Visions of Community 1 . the Literature Is Vast but for Especially Relevant

Notes

Introduction: Visions of Community 1 . The literature is vast but for especially relevant examples see Lynn Spigel, Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Durham and London: Duke University Press, 2001); Robert Beuka, SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American Fiction and Film (New York: Palgrave Macmillan, 2004); David R. Coon, Look Closer: Suburban Narratives and American Values in Film and Television (New Brunswick and London: Rutgers University Press, 2013). 2 . For a small sense of this very large body of work, see anthologies such as David Clarke, ed., The Cinematic City (London and New York: Routledge, 1997); Mark Lamster, ed., Architecture and Film (New York: Princeton Architectural Press, 2000); Mark Shiel and Tony Fitzmaurice, eds., Cinema and the City: Film and Urban Societies in a Global Context (Oxford: Blackwell, 2001); Mark Shiel, ed., Screening the City (London and New York: Verso, 2003); Andrew Webber and Emma Wilson, eds., Cities in Transition: The Moving Image and the Modern Metropolis (London and New York: Wallflower Press, 2008). Many more significant in-depth works in the field are cited throughout the book. 3 . Rob Lapsley, “Mainly in Cities and at Night: Some Notes on Cities and Film,” in The Cinematic City , ed. David B. Clarke (London and New York: Routledge, 1997), 187. 4 . Mark Shiel, “Cinema and the City in History and Theory,” in Cinema and the City: Film and Urban Studies in a Global Context , ed. Mark Shiel and Tony Fitzmaurice (Oxford: Blackwell, 2001), 3–4. 5 . I am thinking here, for example, of the so-called (and loosely formed) Los Angeles School of urbanism, which has frequently invoked culture in its postmodern theorization of the city. See for example Mike Davis, City of Quartz: Excavating the Future in Los Angeles (New York: Vintage, 1992); Edward W. Soja, Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places 216 NOTES

(Cambridge: Blackwell, 1996); Michael J. Dear, The Postmodern Urban Condition (Oxford: Blackwell, 2000); and the collection Michael J. Dear and J. Dallas Dishman, eds., From Chicago to L.A.: Making Sense of Urban Theory (Thousand Oaks, London and New Delhi: Sage, 2002). 6 . Quoted in Jonathan Meades, Museum Without Walls (London: Unbound, 2012), 12. 7 . James Sanders, Celluloid Skyline: New York and the Movies (New York: Alfred A. Knopf, 2002). 8 . Sanders, Celluloid Skyline , 15. 9 . Ibid., 366–383. 10 . Ibid., 20. 11 . Kenneth MacKinnon, Hollywood’s Small Towns: An Introduction to the American Small-Town Movie (Metuchen, NJ and London: Scarecrow Press, 1984), 18. 12 . Understandably, for example, the shorter engagements in edited col- lections such as Clarke, The Cinematic City ; Shiel and Fitzmaurice, Cinema and the City ; and Shiel, Screening the City typically take this approach. 13 . An example would be the theory of “filmspace” outlined in Dear, The Postmodern Urban Condition , chap. 9. 14 . Darnell M. Hunt, “Representing ‘Los Angeles’: Media, Space, and Place,” in From Chicago to L.A.: Making Sense of Urban Theory , ed. Michael J. Dear and J. Dallas Dishman (Thousand Oaks, London and New Delhi: Sage, 2002), 321–342. 15 . Hunt, “Representing ‘Los Angeles,’” 329. Hunt expresses a postmodern skepticism about whether these can be considered objec- tively measurable. My own view would be that this part of the diagram can be considered the realm of the objective, and the rest of the diagram sufficiently accounts for our subjective mediation of this underlying objective reality. 16 . Ibid.,’” 332. 17. Ibid., 333. 18 . Spigel, Welcome to the Dreamhouse , 22. 19 . Peter Hall, Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth Century , 3rd ed. (Oxford: Blackwell, 2002), chap. 2; Robert Fishman, Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, Le Corbusier (Cambridge and London: MIT Press, 1982), 10–12. 20 . Ebenezer Howard, To-Morrow: A Peaceful Path to Real Reform (London: Swan Sonnenschein, 1898), 8. 21 . Howard, To-Morrow , 131. 22 . For an extraordinarily thorough, heavily illustrated account, see Robert A. M. Stern, David Fishman, and Jacob Tilove, Paradise Planned: The Garden Suburb and the Modern City (New York: Monacelli Press, 2013). NOTES 217

23 . Stern, Fishman, and Tilove, Paradise Planned , 123–127; Dolores Hayden, Building Suburbia: Green Fields and Urban Growth, 1820–2000 (New York: Vintage, 2003), 61–65; Robert Fishman, Bourgeois Utopias: The Rise and Fall of Suburbia (New York: Basic Books, 1989), 126–133; Kenneth T. Jackson, Crabgrass Frontier: The Suburbanization of the United States (New York and Oxford: Oxford University Press, 1985), 79–81. 24 . Hall, Cities of Tomorrow , 312–315; Fishman, Urban Utopias in the Twentieth Century , 122–134. 25 . Hall, Cities of Tomorrow , 314. 26 . Le Corbusier, The City of To-Morrow and Its Planning (New York: Dover Publications, 1987 [originally published in French in 1924 and in English in 1929]), xxi. 27 . Ibid., 116. Emphasis in original. 28 . Ibid., 220. Capitalization in original; this paragraph was also itali- cized to further underline its importance. 29 . Ibid., 240. 30 . For a concise history of urban renewal in Britain and America, set in the context of Le Corbusier’s influence, see Hall, Cities of Tomorrow , 240–254. 31 . Le Corbusier, The City of To-Morrow and Its Planning , 118, 179. 32 . Ibid., 154, 156. 33 . David Harvey, The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Cambridge and Oxford: Blackwell, 1992), 66. 34 . Nigel Taylor, Urban Planning Theory since 1945 (London: Sage, 1998), chap. 2. 35 . See in particular Jackson, Crabgrass Frontier ; Fishman, Bourgeois Utopias ; Hayden, Building Suburbia . 36 . This shift is discussed in Thomas J. Campanella, “Jane Jacobs and the Death and Life of American Planning,” in Reconsidering Jane Jacobs , ed. Max Page and Timothy Mennel (Chicago and Washington, DC: American Planners Association/Planners Press, 2011), 141–160.

1 Movie Towns 1 . From Life , May 10, 1943, 19. This advertisement is also reproduced in John Archer, Architecture and Suburbia: From English Villa to American Dream House, 1690–2000 (Minneapolis: University of Minnesota Press, 2005), 271. 2 . This campaign is discussed in John Bush Jones, All-Out for Victory! Magazine Advertising and the World War II Home Front (Lebanon: University Press of New England, 2009), 286. 3 . Reproduced in Cynthia Lee Henthorn, From Submarines to Suburbs: Selling a Better America, 1939–1959 (Athens: Ohio University Press, 2006), 133. 218 NOTES

