A Critical Review of Ankapark, Ankara a Thesis
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The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. -
The Immersive Theme Park
THE IMMERSIVE THEME PARK Analyzing the Immersive World of the Magic Kingdom Theme Park JOOST TER BEEK (S4155491) MASTERTHESIS CREATIVE INDUSTRIES Radboud University Nijmegen Supervisor: C.C.J. van Eecke 22 July 2018 Summary The aim of this graduation thesis The Immersive Theme Park: Analyzing the Immersive World of the Magic Kingdom Theme Park is to try and understand how the Magic Kingdom theme park works in an immersive sense, using theories and concepts by Lukas (2013) on the immersive world and Ndalianis (2004) on neo-baroque aesthetics as its theoretical framework. While theme parks are a growing sector in the creative industries landscape (as attendance numbers seem to be growing and growing (TEA, 2016)), research on these parks seems to stay underdeveloped in contrast to the somewhat more accepted forms of art, and almost no attention was given to them during the writer’s Master’s courses, making it seem an interesting choice to delve deeper into this subject. Trying to reveal some of the core reasons of why the Disney theme parks are the most visited theme parks in the world, and especially, what makes them so immersive, a profound analysis of the structure, strategies, and design of the Magic Kingdom theme park using concepts associated with the neo-baroque, the immersive world and the theme park is presented through this thesis, written from the perspective of a creative master student who has visited these theme parks frequently over the past few years, using further literature, research, and critical thinking on the subject by others to underly his arguments. -
A Reader in Themed and Immersive Spaces
A READER IN THEMED AND IMMERSIVE SPACES A READER IN THEMED AND IMMERSIVE SPACES Scott A. Lukas (Ed.) Carnegie Mellon: ETC Press Pittsburgh, PA Copyright © by Scott A. Lukas (Ed.), et al. and ETC Press 2016 http://press.etc.cmu.edu/ ISBN: 978-1-365-31814-6 (print) ISBN: 978-1-365-38774-6 (ebook) Library of Congress Control Number: 2016950928 TEXT: The text of this work is licensed under a Creative Commons Attribution-NonCommercial-NonDerivative 2.5 License (http://creativecommons.org/licenses/by-nc-nd/2.5/) IMAGES: All images appearing in this work are property of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights. Contents Part I. 1. Introduction: The Meanings of Themed and Immersive Spaces 3 Part II. The Past, History, and Nostalgia 2. The Uses of History in Themed Spaces 19 By Filippo Carlà 3. Pastness in Themed Environments 31 By Cornelius Holtorf 4. Nostalgia as Litmus Test for Themed Spaces 39 By Susan Ingram Part III. The Constructs of Culture and Nature 5. “Wilderness” as Theme 47 Negotiating the Nature-Culture Divide in Zoological Gardens By Jan-Erik Steinkrüger 6. Flawed Theming 53 Center Parcs as a Commodified, Middle-Class Utopia By Steven Miles 7. The Cultures of Tiki 61 By Scott A. Lukas Part IV. The Ways of Design, Architecture, Technology, and Material Form 8. The Effects of a Million Volt Light and Sound Culture 77 By Stefan Al 9. Et in Chronotopia Ego 83 Main Street Architecture as a Rhetorical Device in Theme Parks and Outlet Villages By Per Strömberg 10. -
Global Attractions Attendance Report COVER: © Disneyland at Disneyland Resort®, Anaheim, CA, U.S
2015 2015 Global Attractions Attendance Report COVER: © Disneyland at Disneyland Resort®, Anaheim, CA, U.S. CREDITS TEA/AECOM 2015 Theme Index and Museum Index: The Global Attractions Attendance Report Publisher: Themed Entertainment Association (TEA) Research: Economics practice at AECOM Editor: Judith Rubin Publication team: Tsz Yin (Gigi) Au, Beth Chang, Linda Cheu, Bethanie Finney, Kathleen LaClair, Jodie Lock, Sarah Linford, Erik Miller, Jennie Nevin, Margreet Papamichael, Jeff Pincus, John Robinett, Judith Rubin, Brian Sands, Will Selby, Matt Timmins, Feliz Ventura, Chris Yoshii ©2016 TEA/AECOM. All rights reserved. CONTACTS For further information about the contents of this report and about the Economics practice at AECOM, contact the following: John Robinett Chris Yoshii Senior Vice President, Americas Vice President, Asia-Pacific [email protected] [email protected] T +1 213 593 8785 T +852 3922 9000 Brian Sands, AICP Margreet Papamichael Vice President, Americas Director, EMEA [email protected] [email protected] T +1 202 821 7281 T +44 20 3009 2283 Linda Cheu aecom.com/economics Vice President, Americas [email protected] T +1 415 955 2928 For information about TEA (Themed Entertainment Association): Judith Rubin Jennie Nevin TEA Publications, PR & Social Media TEA Chief Operating Officer [email protected] [email protected] T +1 314 853 5210 T +1 818 843 8497 teaconnect.org 2015 2015 The definitive annual attendance study for the themed entertainment and museum industries. Published by the Themed Entertainment Association (TEA) and the Economics practice at AECOM. Global Attractions Attendance Report 3 CONTENTS THE BIG PICTURE 6 2015 THEME INDEX 22 The Americas 22 Asia-Pacific 42 Europe, Middle East and Africa (EMEA) 52 © Aquaventure Water Park, Dubai, U.A.E. -
