Magic Kingdom) or DisneyWorld and Epcot Centerin Florida, for wandering through simulations ofbuilding, which Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 122

are chosen to symbolize selected national cul­ the fair. Both attractions are staples at Disney­ tures (such as the Merry England Pub) or land and DisneyWorld. futuristic scenarios (EPCOT) in sanitized, highly MaJor planning for DisneyWorld started in controlled surroundings, has not only been imi­ the mid-1960s. DisneyWorld was a portion of tated by theme parks around the world, but has an extensive Walt Disney World Resort. The also been merged with other formats such as facility opened on October 1, 1971. Some museums. (Featherstone 1991101-102) early features ofthe development included the Magic Kingdom, the Contemporary Resort The relationship between the postmodern Hotel, and the Polynesian Resort. Space­ aspects of Disneyland and DisneyWorld is Mountain, the Disney Inn, Walt Disney World further explained by Featherstone's (19911 03) Village, Typhoon Lagoon, Pleasure Island, reference to the relationship between con­ Disney Village Marketplace, and numerous sumption and leisure (a reflection of cultural resort areas followed. capital). Featherstone begins the section with Epcot Center opened in 1982. The theme a discussion. of The West Edmonton Mall in park is a showcase for new technologies and Canada and the Metrocentre in England. He cultures ofman. Epcot Center emphasized the would no doubt add the recently opened Mall relationship between humans and the environ­ of America in Bloomington, Minnesota. ment. The Epcot resort area included a Yacht Featherstone comments that the people be­ and Beach resort, the Walt Disney World come audiences moving through imagery de­ Dolphin, the Walt Disney World Swan and signed to represent "sumptuousness and Disney's Caribbean Beach Resort. luxury", or to "summon up connotations of More recently, the Disney organization built desirable exotic far-away places, and nostal­ theme parks in Japan (Tokyo Disneyland) and gia for past emotional harmonies." Paris, France (Euro-Disney). Both theme parks Each of the sections is meant to invoke charge higher admission charges than their youthful feelings among adults bringing their American counterparts but are immensely children. Both Disneyland and DisneyWorld successful. are divided into distinct sectors. The various The Disney-MGM Studios Theme Park was sub-themes incorporated as separate sec­ added several years ago. The area includes an tions include Tomorrowland, Fantasyland, active movie studio modeled after the long Adventureland, Liberty Square and Main Street. standing Universal Studio attraction in South­ The attractions combine many theme rides ern California. Many television shows are also (rocket ships, submarines, automobiles) and produced in the theme park. The theme park thrill rides (space mountain). In addition, features many movie and television related Michael Jackson's 3-D attraction Captain EO rides (e.g., Indiana Jones Stunt Show, Beauty is offered at Disneyland and DisneyWorld. and the Beast, a StarWars Thrill Ride, and Disneyland recently added Toonland, a sec­ Teenage Mutant Ninja Turtles). The theme tion containing cartoon characters starring in park also features a Superstar Television ex­ Who Framed Roger Rabbit. hibit. In a real postmodern twist, visitors are The Disney organization encapsulates a electronically juxtaposed with videotape from history of the Disney empire with extensive "The Today Show", "Golden Girls", "General background detailed in their training manual. Hospital", "Howdy Doody" and even Johnny (The material was obtained in February 1992 Carson on "The Tonight Show." after contacting Disney representatives.) How do we explain the postmodern appeal Disneyland opened in 1955. The original of a Disney theme park and related economic Disneyland offered a connection between the implications? Aside from the previously dis­ past and hopes for the future. A regular Disney cussed concept of experience drawing upon series on the television networks drew people and creating cultural capital, the theme parks to the theme park. Walt Disney expanded the continually play upon childhood nostalgia and reach of his theme park with several attrac­ the "little boy or girl in all of us." Zukin (1991) tions at the 1964 World's Fair in New York. and other urban sociologists emphasize the "Great Moments With Mr. Lincoln" (a truly development oftheme parks into idyllic micro­ postmodern spectacle where an electronic cosmic cities. The afore discussed Disney robot replicated Abraham Lincoln's notable organization training manual amplifies speeches) and "It's a Small World After All" DisneyWorld's considerable symbolic (or cul­ were a few ofthe famous attractions offered at tural) success in stating that Walt Disney Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 123