4 . Life , March 29, 1943. 5 . Donald C. Shoup, The High Cost of Free Parking (Chicago and Washington: Planners Press, 2005), 674. 6 . Clayton R. Koppes and Gregory D. Black, Hollywood Goes to War: How Politics, Profits, and Propaganda Shaped World War II Movies (Berkeley and Los Angeles: University of California Press, 1987). 7 . MacKinnon, Hollywood’s Small Towns , 9; Emanuel Levy, Small- Town America in Film: The Decline and Fall of Community (New York: Continuum, 1990), 66–67. 8 . Charles J. Maland, Frank Capra (Boston: Twayne, 1980), 131; Levy, Small-Town America in Film , 88. 9 . The film’s afterlife and ongoing appeal as a seasonal classic is discussed in Danny Peary, Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful (New York: Delta, 1981), 162–163. 10 . I have referred throughout this chapter to the film’s narrator as Morgan (the surname of the druggist), as this is the way he is pre- sented in the film. In Wilder’s play it is clearer that the narrator (“stage manager”) is not actually the druggist, but “steps into” the role of Morgan for the scene in the drug store. 11 . Richard Francaviglia, Main Street Revisited: Time, Space, and Image Building in Small-Town America (Iowa City: University of Iowa Press, 1996), 130. 12 . The history of these backlots has long been documented by a community of amateur film history buffs sharing information on the Internet. However, recent years have seen a number of books starting to appear that document history of various lots. See Steven Bingen, Stephen X. Sylvester, and Michael Troyan, MGM: Hollywood’s Greatest Backlot (Solana Beach: Santa Monica Press, 2011); Steven Bingen, Warner Bros.: Hollywood’s Ultimate Backlot (Lanham: Taylor Trade Publishing, 2014); Robert S. Birchard, Early Universal City (Charleston: Arcadia, 2009); Julie Lugo Cerra and Marc Wanamaker, Movie Studios of Culver City (Charleston: Arcadia, 2011); E. J. Stephens and Marc Wanamaker, Early Warner Bros. Studios (Charleston: Arcadia, 2010); E. J. Stephens, Michael Christaldi, and Marc Wanamaker, Early Paramount Studios (Charleston: Arcadia Publishing, 2013). 13. Photographs of the relevant portion of the MGM backlot can be seen in Bingen, Sylvester, and Troyan, MGM , 162. 14 . For the RKO backlot location, compare the street as dressed for Gone With the Wind (Victor Fleming, 1939) at Kipp Teague, “40 Acres—The Lost Studio Backlot of Movie & Television Fame,” Retroweb , 2012, http://www.retroweb.com/40acres_gwtw.html . 15 . For the location, see Gerald Kaufman, Meet Me in St. Louis (London: British Film Institute, 1994), 18; Robert Neuman, “Disneyland’s NOTES 219

Main Street, USA, and Its Sources in Hollywood, USA,” The Journal of American Culture 31 (March 2008): 90–91; Bingen, Sylvester, and Troyan, MGM , 160. 16 . Neuman, “Disneyland’s Main Street, USA,” 92–93. 17 . Michael Willian, The Essential It’s a Wonderful Life: A Scene-by- Scene Guide to the Classic Film , 2nd ed. (Chicago: Chicago Review Press, 2006), 6; Neuman, “Disneyland’s Main Street, USA,” 95. 18 . Willian, The Essential It’s a Wonderful Life , 8–9. 19 . Tony Reeves, The Worldwide Guide to Movie Locations , 3rd rev. ed. (London: Titan Books, 2006), 347–348; Neuman, “Disneyland’s Main Street, USA,” 89–90. 20 . Francaviglia, Main Street Revisited , 97–100, 157–159. 21 . The description of “a universally true Main Street,” used in connec- tion with Disneyland, is frequently attributed to Paul Goldberger but is actually a quote from Disneyland designer John Hench, as quoted by Goldberger. See Paul Goldberger, “Mickey Mouse Teaches the Architects,” The New York Times Magazine , October 22, 1972; for attribution to Goldberger, see Judith A. Adams, The American Amusement Park Industry: A History of Technology and Thrills (New York: Twayne Publishers, 1991), 98; Francaviglia, Main Street Revisited , 160. 22 . Robert D. Putnam, Bowling Alone: The Collapse and Revival of American Community (New York: Simon & Schuster, 2001), 54, 57, 70–71, 81, 84. 23 . In Bowling Alone Putnam discusses the idea of a shift to “vocational communities” and suggests that while such socializing does account for increased proportions of our social networks, such friendships are less likely to be “intimate and deeply supportive.” This would support the idea that there is a sense of nostalgic longing associated with widespread use of other nonworkplace institutions as social hubs. Putnam, Bowling Alone , 85–87. 24 . Nezar AlSayyad, Cinematic Urbanism: A History of the Modern from Reel to Real (New York and London: Routledge, 2006), 87. 25 . Francaviglia, Main Street Revisited , 23–26. 26 . For the mid-twentieth-century pressures on such streets, see Francaviglia, Main Street Revisited, 41–51; Discussion of the physical impacts of the car on Main Streets can be found throughout Jane Holtz Kay, Asphalt Nation: How the Automobile Took Over America, and How We Can Take It Back (Berkeley and Los Angeles: University of California Press, 1997), but see especially Chapter 7 . 27 . Robert Beuka, SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American Fiction and Film (New York: Palgrave Macmillan, 2004), 51. 28 . Levy, Small-Town America in Film , 263. Emphasis in original. 220 NOTES

29 . Gene D. Phillips, Alfred Hitchcock (Boston: Twayne, 1984), 104; Donald Spoto, The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures , 2nd ed. (New York: Anchor/Doubleday, 1992), 117; Patrick McGilligan, Alfred Hitchcock: A Life in Darkness and Light (Chichester: Wiley, 2003), 308 – 313. 30 . Colin McArthur, “Chinese Boxes and Russian Dolls: Tracking the Elusive Cinematic City,” in The Cinematic City , ed. David B. Clarke (London and New York: Routledge, 1997), 27. 31 . Robin Wood notes this explosion of noir in the “’Til Two” scene in his famous essay on Shadow of a Doubt and It’s a Wonderful Life : Robin Wood, “Ideology, Genre, Auteur,” Film Comment 13, no. 1 (1977): 50. 32 . Frank Krutnik, “Something More than Night: Tales of the Noir City,” in The Cinematic City , ed. Clarke, 85–86; Wood, “Ideology, Genre, Auteur,” 49. 33 . Willian, The Essential It’s a Wonderful Life , 105. 34 . Krutnik, “Something More than Night,” 87. 35 . Robert B. Ray, A Certain Tendency of the Hollywood Cinema, 1930– 1980 (Princeton: Princeton University Press, 1985), 202, 213–215; Wood, “Ideology, Genre, Auteur,” 49. 36 . Ray, A Certain Tendency of the Hollywood Cinema , 202. 37 . Compare, for example, the plan to garden suburb subdivisions from the approximate timeframe of the film’s setting, as found in Dolores Hayden, Building Suburbia: Green Fields and Urban Growth, 1820– 2000 (New York: Vintage, 2003), 63, 81, 85; Robert A. M. Stern, David Fishman, and Jacob Tilove, Paradise Planned: The Garden Suburb and the Modern City (New York: Monacelli Press, 2013), chap. 2. Drake’s plan lacks the attention to street form, landscap- ing, and general refinements of plans prepared by architects such as Olmsted; in its more “industrial” approach, it is a more genuinely proto-suburban design. 38 . Beuka, SuburbiaNation , 62. 39 . For the location used for Bailey Park, see Lindsay Blake, “The Martini House from ‘It’s A Wonderful Life,’” Iamnotastalker. com , December 22, 2009, http://www.iamnotastalker. com/2009/12/22/the-martini-house-from-its-a-wonderful-life/ . 40 . AlSayyad, Cinematic Urbanism , 58. 41 . Beuka, SuburbiaNation , 62; AlSayyad, Cinematic Urbanism , 58. 42 . MacKinnon, Hollywood’s Small Towns , 24.

2 Sitcom Suburbs 1 . It is ambiguous in the film as to whether the commute time referred to is for a drive or train trip: the 58-minute figure immediately follows the reference to the paved highway, but later in the film it is clear that Mr. Blandings commutes to the city by train. NOTES 221