Historic Amusement Parks and Fairground Rides Introductions to Heritage Assets Summary
Historic Amusement Parks and Fairground Rides Introductions to Heritage Assets Summary Historic England’s Introductions to Heritage Assets (IHAs) are accessible, authoritative, illustrated summaries of what we know about specific types of archaeological site, building, landscape or marine asset. Typically they deal with subjects which lack such a summary. This can either be where the literature is dauntingly voluminous, or alternatively where little has been written. Most often it is the latter, and many IHAs bring understanding of site or building types which are neglected or little understood. Many of these are what might be thought of as ‘new heritage’, that is they date from after the Second World War. With origins that can be traced to annual fairs and 18th-century pleasure grounds, and much influenced by America’s Coney Island amusement park of the 1890s, England has one of the finest amusement park and fairground ride heritages in the world. A surprising amount survives today. The most notable site is Blackpool Pleasure Beach, in Lancashire, which has an unrivalled heritage of pre-1939 fairground rides. Other early survivals in England include scenic railways at Margate and Great Yarmouth, and water splash rides in parks at Kettering, Kingston-upon-Hull and Scarborough that date from the 1920s. This guidance note has been written by Allan Brodie and edited by Paul Stamper. It is one is of several guidance documents that can be accessed HistoricEngland.org.uk/listing/selection-criteria/listing-selection/ihas-buildings/ Published by Historic England June 2015. All images © Historic England unless otherwise stated. HistoricEngland.org.uk/listing/ Front cover A modern aerial photograph of Blackpool Pleasure Beach showing the complex landscape that evolved during the 20th century. -
A Coney Island Goodbye
A CONEY ISLAND GOODBYE By Iñigo de Amescua [email protected] A PROJECT-IN-LIEU-OF-THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER IN MASS COMMUNICATION UNIVERSITY OF FLORIDA 2008 INTRODUCTION “It is with roses and locomotives (not to mention acrobats Spring electricity Coney Island the 4th of July the eyes of mice and Niagara Falls) that my ‘poems’ are competing.” e. e. cummings (American poet 1894-1962) The game starts with the name. Twenty five cents and it can be yours. C’mon, go ahead, make a guess. The answer to your questions. What was never seen before. The most amazing journey. Everything is behind this rope. Play. Guess. Coney Island is not even an island (anymore). It isn’t just a beach, or a neighborhood, or a bunch of rides. The Earthquake Float, the Skating Floor, the Falling Statue, the Human Cage, the Revolving Seat, the Funny Stairway, the Eccentric Fountain, the Dancing Floor, the Electric Seat, the Human Roulette Wheel. She is the Land Without Shadows (Narrioch), for the Native American Lenape culture or Conyne Eylandt (Rabbit Island) for the Dutch. Coney Island floats at the southern end of Brooklyn. South. This detail, the southerness, is important, even more than the westernness, if you want it to serve as a getaway (let’s think about Mexico for an instant in today’s American imagination). She is right at the bottom of Long Island. Part water, part land. Part here, part there. She floats over the waters, melts with the ocean, makes you think that between her and the sea there is no difference. -
SMALL TOWN AMERICAS: REPRESENTING the NATION in the MINIATURE TOURIST ATTRACTION, 1953-2014 by SAMANTHA JOHNSTON BOARDMAN A