World Resort is more· than a theme park. advertising to many marketsegments because According to the text, "It is a worldwide leg­ the visual nature of TV allows us to show our end." The manual then continues in a sum­ very visual product. A picture is worth ten thou­ mation of all the postmodern attractions con­ sand words when we show the smile on a tributing to popular tourist acceptance and youngster's face, or the bright blue water and economic success. snow-white sand of a beach scene. We often The DisneyWorld marketing plan reflects buy television on aregional network (only parts the tradition of postmodern segmentation. ofthe country) and aspot-buy (selected cities) Niche marketing is operative in the process. basis. Because research can tell us the average Each individual group has its own predisposi­ age ofviewers watching aparticularprogram, tions which must be analyzed and defined we can choose whetherto talk to young orold, according to Disney's own marketing calcula­ family ornon-family groups. tions. Discrete consumer categories are cre­ We can also use television advertising to tie ated and defined according to individual groups in to timely events, such as the Olympics or of different types of people, "each of which World Series, and generate special interest in must be talked to in a different way." The the commercials themselves. You may have specific groups are national, in-state, family, seen ourcommercials asking top sports figures non-family, new markets and international. who've just won the Super Bowl, etc., what The consumer groups, all of which are cate­ they're going to do next, towhich they reply "I'm gorizable according to discernible characteris­ going to Walt Disney World!" These are good tics, are approached according to family size, examples of this type of timely, or "topical" travel distance, and monetary cost managed advertising. through credit card expenditures. Co-Operative Advertising is an art nearly The message itself is a product of astute perfected by our company. In this form ofprint promotional efforts. A "campaign" recogniz­ advertising, we offerothercompaniesthe chance able throughoutthe marketplace is constructed to buy space in multi-page advertising sections for the general media campaign. The market­ which we design and produce. These ad sec­ ing section within the. training manual specifi­ tions appear in such publications as People, cally mentions the 1981 campaign celebrating National Geographic, and Reader's Digest. the World Disney World Tencennial; the 1982 Companieswhich take part in these cooperative opening of Epcot Center; the 1986 15th anni­ efforts include other tourism-oriented Florida versary party featuring a prize given to a guest businesses, such as cruise lines and rental car every 15 seconds and a new car given away companies. They benefit from being in our every day, all year long; and the 1988 theme advertisements, because they are perceived as highlighting the 60th birthday ofMickey Mouse. being part of an ideal Disney vacation. Co­ The so-called "marketing mosaic" is based operative advertisers, in paying us for ad space, upon publicity derived from anything seen or help offset the cost of our ads in these same heard in the news media (newspapers, maga­ sections, and greatly reduce the overall cost of zines, television and radio). The marketing, in the section to us. a version ofthe gatekeeper process, involves On-Site Advertising is another important news releases and photographs packed into part of our advertising effort. It consists of press kits and sent to newspapers around the materials displayed to guests already on our country. Video press kits incorporating com­ property, informing them of the many things pleted video stories are distributed to TV re­ there are to see and do here. Everything from porters. Press tours feature local meetings lobby posters to the sophisticated information with Walt Disney World representatives in channel on guests' in-room TVs falls into this cities throughout the country. Satellite hook­ category. Extending guests' length-of-stay or ups make press events available to media increasing the numberofactivities they partici­ throughout the country. pate in while they're here is avery real and cost­ Advertising is specifically directed into tele­ effective way ofincreasing revenues. (Disney vision, print advertising and on-sight advertis­ Training Manua/1992 6-8.) ing. The various segments discussed previ­ ously are isolated, targeted and approached The DisneyWorld marketing scheme on the basis of the following strategy: stemmed from the original vision forDisneyland as posed by the Disney Corporation. Accord­ Television is the most powerful means of ing to Zukin, Disneyland's original critics "failed Free Inquiry In Creative Sociology Volume 22 No.2, November 1994 Page 124

to understand that Disneyland was an ideal The landscaped setting is trivialized as an object for visual consumption, a landscape of archetype consumable just like physical ob­ social power." In effect, Disneyland projected jects purchased by zealous shoppers. In effect, the cultural values marketed in the a'Disneyland realism,' sortofUtopian in nature, theme park perspective are indicative of a where we (Disneyland's planners) carefully pro­ longing to escape. We are told whatto see and gram out aU the negative, unwanted elements programmed into reacting in particularfashion and program in the positive elements. (Zukin while consuming incessant fantasy images. 1991222) Perhaps credit cards are the 'ticket' permitting a sampling of utopian experiences at Epcot CONCLUSIONS Center and the staged authenticity of utopian Disneyland and DisneyWorld were desig­ worlds. nated as unique tourist attractions. The theme REFERENCES parks comprise "fantasy architecture for mass Disney Organization 1992 Disney Training Manual entertainment" (Zukin 1991 232). The collec­ provided by Walt Disney, Inc. tive desires ofthe mass society were incorpo­ FeatherstoneM1991 ConsumerCulture andPostmod­ emismNewbury Park: Sage rated into the planning for specific themes Gottman E1959 The Presentation ofSelfin Everyday appealing to tourist interests. Mass consump­ Ufe NY: Anchor tion, in a manner not unlike the previous forms Heinlein R 1961 Stranger in a Strange Land NY: of cultural capital discussed in this chapter, Putnam HorkheimerM, TAdorno 1972 The Politics ofEnlight­ was facilitated through the symbolic settings enmentNY: Herder and Herder (or Jim'inality-otherwise known as barriers-set Lefebvre H 1971 Everyday Life in the Modem World by the physical background and nostalgia or London: Allan Lane yearning for utopian society). MacCannell D 1989 The Tourist: A New Theory ofthe Leisure Class NY: Schocken Books The Disney theme parks were alsoimpor­ Marcuse H 1964One-Dimensional Man Cambridge: tant in the impact of market, place, and land­ Routledge and Kegan-Paul scape. Zukin (1991 7) forcefully argues that Marx K 1967 (1850) Capital: A Critique of Political market culture was determined by place. Set­ Capital NY: International Publishers Ritzer G 1993 The McDonaldization ofSocietyNew­ tings dictated existing culture. Place subse­ bury Park: Pine Forge Press quently becomes less important with the ho­ Schor J 1991 The OverworkedAmerican: The Unex­ mogenization of American society. Experi­ pectedDecline ofLeisure NY: Basic Books ences lack individual creativity with the impo­ Veblen T 1983 (1899) Theory ofthe Leisure Class NY: Penguin sition of global cultures. Landscape is the Zukin S 1991 Landscapes ofPower: From Detroit to symbolic representation of cultural values. Disney World Berkeley: UCalifornia Press

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