2 . Eric Hodgins, “Mr Blandings Goes to Hollywood,” Life , April 12, 1948, 121. 3 . Catherine Jurca, “Hollywood, the Dream House Factory,” Cinema Journal 37, no. 4 (Summer 1998): 29; Dolores Hayden, Building Suburbia: Green Fields and Urban Growth, 1820–2000 (New York: Vintage, 2003), 150; John Archer, Architecture and Suburbia: From English Villa to American Dream House, 1690–2000 (Minneapolis: University of Minnesota Press, 2005), 278. 4 . Archer, Architecture and Suburbia , 278–291. 5 . Lewis Mumford, The City in History: Its Origins, Its Transformations, and Its Prospects (San Diego, New York, London: Harvest Books, 1961), 483. 6 . For discussion of railroad and streetcar suburbs, see Robert Fishman, Bourgeois Utopias: The Rise and Fall of Suburbia (New York: Basic Books, 1989), chap. 5; Kenneth T. Jackson, Crabgrass Frontier: The Suburbanization of the United States (New York and Oxford: Oxford University Press, 1985), chap. 5; Hayden, Building Suburbia , chap. 5. 7 . Mumford, The City in History , 504; Jackson, Crabgrass Frontier , 101. 8 . Peter Hall, Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth Century , 3rd ed. (Oxford: Blackwell, 2002), 317. 9 . Michael Farish, “Disaster and Decentralization: American Cities and the Cold War,” Cultural Geographies , no. 10 (2003): 125–48. 10 . Albert Mayer, “The Need for Synchronized Dispersal,” Bulletin of the Atomic Scientists , February 1952, 52. 11 . Gwendolyn Wright, Building the Dream: A Social History of Housing in America (Cambridge and London: The MIT Press, 1981), 240–242; Jackson, Crabgrass Frontier , 231–232; Rosalyn Baxandall and Elizabeth Ewen, Picture Windows: How the Suburbs Happened (New York: Basic Books, 2000), 87–88. 12 . Jackson, Crabgrass Frontier , 232. 13 . Baxandall and Ewen, Picture Windows , chap. 8; Dolores Hayden, “Building the American Way: Public Subsidy, Private Space,” in The Politics of Public Space , ed. Setha Low and Neil Smith (New York: Routledge, 2006), 35–48. 14 . Jackson, Crabgrass Frontier , 206–207. 15 . The literature on the Levitts is extensive but the discussion that follows is based in particular upon Hayden, Building Suburbia , 133–138; Baxandall and Ewen, Picture Windows , chap. 10; Jackson, Crabgrass Frontier , chap. 13; Wright, Building the Dream , chap. 13; Hall, Cities of Tomorrow , 320–322; and Herbert J. Gans, The Levittowners: Ways of Life and Politics in a New Suburban Community (New York: Columbia University Press, 1967). 222 NOTES

16 . Wright, Building the Dream , 251–252; Jackson, Crabgrass Frontier , 235. 17 . Hayden, Building Suburbia , 138–141. 18 . Fishman, Bourgeois Utopias , 176; Jackson, Crabgrass Frontier , 239. 19 . Richard F. Dempewolff, “More House for Less Money,” Popular Mechanics , October 1953; Don Weldon, “Ready Made City Will House 70,000,” Popular Science , November 1952. 20 . For more on such communities see Hayden, Building Suburbia , chap. 4. 21 . John Liell, “Levittown: A Study in Community Planning and Development” (PhD Dissertation, Yale University, 1952), 111. 22 . Baxandall and Ewen, Picture Windows , 136–137; Jackson, Crabgrass Frontier , 236; Wright, Building the Dream , 252–253. 23 . From an advertisement in The Architectural Forum , June 1948, reproduced in Archer, Architecture and Suburbia , 280–281. 24 . Quoted in Baxandall and Ewen, Picture Windows , 136; Liell, “Levittown,” 112. 25 . Baxandall and Ewen, Picture Windows , 136–137; Wright, Building the Dream , 254–255. 26 . Dolores Hayden, Redesigning the American Dream: The Future of Housing, Work and Family Life (New York and London: W. W. Norton, 2002), 55. 27 . David Marc, Comic Visions: Television Comedy and American Culture , 2nd ed. (Malden: Blackwell, 1997), 44. 28 . Gerard Jones, Honey, I’m Home! Sitcoms: Selling the American Dream (New York: St. Martin’s Press, 1992), 100. 29 . Hal Himmelstein, Television Myth and the American Mind (New York: Praeger, 1984), 87. 30 . David Halberstam, The Fifties (New York: Random House, 1993), 514. 31 . Marc, Comic Visions , 43. 32 . This shift is alluded to, although without detailed figures, in Marc, Comic Visions , 42–43; Mary Beth Haralovich, “Sitcoms and Suburbs: Positioning the 1950s Homemaker,” Quarterly Review of Film and Video 11, no. 1 (1989): 62; Jones, Honey, I’m Home! , 102, 122–123; more specific data is provided in Michael Ray Fitzgerald, “Sitcoms and Suburbia: The Role of Network Television in the De-Urbanization of the U.S., 1949–1991” (Master’s Thesis, University of Florida, 2007). Ray notes the interchangeableness of small town and suburban depictions and hence distinguishes only between urban and nonurban, the latter including small-town and suburban sitcoms. While at the end of the 1940s about half the shows were set in the city and half in nonurban settings, the pro- portion of small-town/suburban shows steadily rose through the 1950s until, by decade’s end, such programs were accounting for around 80 percent of programs. NOTES 223

33 . James Joslyn and Josh Pendleton note that viewers, especially early in the series, would have been aware of the Nelsons’ entertainment background and therefore did not need an occupation invented for Ozzie. James Joslyn and John Pendleton, “The Adventures of Ozzie and Harriet,” The Journal of Popular Culture 7, no. 1 (1973): 38. 34 . The vagueness of Ward Cleaver’s profession is not limited to the episodes I viewed. For his detailed study of the program Michael B. Kassel viewed all 234 episodes without encountering a clear reference to Ward’s job, although as Kassel notes, it is popularly surmised that Ward is an accountant. Michael B. Kassel, “Mass Culture, History and Memory and the Image of the American Family” (PhD Thesis, Michigan State University, 2004), 129. 35 . The realism of these sitcom texts is touched upon by Haralovich, “Sitcoms and Suburbs,” 62–64. 36 . For an idea of “comedian comedy,” see Steve Seidman, Comedian Comedy: A Tradition in Hollywood Film (A nn A rbor: UMI Research Press, 1981). 37 . For a detailed account of single versus multi-camera modes of production see Jeremy G. Butler, Television: Critical Methods and Applications , 3rd ed. (Mahwah and London: Lawrence Erlbaum Associates, 2007), 195–225; for the links back to classical Hollywood style, see David Bordwell, Janet Staiger, and Kristin Thompson, The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 (New York: Routledge, 1985), 304–308. 38 . Later family sitcoms that used a single-camera mode and share strong continuity of tradition with the 1950s examples discussed include My Three Sons (ABC & CBS, 1960–1972) and The Brady Bunch (ABC, 1969–1974). 39 . Haralovich, “Sitcoms and Suburbs”; Jones, Honey, I’m Home! 40 . In the first two seasons of Father Knows Best there is one lone excep- tion: a brief scene in season two’s “Bud the Wallfower” that uses a Main Street backlot. 41 . These are the season three episodes “Beaver’s Fortune,” Tire Trouble,” “Pet Fair,” “Beaver’s Bike,” and “Beaver and Violet;” and the season four episodes “Teacher’s Daughter,” “Ward’s Millions,” “The School Picture,” “In the Soup,” “Community Chest,” “Beaver Goes in Business,” “Kite Day,” and “Beaver’s Doll Buggy.” This list disregards fleeting appearances such as stock establishing shots of shopfronts. 42 . D. J. Waldie, “Shadows of Suburbia,” Variety (VLife Supplement) , September 12, 2005; Kipp Teague, “Leave It to Beaver on Universal City’s ‘Colonial Street’ and Beyond,” Retroweb , 2012, http://www.retroweb.com/universal_leave_it_to_beaver.html ; Mark Bradley, “Colonial Street—‘Leave It to Beaver House,’” Thestudiotour.com , 2012, http://www.thestudiotour.com/ush/ backlot/street_colonial_beaver.html . 224 NOTES