SMALL TOWN AMERICAS: REPRESENTING THE NATION IN THE MINIATURE TOURIST ATTRACTION, 1953-2014 by SAMANTHA JOHNSTON BOARDMAN A Dissertation submitted to the Graduate School-Newark Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in American Studies written under the direction of Timothy F. Raphael and approved by ________________________ ________________________ ________________________ ________________________ Newark, New Jersey MAY, 2015 2015 Samantha Johnston Boardman ALL RIGHTS RESERVED ABSTRACT OF THE DISSERTATION Small Town Americas: Representing The Nation In The Miniature Tourist Attraction, 1953-2014 By SAMANTHA J. BOARDMAN Dissertation Director: Timothy F. Raphael Nationally themed miniature tourist attractions are popular destinations in many areas of the world, however there is currently no site in the U.S. exactly analogous to such locations as Madurodam, Mini Israel, or Italia in Miniatura. What the U.S. does have, however, is a history of numerous “American”-themed attractions employing scale models and miniature landscapes that similarly purport to represent an overview of the nation. Developments in travel infrastructure and communications technology, the decentralization of national tourism objectives and strategies, the evolution of tourism and tourist attractions in the nation and changing American cultural mores can all be seen in the miniature American landscapes investigated in this project. Significantly, while research has been conducted on the Miniaturk and Taman Mini Java parks and the ways in which they are constructed by/construct a particular view of national identity in Turkey and Indonesia respectively, no such study has looked at the meaning(s) contained in and conveyed by their American counterparts. -
How We Got to Coney Island
How We Got to Coney Island .......................... 9627$$ $$FM 06-28-04 08:03:55 PS .......................... 9627$$ $$FM 06-28-04 08:03:55 PS How We Got to Coney Island THE DEVELOPMENT OF MASS TRANSPORTATION IN BROOKLYN AND KINGS COUNTY BRIAN J. CUDAHY Fordham University Press New York 2002 .......................... 9627$$ $$FM 06-28-04 08:03:55 PS Copyright ᭧ 2002 by Fordham University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means— electronic, mechanical, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Library of Congress Cataloging-in-Publication Data Cudahy, Brian J. How we got to Coney Island : the development of mass transportation in Brooklyn and Kings County / Brian J. Cudahy. p. cm. Includes bibliographical references and index. ISBN 0-8232-2208-X (cloth)—ISBN 0-8232-2209-8 (pbk.) 1. Local transit—New York Metropolitan Area—History. 2. Transportation—New York Metropolitan Area—History. 3. Coney Island (New York, N.Y.)—History. I. Title. HE4491.N65 C8 2002 388.4Ј09747Ј23—dc21 2002009084 Printed in the United States of America 02 03 04 05 06 5 4 3 2 1 First Edition .......................... 9627$$ $$FM 06-28-04 08:03:55 PS CONTENTS Foreword vii Preface xiii 1. A Primer on Coney Island and Brooklyn 1 2. Street Railways (1854–1890) 24 3. Iron Piers and Iron Steamboats (1845–1918) 49 4. Excursion Railways (1864–1890) 67 5. Elevated Railways (1880–1890) 104 6. -
The Concept of Amusement Parks Goes Back Farther Than You Would Think. from 1550-1700, “Pleasure Gardens”, As They Were First Called, Began to Appear in Europe
April 2007 by Mike Prero The concept of Amusement Parks goes back farther than you would think. From 1550-1700, “Pleasure Gardens”, as they were first called, began to appear in Europe. These were the first permanent areas set aside specifically for outdoor entertainment. The attractions included fountains, flower gardens, bowling, games, music, dancing, staged spectacles and a few primitive amusement rides. In 1650, large ice slides, supported by heavy timbers, became popular as a wintertime diversion in Russia. Small wooden sleds used iron runners to glide down hills in St. Petersburg were quite elaborate. These simple amusements were the forerunners of today’s roller coasters. In 1846, the first looping gravity railway was exhibited at Frascati Gardens, in Paris, France. The French called the device Chemin de Centrifuge. In 1875, Coney Island, Brooklyn, NY, with the completion of the first railroad to it, rapidly became popular as a seaside resort. The attractions included Cabaret entertainment, Vaudeville acts, Melodramas, Fortune tellers, games, and rides such as small carousels. In 1884, LaMarcus A. Thompson introduced his Switchback Gravity Pleasure Railway at Coney Island, the first true roller coaster in America. Chicago’s Columbian Exposition, in 1893, introduced the famous George Ferris Giant Wheel. A true wonder of then modern world. Also introduced at the Columbian Exposition was the Midway Plaisance (or White City Midway). The ornate building facades and brilliant electric lights dictated amusement park design for the next 60 years. Chutes Park in Chicago opened in 1894, becoming the first amusement park to be enclosed and charge admission. After relocating in 1896, Chutes Park closed in 1908. -
Heterotopia And