43 . These are season one’s “The Motor Scooter,” “Typical Father,” and “The Paper Route,” and season two’s “The Art of Salesmanship,” “New Girl at School,” “Kathy the Indian Giver,” and “Family Dines Out.” 44 . Mitchell Schwarzer, Zoomscape: Architecture in Motion and Media (New York: Princeton Architectural Press, 2004), 273; National League of Cities, “Most Common U.S. Street Names,” Nlc.org , 2010, http://nlc.org/build-skills-networks/resources/cities-101/ most-common-u-s--street-names . 45 . “Mapleton Drive” can be heard in the season one episode “Beaver’s Guest” while “Maple Drive” is used in season two’s “Beaver’s Newspaper.” 46 . For details of the MGM New England Street, including extensive pictures, see Steven Bingen, Stephen X. Sylvester, and Michael Troyan, MGM: Hollywood’s Greatest Backlot (Solana Beach: Santa Monica Press, 2011), 154–159. 47 . Pine Street is the fourth most popular street name, excluding num- bered streets. National League of Cities, “Most Common U.S. Street Names.” 48 . St. Louis Street is discussed and detailed in some detail in Bingen, Sylvester, and Troyan, MGM , 239–236. Underlining the similarity of the two sets, at page 236 of the first edition, the book mistakenly includes a photo of Colonial Street among its pictures of St. Louis Street (an error fixed in subsequent printings). 49 . Kassel, “Mass Culture History and Memory,” 146–147. 50 . Michael Kassell discusses the textual evidence of Cleaver’s level of income, as well as the attitude to that, in “Mass Culture History and Memory,” 144–149; for the privileged position of the middle class in film and television of the era see Nina C. Leibman, Living Room Lectures: The Fifties Family in Film and Television (Austin: University of Texas Press, 1995), 240–247. 51 . I am indebted to Michael Kassel’s study for alerting me to this exchange. Kassel, “Mass Culture History and Memory,” 142. 52 . For more detailed discussion of the house layouts used in each show, see Haralovich, “Sitcoms and Suburbs,” 75–77. 53 . Mischa Hof, “Blondie Street,” The Unofficial Columbia Ranch Site , 2009, http://www.columbiaranch.net/Blondiestreet. 54 . The original house is at 4227 Agnes Avenue in Los Angeles. Adam R. Jones, “Burbank Area Sites: Agnes Street,” 1164 Morning Glory Circle , 2004, http://www.1164.com/burbank/agnes-street/ index.html . 55 . Bradley, “Colonial Street—‘Leave It to Beaver House’”; Teague, “Leave It to Beaver on Universal City’s ‘Colonial Street’ and Beyond.” 56 . A key to this is that both programs are so-called single-camera sitcoms, so the layout of the house need not be arranged to NOTES 225

accommodate multiple cameras and an audience. While the single camera format has become less common for American family sitcoms over time, it has not disappeared, and a current single-camera program such as Modern Family (ABC, 2009–) shows similar realism in its layouts. 57 . Bob Eddy, “Private Life of a Perfect Papa,” Saturday Evening Post , April 27, 1957, 176. 58 . The Cleaver’s extra bedroom is mentioned in dialogue in various episodes, and after a dispute with Wally, Beaver moves into the room briefly in “Cleaning Up Beaver.” 59 . Kassel, “Mass Culture History and Memory,” 369–374. 60 . This is based on my review of seasons one, three, and four, totalling 117 episodes. 61 . Halberstam, The Fifties , 511. Halberstam seemingly forgets here that the Cleaver children did, in fact, share a room, but this does not negate his fundamental point about the undeniably spacious Cleaver homes. 62 . Haralovich, “Sitcoms and Suburbs,” 63. 63 . Ibid., 80. 64 . Kassel notes that Ward does sometimes bring the worries of his work day home: Kassel, “Mass Culture History and Memory,” 131– 132; for the concealment of the economic background to middle- class life, see Haralovich, “Sitcoms and Suburbs,” 74; Himmelstein, Television Myth and the American Mind , 88. 65 . Analyses along these lines can be found in Marc, Comic Visions , 41–53; Haralovich, “Sitcoms and Suburbs”; Jones, Honey, I’m Home! , 95–102; Leibman, Living Room Lectures ; and Darrell Y. Hamamoto, Nervous Laughter: Television Situation Comedy and Liberal Democratic Ideology (New York, Westport and London: Praeger, 1989). 66 . Schwarzer, Zoomscape , 272. 67 . Kassel, “Mass Culture History and Memory,” 151. 68 . For an overview of the main backlots found in Hollywood during the 1950s and beyond, see Kipp Teague, “TV Studios and Ranches in the 1950’s-1970’s (Hollywood and Vicinity),” Retroweb , 2012, http://www.retroweb.com/tv_studios_and_ranches.html . 69 . Hof, “Blondie Street”; Adam R. Jones, “Warner Bros. Ranch: Ranch TV & Movie Sightings,” 1164 Morning Glory Circle , 1995, http://www.1164.com/ranch/tv/index.html . 70 . The trend to multi-camera production was likely prompted by the use of the format by popular and influential shows such as The Mary Tyler Moore Show (CBS, 1970–1977) and All in the Family (CBS, 1971–1979). See David Everitt, “Comedy’s Second Golden Age,” Television Quarterly 32, no. 2/3 (Fall 2001): 27. The successful retooling of Happy Days (ABC, 1974–1984) as a multi-camera production in its third season, with only increased success, may also 226 NOTES

have been influential. However single-camera domestic sitcoms have continued to be produced, such as Malcolm in the Middle (Fox, 2000–2006) and Modern Family (ABC, 2009–). 71 . Hof, “Blondie Street”; Jones, “Warner Bros. Ranch: Ranch TV & Movie Sightings.” 72 . It is likely production realities dictated the use of the backlot, rather than real streets, for both these film series. Both Lethal Weapon and Christmas Vacation (the first in the Vacation series to use the lot) feature long, action-filled sequences around the house exteriors that would have been complicated to shoot on location. 73 . For the establishment of the Universal Studio tour, see John Murdy, “The World Famous Universal Studio Tour,” Thestudiotour.com , 2002, http://www.thestudiotour.com/ush/studiotour/history. html; Salvador Anton Clavé , The Global Theme Park Industry (Cambridge and Oxford: CABI, 2007), 16. 74 . Mark Bradley, “Universal Studios Hollywood—Backlot—Colonial Street—History,” Thestudiotour.com , accessed April 6, 2012, http://www.thestudiotour.com/ush/backlot/colonialstreet_his- tory.php . 75 . A map of the layout of the street as used in Desperate Housewives appears in Sara Newberry, ed., Desperate Housewives: Behind Closed Doors (London: Time Warner Books, 2005), 150–151. 76 . Waldie, “Shadows of Suburbia,” 63. 77 . Ibid., 62. 78 . Derrick Hall, “Wisteria Lane Resembles Communities Built by Homebuilder,” PR Newswire , January 17, 2005, KB Home press release archived at http://www.prnewswire.com.au . (Accessed and saved on July 31, 2009, no longer online).

3 The Bad Suburb 1 . Becky Nicolaides, “How Hell Moved From the City to the Suburbs: Urban Scholars and Changing Perceptions of Authentic Community,” in The New Suburban History , ed. Kevin M. Kruse and Thomas J. Sugrue (Chicago and London: University of Chicago Press, 2006), 80. 2 . Hal Burton, “Trouble in the Suburbs,” Saturday Evening Post , September 17, 1955. 3 . Ibid., 19. 4 . Ibid., 113. 5 . Ibid. 6 . Ibid. 7 . Ibid., 117. 8 . In shaping the following discussion, I have drawn on the framework outlined by Alex Krieger in “The Costs—or Have There Been Benefits Too?—of Sprawl,” Harvard Design Magazine , no. 19 NOTES 227

(2004) which sees the critique of sprawling suburbia as developed along five main themes: aesthetic, sociological, environmental, life- style, and self-interested. While I have not exactly followed Krieger’s framework, it has been helpful in structuring my summary of the diverse anti-suburban literature. 9 . Holley Wlodarczyk, “Intermediate Landscapes: Constructing Suburbia in Postwar American Photography,” in Worlds Away: New Suburban Landscapes , ed. Andrew Blauvelt (Minneapolis: Walker Art Center, 2008), 102; Dolores Hayden, Building Suburbia: Green Fields and Urban Growth, 1820–2000 (New York: Vintage, 2003), 139. 10 . Tax write-offs for “accelerated depreciation” after 1954 fuelled speculative construction for short-term profit by encouraging devel- opers to on-sell buildings after a few years, removing their incen- tive to construct to a high standard. Hayden, Building Suburbia , 162–164. 11 . James Howard Kunstler, The Geography of Nowhere: The Rise and Decline of America’s Man-Made Landscape (New York: Touchstone, 1993), 10. 12 . See, for example, Dolores Hayden and Jim Wark, A Field Guide to Sprawl (New York and London: W. W. Norton, 2004). 13 . William H. Whyte, The Organization Man (Philadelphia: University of Pennsylvania Press, 2002). 14 . Ibid., 281. 15 . Ibid., 359–360. 16 . For further discussion of the ideas of homogeneity and conformity in 1950s and 1960s suburbia, see Herbert J. Gans, The Levittowners: Ways of Life and Politics in a New Suburban Community (New York: Columbia University Press, 1967), 153–181; and Scott Donaldson, The Suburban Myth (Lincoln: iUniverse, 2002), 102–116. 17 . For a survey of twentieth-century suburban novels, see Catherine Jurca, White Diaspora: The Suburb and the Twentieth-Century American Novel (Princeton: Princeton University Press, 2001); Robert Beuka, SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American Fiction and Film (New York: Palgrave Macmillan, 2004). 18 . Lewis Mumford, The City in History: Its Origins, Its Transformations, and Its Prospects (San Diego, New York, London: Harvest Books, 1961), 486. 19. Gans, The Levittowners ; Donaldson, The Suburban Myth . 20 . Kenneth T. Jackson, Crabgrass Frontier: The Suburbanization of the United States (New York and Oxford: Oxford University Press, 1985), 208; Rosalyn Baxandall and Elizabeth Ewen, Picture Windows: How the Suburbs Happened (New York: Basic Books, 2000), 177. 228 NOTES

21 . Quoted in Craig Thompson, “Growing Pains of a Brand-New City,” Saturday Evening Post , August 7, 1954, 72; see also Gans, The Levittowners , 14. 22 . For detailed discussion of “red-lining,” see Jackson, Crabgrass Frontier , 197–215. The Underwriting Manual quote is on page 208. 23 . John Powell, “Sprawl, Fragmentation and the Persistence of Racial Inequality: Limiting Civil Rights by Fragmenting Space,” in Urban Sprawl: Causes, Consequences, & Policy Responses , ed. Gregory D. Squires (Washington, DC: The Urban Institute Press, 2002), 84. 24 . Dolores Hayden, Redesigning the American Dream: The Future of Housing, Work and Family Life (New York and London: W. W. Norton, 2002), 63. 25 . Gwendolyn Wright, Building the Dream: A Social History of Housing in America (Cambridge and London: The MIT Press, 1981); Hayden, Redesigning the American Dream . 26 . Wright, Building the Dream , 255. 27 . For the focus on housebound women as consumers, see Mary Beth Haralovich, “Sitcoms and Suburbs: Positioning the 1950s Homemaker,” Quarterly Review of Film and Video 11, no. 1 (1989); Baxandall and Ewen, Picture Windows , 148–151. 28 . A concise summary of the health issues relating to sprawling suburban development is found in Howard Frumkin, Lawrence Frank, and Richard Joseph Jackson, Urban Sprawl and Public Health: Designing, Planning, and Building for Healthy Communities (Washington, Covelo, and London: Island Press, 2004), 22–25. 29 . Jackson, Crabgrass Frontier , chap. 14. 30 . For some discussion of the urban design implications of car parking, see Donald C. Shoup, The High Cost of Free Parking (Chicago and Washington: Planners Press, 2005), 136–141. 31 . For discussion of the visual and community impacts of such retailers, see Stacy Mitchell, Big-Box Swindle: The True Cost of Mega-Retailers and the Fight for America’s Independent Businesses (Boston: Beacon Press, 2006), chaps. 3 and 4. 32 . Robert D. Putnam, Bowling Alone: The Collapse and Revival of American Community (New York: Simon & Schuster, 2001), 211. 33 . Ibid., 213. 34 . Ibid., chap. 12 and 13; Jackson, Crabgrass Frontier , chap. 15. 35 . Jackson, Crabgrass Frontier , 280. 36 . Emanuel Levy, Small-Town America in Film: The Decline and Fall of Community (New York: Continuum, 1990), 110. 37 . Beuka, SuburbiaNation , 227–228. 38 . For another analysis of suburban movies through the same period, see Douglas Muzzio and Thomas Halper, “Pleasantville? The Suburb and Its Representation in American Movies,” Urban Affairs Review 37, no. 4 (2002): 543–574. NOTES 229

39 . Sloan Wilson, The Man in the Gray Flannel Suit (Cambridge: Da Capo Press, 1955); David Halberstam discusses the book’s parallels with Wilson’s life and its thematic ties to the intellectual debate of the era in The Fifties , 521–527. 40 . Levy, Small-Town America in Film , 120–122; MacKinnon, Hollywood’s Small Towns , 48. 41 . See, for example, Roger D. McNiven, “The Middle-Class American Home of the Fifties: The Use of Architecture in Nicholas Ray’s Bigger than Life and Douglas Sirk’s All That Heaven Allows,” Cinema Journal 22, no. 4 (Summer 1983): 38–57; M. B. Haralovich, “All That Heaven Allows: Color, Narrative Space, and Melodrama,” in Close Viewings: An Anthology of New Film Criticism , (Tallahassee: Florida State University Press, 1990), 57–72. 42 . Ritt himself was blacklisted from television work and was closely associated with many who were blacklisted from working in film. Carlton Jackson, Picking Up the Tab: The Life and Movies of Martin Ritt (Bowling Green: Bowling Green State University Popular Press, 1994), 27. 43 . Robert Beuka has discussed the surveillance theme in The Stepford Wives in some depth in SuburbiaNation , 176–185; and “The View through the Picture Window: Surveillance and Entrapment Motifs in Suburban Film,” in Worlds Away: New Suburban Landscapes , ed. Andrew Blauvelt (Minneapolis: Walker Art Center, 2008), 89–100. 44 . Muzzio and Halper, “Pleasantville? The Suburb and Its Representation in American Movies,” 562. 45 . For the importance of plastics in this era, see Henthorn, From Submarines to Suburbs , 88–97. 46 . For more on the pool and water imagery in the film, see Beuka, SuburbiaNation , 140–143. 47 . Lynn Spigel, Make Room for TV: Television and the Family Ideal in Postwar America (Chicago and London: University Of Chicago Press, 1992), 37–45. 48 . Lynn Spigel, Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Durham and London: Duke University Press, 2001), 43–46. The phrase “televised neighbours” is used on page 45. 49 . Lynn Spigel discusses this moment in M ake Room for TV , 123. 50 . For further discussion of the film’s visual/architectural landscape, see McNiven, “The Middle-Class American Home of the Fifties”; and also Levy, Small-Town America in Film , 121. 51 . This appears to be the corner of Antioch Street and Sunset Boulevard in Pacific Palisades, Los Angeles. 52 . For details of the location, including images of how the area now appears, see Robby Cress, “Bachelor in Paradise (1961)—Film Locations,” Dear Old Hollywood , March 20, 2011, http://dearoldhollywood.blogspot.com.au/2011/03/bachelor-in-paradise-1961- film.html . 230 NOTES

53 . Tony Reeves, The Worldwide Guide to Movie Locations , 3rd rev. ed. (London: Titan Books, 2006), 298. 54 . David R. Coon, Look Closer: Suburban Narratives and American Values in Film and Television (New Brunswick and London: Rutgers University Press, 2013). 55 . Reeves, The Worldwide Guide to Movie Locations , 43. 56 . The actual house is in Pacoima in the San Fernando Valley. Reeves, The Worldwide Guide to Movie Locations , 43. 57 . Ibid. 58 . The Twin Pines Mall has become the Lone Pine Mall by film’s end, as a result of Marty driving over a pine tree in his DeLorean. 59 . Douglas Muzzio and Thomas Halper’s survey of films shows a rather more of a mix of positive and negative depictions although the balance still leans toward negative portrayals. However, their survey by its nature does not include many of the positive “background” portrayals of the type to which I have referred, focus- sing on films where suburbs are more conspicuously featured as a subject. Muzzio and Halper, “Pleasantville? The Suburb and Its Representation in American Movies,” 570–571.