1111 2 Heterotopia and the City 3 4 5111 6 7 8 9 1011 1 2 3111 Heterotopia, literally meaning ‘other places’, is a rich concept in urban design 4 that describes a world off-center with respect to normal or everyday spaces, 5 one that possesses multiple, fragmented, or even incompatible meanings. The 6 term has had an impact on architectural and urban theory since it was coined 7 by Foucault in the late 1960s but has remained a source of confusion and 8 debate since. Heterotopia and the City seeks to clarify this concept and investi- 9 gates the heterotopias which exist throughout our contemporary world: in 20111 museums, theme parks, malls, holiday resorts, gated communities, wellness 1 hotels, and festival markets. 2 The book combines theoretical contributions on the concept of heterotopia, 3 including a new translation of Foucault’s influential 1967 text, Of Other Spaces, 4 with a series of critical case studies that probe a range of (post-) urban 5 transformations, from the ‘malling’ of the agora, through the ‘gating’ of dwelling, 6 to the ‘theming’ of urban renewal. Wastelands and terrains vagues are explored as sites of promise and resistance in a section on urban activism and trans- 7 gression. The reader gets a glimpse of the extremes of our dualized, postcivil 8 condition through case studies on Jakarta, Dubai, and Kinshasa. 9 Heterotopia and the City provides a collective effort to reposition heterotopia 30111 as a crucial concept for contemporary urban theory and redirects the current 1 debate on the privatization of public space. -
Coney Island
Name Period A Date Exercise 29 Coney Island Steeplechase Park Opens The first of the great Coney Island parks, Steeplechase Park, was the work of George C. Tilyou, and it grew from the sprig of envy. A local since childhood and proprietor of the Surf Theater at Coney Island, Tilyou visited the 1893 Columbian Exposition in Chicago on his honeymoon and was awestruck by the Ferris Wheel, which debuted there. Unable to procure the wheel for himself1, as it had already been sold, he contracted the Pennsylvania Steel Company to build another one expressly for him. Tilyou's Ferris Wheel rose from a plot of land on the Bowery and West Eighth Street, near Culver's Iron Tower. After covering it with incandescent lights and billing it as the largest in the world (though this claim was plainly untrue), he had his sister Kathryn sit behind the cash register wearing their mother's diamond necklace. For maximum effect, two strong men stood beside Figure 1: The "Funny Face" entrance to Steeplechase. her, as if to protect the jewels from thieves. The Ferris Wheel opened for business in the spring of 1894 and paid for itself within a few weeks. Although Tilyou owned a number of other rides, they were scattered around Coney Island until 1895, when Captain Paul Boyton inaugurated his enclosed Sea-Lion Park. Taking that as his cue, Tilyou opened Steeplechase Park, with its leering "funny face" logo, on a 15-acre plot of oceanfront land and began looking for attractions to fill it. Since horse racing was easily the most popular diversion at Coney Island, Tilyou procured a mechanical race course, devised by the British inventor J.W. -
Simulated Imperialism
TDSR VOLUME XXV NUMBER I 2013 25 Simulated Imperialism STEPHANIE MALIA HOM Simulated imperialism is a paramount dynamic of the contemporary. It marks the mutual articulations of empire and hyperreality that build signifying distance into imperial forma- tions and their discriminatory operations. The Disney empire is one of its most pernicious forms. This article looks to Disneyland to bring simulated imperialism into sharper relief by detailing its three interlocking movements: the signification of imperial processes gen- erated by simulacra; the amplification of colonizing projects through simulation; and the interpellation of hybrid subjects between (im)mobility and (in)animation. It takes the It’s a Small World ride as its primary example. One of the oldest attractions at Disneyland, it provides a multicultural tour of a metaphorical global village wherein animatronic chil- dren, stylized in cultural stereotypes, sing and dance in the name of world peace. Yet this simulated world is one of deceptive heterogeneity. In fact, It’s a Small World reveals an idealized world to be one erased of all difference in favor of a white, English-speaking, and culturally American utopia. It thus spatializes the forceful presence of empire within its all-embracing discursive formation. To theorize simulated imperialism using this example is to position empire within the domains of unending semiotic breakdown and the global- ized (im)mobilities that presently order our excessive, networked, high-carbon societies. This opens a way to think through imperial formations from the destabilized margins of signification, and from these limits, to search out radical possibilities for subversion and resistance in the spaces between the imperial and the hyperreal.