4 The Fake Town 1 . For the production of the film, see Michael Barrier, The Animated Man: A Life of Walt Disney (Berkeley and Los Angeles: University of California Press, 2007), 202–204; Neal Gabler, Walt Disney: The Triumph of the American Imagination (New York: Vintage, 2006), 468–469. 2 . Barrier, The Animated Man , 10, 17. 3 . Gabler, Walt Disney , 468; Robert Neuman, “Disneyland’s Main Street, USA, and Its Sources in Hollywood, USA,” The Journal of American Culture 31 (March 2008), 94–95. 4 . Neuman, “Disneyland’s Main Street, USA,” 94. 5 . For details of the Marceline Main Street at approximately the time Disney lived there, see Richard Francaviglia, Main Street Revisited: Time, Space, and Image Building in Small-Town America (Iowa City: University of Iowa Press, 1996), 145. 6. Leonard Maltin, The Disney Films , 4th ed. (New York: Disney Editions, 2000), 89. 7 . Barrier, The Animated Man , 220; Gabler, Walt Disney , 439; Michael Barrier, Hollywood Cartoons: American Animation in Its Golden Age (New York and Oxford: Oxford University Press, 1999), 394–400. 8 . Karal Ann Marling, “Imagineering the Disney Theme Parks,” in Designing Disney’s Theme Parks: The Architecture of Reassurance , ed. Karal Ann Marling (Montreal: Canadian Centre for Architecture, 1997), 47–48; Barrier, The Animated Man , 231–233. NOTES 231

9 . Marling, “Imagineering the Disney Theme Parks,” 6–62; Gabler, Walt Disney , 493–495. 10 . Steven Watts, The Magic Kingdom: Walt Disney and the American Way of Life (Columbia and London: University of Missouri Press, 1997), 144–151. 11 . Barrier, The Animated Man , 243–245. 12 . Karal Ann Marling, As Seen on TV: The Visual Culture of Everyday Life in the 1950s (Cambridge and London: Harvard University Press, 1994), 87. 13 . Marling, “Imagineering the Disney Theme Parks,” 38–47; Barrier, The Animated Man , 209–217; Gabler, Walt Disney , 463–468, 473–476. 14 . Crowther, “The Dream Merchant,” New York Times , December 16, 1966. 15 . Marling, “Imagineering the Disney Theme Parks,” 47. 16 . Ibid., 52; Barrier, The Animated Man , 231–233. 17 . Sam Gennawey provides an excellent overview of Disney’s contribu- tions to the built environment in Walt and the Promise of Progress City (Lexington: Ayefour Publishing, 2011). 18 . Gennawey, Walt and the Promise of Progress City , chap. 4; Barrier, The Animated Man , 158–160; Gabler, Walt Disney , 322–325. 19 . Gennawey, Walt and the Promise of Progress City , chap. 8; Barrier, The Animated Man , 297–300; Steve Mannheim, Walt Disney and the Quest for Community (Burlington: Ashgate, 2002), 14–15. 20 . Mannheim, W alt Disney and the Quest for Community , 14–16. 21 . Watts, The Magic Kingdom , 411–421. 22 . For influences on Disney specifically, see Marling, “Imagineering the Disney Theme Parks,” 35–38, 43–47; for Disneyland in the context of its American predecessors, see Judith A. Adams, The American Amusement Park Industry: A History of Technology and Thrills (New York: Twayne Publishers, 1991), chap. 1–5. 23 . Quoted in Francaviglia, Main Street Revisited , 147. 24 . Francaviglia, Main Street Revisited , 145–151; see also Marling, “Imagineering the Disney Theme Parks,” 60 – 62. 25 . Neuman, “Disneyland’s Main Street, USA,” 86. 26 . Marling, As Seen on TV , 108–109; Watts, The Magic Kingdom , 164–165. 27 . Many authors have noted the symbiotic relationship between Disneyland the theme park and Disneyland the television show, but see especially Marling, As Seen on TV , chap. 3; Eric Avila, Popular Culture in the Age of White Flight: Fear and Fantasy in Suburban Los Angeles (Berkeley, Los Angeles, and London: University of California Press, 2004), 126–131; for a broader discussion of the link between theme parks and cinema/television, see Salvador Anton Clav é , The Global Theme Park Industry (Cambridge and Oxford: CABI, 2007), 16–18. 232 NOTES

28 . Both are available on DVD as part of the Disney Treasures series— the opening day broadcast on Disneyland USA and People and Places: Disneyland U.S.A on Disneyland: Secrets, Stories and Magic . 29 . John Hench and Peggy Van Pelt, Designing Disney: Imagineering and the Art of the Show (New York: Disney Editions, 2008), 74. 30 . Ramí rez, Architecture for the Screen , 86. 31 . The forced perspective is often described as creating a street that appears small , but as noted in the quote from John Hench in the preceding paragraph, it actually makes buildings appear larger than they are (that is, about normal size). While noticeable in elevations, the effect is remarkably subtle on site. 32 . Marling, “Imagineering the Disney Theme Parks,” 90. 33 . Mannheim, Walt Disney and the Quest for Community , 5. 34 . Michael Barrier cites Disney executive Richard Nunis as recall- ing the deliberate nature of this strategy. Barrier, The Animated Man , 303. 35 . This film was shot in 1966 and screened for backers in early 1967. According to Michael Barrier, it was prepared in two slightly different forms for corporate and government audiences. It was eventu- ally publicly released in 2004 on the DVD Walt Disney Treasures: Tomorrowland . No title appears on-screen in that version, which may help account for the varying titles attributed to the film, which Barrier cites as Walt Disney’s EPCOT ’66 and Sam Gennawey as Project Florida. Barrier, The Animated Man , 309; Gennawey, Walt and the Promise of Progress City , 262. 36 . For a more detailed discussion of EPCOT, imagining what it might have been like if built, see Gennawey, Walt and the Promise of Progress City , chap. 15. 37. Mannheim, W alt Disney and the Quest for Community , 113. 38 . Gennawey, Walt and the Promise of Progress City , 336–337. 39 . Mannheim, Walt Disney and the Quest for Community , 114–115. 40 . Barrier, The Animated Man , 308, 315. 41 . Quotes from Andrew Ross, The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Value in Disney’s New Town (New York: Ballantine Books, 1999), 56; James Howard Kunstler, The Geography of Nowhere: The Rise and Decline of America’s Man- Made Landscape (New York: Touchstone, 1993), 227. 42 . Barrier, The Animated Man , 293. 43 . Obviously, there are other ways in which these arguments can be broken up and generalized. For other examples, see Clav é , The Global Theme Park Industry , 178–179; Janet Wasko, Understanding Disney: The Manufacture of Fantasy (Cambridge: Polity Press, 2001), 156–178; or the overall structure of Alan Bryman, The Disneyization of Society (London, Thousand Oaks, and New Delhi: Sage Publishers, 2004). NOTES 233

44 . Miodrag Mitra šinovi ć , Total Landscape, Theme Parks, Public Space (Aldershot: Ashgate, 2006), 116–117; for further discussion of Disneyland in the context of the broader history of themed spaces, see also Mark Gottdiener, The Theming of America: Dreams, Media Fantasies, and Themed Environments , 2nd ed. (Boulder and Oxford: Westview Press, 2001). 45 . Julian Halevy, “Disneyland and Las Vegas,” The Nation 7 (1958): 511. 46 . Greil Marcus, “Forty Years of Overstatement: Criticism and the Disney Theme Parks,” in Designing Disney’s Theme Parks: The Architecture of Reassurance , ed. Karal Ann Marling (Montreal: Canadian Centre for Architecture, 1997), 204. 47 . Richard Schickel, The Disney Version: The Life, Times, Art and Commerce of Walt Disney , 3rd ed. (Chicago: Ivan R. Dee, 1997), 328. 48 . Schickel, The Disney Version , 337. 49 . An excellent discussion of the slightly muddy nature of Schickel’s objections is found in Marcus, “Forty Years of Overstatement: Criticism and the Disney Theme Parks,” 204. 50 . Schickel, The Disney Version , 335, 330. 51 . Ibid., 370. 52 . Ada Louise Huxtable, The Unreal America: Architecture and Illusion (New York: New Press, 1997), 50. 53 . Very similar expressions of this observation can be found in Adams, The American Amusement Park Industry , 98; Francaviglia, Main Street Revisited , 144; Neuman, “Disneyland’s Main Street, USA,” 85; Stephen M. Fjellman, Vinyl Leaves: Walt Disney World and America (Boulder and Oxford: Westview Press, 1992), 170. 54 . Quoted in Gennawey, Walt and the Promise of Progress City , 127. 55 . Naomi Klein, No Logo , 10th anniversary ed. (London: Fourth Estate, 2000), acknowledgments. While Klein’s focus is much wider than Disney, she cites her grandfather, former Disney anima- tor Phillip Klein, as inspiring this urge. 56 . For popular-audience examples, see David Koenig, Mouse Tales: A Behind-the-Ears Look at Disneyland (Irvine: Bonaventure Press, 1994); David Koenig, More Mouse Tales: A Closer Peek Backstage at Disneyland (Irvine: Bonaventure Press, 1999); Carl Hiaasen, Team Rodent : How Disney Devours the World (New York: Ballantine Books, 1998). “The Project on Disney” consists of Karen Klugman, Jane Kuenz, Shelton Waldrep, and Susan Willis; see Karen Klugman et al., Inside the Mouse: Work and Play at Disney World (London: Rivers Oram Press, 1995). 57 . Henry A. Giroux, The Mouse That Roared: Disney and the End of Innocence (Lanham: Rowman & Littlefield, 1999), 41–42; Alan Bryman, Disney and His Worlds (London and New York: Routledge, 1995), 140–142; Avila, Popular Culture in the Age of White Flight , chap. 4. 234 NOTES

58 . Giroux, The Mouse That Roared , 42. 59 . An excellent discussion of the opposition of real and fake and the extent to which escapism is a denial of reality (including discussion of Disneyland) is found in Yi-Fu Tuan, Escapism (Baltimore and London: The Johns Hopkins University Press, 1998). 60 . Avila, Popular Culture in the Age of White Flight , 132–137. “Small- town whiteness” is at page 136. 61 . Ibid., 137–138. 62 . Mannheim, Walt Disney and the Quest for Community , 113. 63 . David Harvey, The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Cambridge and Oxford: Blackwell, 1992); Michael J. Dear, The Postmodern Urban Condition (Oxford: Blackwell, 2000). 64 . Another key postmodern writer, Fredric Jameson, cites the concept as extending back to Plato. Fredric Jameson, Postmodernism, Or, the Cultural Logic of Late Capitalism (Durham: Duke University Press, 1991), 18. 65 . Jean Baudrillard, Simulacra and Simulation , trans. Sheila Faria Glaser (Ann Arbor: University of Michigan Press, 1994), 12. 66 . Fjellman, Vinyl Leaves , 255; for a similar usage, see “The Real Fake and the Fake Fake” in Huxtable, The Unreal America , 72–88. 67 . Ibid., 75. 68 . Ibid., 63. 69 . Francaviglia, Main Street Revisited , 169–180; see also S. L. Schroeder, “Consuming Main Street: Correlations between the Design of Disney’s Main Street USA and Recent Main Street Revitalization in Three Upstate New York Villages” (Master’s Thesis, State University of New York, 2004). 70 . Fjellman, Vinyl Leaves; Mitra šin ovi ć , Total Landscape, Theme Parks, Public Space ; Clav é , The Global Theme Park Industry , 166–170; Michael Sorkin, “See You in Disneyland,” in Variations on a Theme Park: The New American City and the End of Public Space (New York: Hill and Wang, 1992), 205–232; Gottdiener, The Theming of America ; Bryman, The Disneyization of Society , chap. 2. 71 . Edward W. Soja, Thirdspace: Journeys to Los Angeles and Other Real- and-Imagined Places (Cambridge: Blackwell, 1996), 251. 72 . Barrier, The Animated Man , 258–159; Gabler, Walt Disney , 533– 537; Bob Thomas, Walt Disney: An American Original (New York: Disney Editions, 1994), 273; Clav é , The Global Theme Park Industry , 117. 73 . Hench and Van Pelt, Designing Disney , 21. 74 . Clavé , The Global Theme Park Industry , 24; Adams, The American Amusement Park Industry , 97; Mitra šinovi ć , Total Landscape, Theme Parks, Public Space , 116–117. Mitraš inovi ć emphasizes that the other key element is integration with media such as television: NOTES 235

the two issues are related because they allow a unified experience across the material and media realm. 75 . Adams, The American Amusement Park Industry , 97. 76 . Barrier, The Animated Man , 258; see also Gabler, Walt Disney , 535. 77 . Hench and Van Pelt, Designing Disney ; Fjellman, Vinyl Leaves . 78 . Hench and Van Pelt, Designing Disney ; Fjellman, Vinyl Leaves , 202– 205; Clavé , The Global Theme Park Industry , 370–373; Bryman, The Disneyization of Society , 132–134. 79 . Hench and Van Pelt, Designing Disney , 32–35; Fjellman, Vinyl Leaves , 205–209. 80 . Umberto Eco, Travels in Hyperreality , trans. William Weaver (San Diego, New York, and London: Harcourt Brace, 1986), 48. 81 . Clifford D. Shearing and Philip C. Stenning, “From the Panopticon to Disneyworld: The Development of Discipline,” in Perspectives in Criminal Law: Essays in Honour of John LL.J. Edwards , ed. Anthony N. Doob and Edward L. Greenspan (Ontario: Canada Law Book, 1985), 344. 82 . Mike Davis, City of Quartz: Excavating the Future in Los Angeles (New York: Vintage, 1992), 223–263; Davis’ work is most clearly placed in the context of debates about theme parks through the inclusion of a modified version as “Fortress Los Angeles: The Militarization of Urban Space,” in Variations on a Theme Park: The New American City and the End of Public Space , ed. Michael Sorkin (New York: Hill and Wang, 1992), 154–80. 83 . Mannheim, Walt Disney and the Quest for Community , 113; see also Gabler, Walt Disney , 609; Gennawey, Walt and the Promise of Progress City , 336–337. 84 . Richard E. Foglesong, M arried to the Mouse: Walt Disney World and Orlando (New Haven and London: Yale University Press, 2001), 5–6; Bryman, The Disneyization of Society , 139–140. 85 . Michael Sorkin, Variations on a Theme Park: The New American City and the End of Public Space (New York: Hill and Wang, 1992), xv. 86 . John Hannigan, Fantasy City: Pleasure and Profit in the Postmodern Metropolis (London and New York: Routledge, 1998), 33. 87 . Charles W. Moore, “You Have to Pay for the Public Life,” Perspecta 9 (1965): 65. 88 . Wasko, Understanding Disney , 158–159. 89 . Bryman, The Disneyization of Society , 59; Eco, Travels in Hyperreality , 43; Fjellman, Vinyl Leaves , 172; Marling, “Imagineering the Disney Theme Parks,” 79. 90 . Margaret Crawford, “The World in a Shopping Mall,” in Variations on a Theme Park: The New American City and the End of Public Space , ed. Michael Sorkin (New York: Hill and Wang, 1992), 21–22. 236 NOTES

91 . Francaviglia, Main Street Revisited , 164–165. 92 . Crawford, “The World in a Shopping Mall,” 16. 93 . Francaviglia, Main Street Revisited , 169–176; Schroeder, “Consuming Main Street.” 94 . For Gruen’s influence, see Mannheim, Walt Disney and the Quest for Community , xvii and 25; Gennawey, Walt and the Promise of Progress City , 266–267. 95 . See, for example, Barrier, The Animated Man , 308–310. 96 . Victor Gruen, The Heart of Our Cities: The Urban Crises: Diagnosis and Cure. (London: Thames and Hudson, 1965), 191. 97 . Malcolm Gladwell, “The Terrazo Jungle: Fifty Years Go, the Mall Was Born. America Would Never Be the Same,” in Worlds Away: New Suburban Landscapes , ed. Andrew Blauvelt (Minneapolis: Walker Art Center, 2008), 224; M. Jeffrey Hardwick, Mall Maker: Victor Gruen, Architect of an American Dream (Philadelphia: University of Pennsylvania Press, 2004), 216–217. 98 . Douglas Gomery, “Disney’s Business History: A Reinterpretation,” in Disney Discourse: Producing the Magic Kingdom , ed. Eric Smoodin (New York and London: Routledge, 1994), 75–77. 99 . Schickel, The Disney Version , 19. 100 . Clavé , The Global Theme Park Industry , 157–187. 101 . Bryman describes his definition as a postmodern variation on George Ritzer’s idea of “McDonaldization.” Bryman, Disney and His Worlds , 1, 13; George Ritzer, The McDonaldization of Society: An Investigation into the Changing Character of Contemporary Social Life , Rev. ed. (Thousand Oaks, London, and New Delhi: Pine Forge Press, 1996), 1. 102 . Sorkin, “See You in Disneyland,” 207. 103 . Joel Best and Kathleen S Lowney, “The Disadvantage of a Good Reputation: Disney as a Target for Social Problems Claims,” The Sociological Quarterly 50, no. 3 (2009): 431–449. 104 . Schickel, The Disney Version ; For a discussion of Schickel’s influence on Disney commentary and scholarship, see Watts, The Magic Kingdom , 449–452. 105 . Ariel Dorfman and Mattelart, How to Read Donald Duck: Imperialist Ideology in the Disney Comic , trans. David Kunzle, 3rd ed. (New York: International General, 1991); Hiaasen, Team Rodent ; Giroux, The Mouse That Roared ; Sean P. Griffin, Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out (New York and London: NYU Press, 2000); Foglesong, Married to the Mouse . 106 . Sorkin, “See You in Disneyland,” 223. 107 . Huxtable, The Unreal America , 49. 108 . Adams, The American Amusement Park Industry , 98. 109 . Francaviglia, Main Street Revisited , 158–159. 110 . Hench and Van Pelt, Designing Disney , 2, 69. NOTES 237

111 . The conceptual drawings in question are reproduced in Marling, “Imagineering the Disney Theme Parks,” 38–39 and 51. 112 . Ibid., 90–92. 113 . Karal Ann Marling, ed., Designing Disney’s Theme Parks: The Architecture of Reassurance (Montreal: Canadian Centre for Architecture, 1997), 78–79. 114 . Both quotes from Moore, “You Have to Pay for the Public Life,” 65. 115 . Richard Francaviglia, “Main Street U.S.A.: A Comparison/Contrast of Streetscapes in Disneyland and Walt Disney World,” The Journal of Popular Culture 15, no. 1 (1981): 141–156; James Rouse quoted in Mannheim, Walt Disney and the Quest for Community , 17; Hart quoted in M. J. King, “Disneyland and Walt Disney World: Traditional Values in Futuristic Form,” Journal of Popular Culture 15, no. 1 (1981): 122. 116 . Quoted in Gottdiener, The Theming of America , 119. 117 . Kunstler, The Geography of Nowhere , 220; See also Home from Nowhere: Remaking Our Everyday World for the 21st Century (New York: Touchstone Press, 1996), 35–37. 118 . For va r ious posit ive appra isa ls of Disneyla nd (a nd a lso Disney World) see Peter Blake, “Walt Disney World,” Architectural Forum , June 1972, 24–40; Goldberger, “Mickey Mouse Teaches the Architects”; King, “Disneyland and Walt Disney World: Traditional Values in Futuristic Form”; Francaviglia, Main Street Revisited , 153–161. 119 . Francaviglia, Main Street Revisited ; Richard Francaviglia, “History after Disney: The Significance of ‘Imagineered’ Historical Places,” The Public Historian 17, no. 4 (Autumn 1995): 69–74; Marling, “Imagineering the Disney Theme Parks”; Marling, As Seen on TV ; Karal Ann Marling, “Disneyland, 1955: Just Take the Santa Ana Freeway to the American Dream,” American Art 5, no. 1/2 (1991): 168. 120 . Mark Gottdiener, “Disneyland: A Utopian Urban Space,” Journal of Contemporary Ethnography 11, no. 2 (1982): 139–162. 121 . G ottdiener, “Disneyland: A Utopian Urban Space,” 143. 122 . Gottdiener, “Disneyland: A Utopian Urban Space,” 150. 123 . Marling, “Imagineering the Disney Theme Parks,” 87. 124 . For Disney’s attitude to big cities, see Barrier, The Animated Man , 308–309; Gabler, Walt Disney , 608. 125 . For an example of a particularly unsympathetic account (barely acknowledging that there is a difference between Disney’s planned EPCOT and the “Epcot Center” ultimately opened in 1982), see Alexander Wilson, “The Betrayal of the Future: Walt Disney’s EPCOT Center,” in Disney Discourse: Producing the Magic Kingdom , ed. Eric Smoodin (New York and London: Routledge, 1994), 118–128; Schickel is similarly dismissive in The Disney Version , 359. 238 NOTES

126 . Mannheim, Walt Disney and the Quest for Community , xv–xviii, 20–29. 127 . The latter need was remedied by the publication of Steve Mannheim’s Walt Disney and the Quest for Community ; this has since been supple- mented by Sam Gennaway’s Walt and the Promise of Progress City . 128 . Giroux, The Mouse That Roared , 37–38. 129 . For the history of the radial plan, see Spiro Kostof, The City Shaped: Urban Patterns and Meanings Through History (New York: Bulfinch Press, 1993), 162–165, 184–186, 192–195, 200–204. 130 . Ross, The Celebration Chronicles , 56; Kunstler, The Geography of Nowhere , 227. 131 . Mannheim, Walt Disney and the Quest for Community , 21. 132 . For discussion of Radburn and its distinguishing features from both conventional suburban and the New Urbanist development patterns discussed in later chapters, see Chang-Moo Lee and Kun- Hyuck Ahn, “Is Kentlands Better than Radburn? The American Garden City and New Urbanist Paradigms,” Journal of the American Planning Association 69, no. 1 (Winter 2003): 50–71.

5 Constructing the Movie Town 1 . Jane Jacobs, The Death and Life of Great American Cities (New York: Random House, 1961), 51. 2 . James Sanders, Celluloid Skyline: New York and the Movies (New York: Alfred A. Knopf, 2002), 176. 3 . In addition to Sanders, a number of writers have noted the affin- ity between Jacobs’ writing and various film, television, and literary traditions. See, for example, Pamela Robertson Wojcik, The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975 (Durham and London: Duke University Press, 2010), 31–39; Sharon Zukin, Naked City: The Death and Life of Authentic Urban Places (New York: Oxford University Press, 2011), 17–18; Jamin Creed Rowan, “The Literary Craft of Jane Jacobs,” in Reconsidering Jane Jacobs , ed. Max Page and Timothy Mennel (Chicago and Washington: American Planners Association/ Planners Press, 2011), 43–56. 4 . A particularly good account of her wider impact is Thomas J. Campanella, “Jane Jacobs and the Death and Life of American Planning,” in Reconsidering Jane Jacobs , ed. Max Page and Timothy Mennel (Chicago and Washington, DC: American Planners Association/Planners Press, 2011). 5 . For discussion of Jacobs within a tradition of anti-urbanism, see Steven Conn, Americans against the City: Anti-Urbanism in the Twentieth Century (Oxford: Oxford University Press, 2014), 189– 191; see also Emily Talen, New Urbanism and American Planning: The Conflict of Cultures (London: Routledge, 2005), chap. 3. NOTES 239

6 . Anthony Flint, Wrestling with Moses: How Jane Jacobs Took On New York’s Master Builder and Transformed the American City , repr. ed. (New York: Random House Trade Paperbacks, 2011). 7 . Amanda Rees, “New Urbanism: Visionary Landscapes in the Twenty- First Century,” in Suburban Sprawl: Culture, Theory, and Politics , ed. Hugh Bartling and Matthew Lindstrom (Lanham: Rowman & Littlefield, 2003), 94; Stefanos Polyzoides, “The Congress for the New Urbanism,” in The Seaside Debates: A Critique of the New Urbanism , ed. Todd W. Bressi (New York: Rizzoli, 2002), 16–20. 8 . Congress for the New Urbanism, “Charter of the New Urbanism,” 1996, http://www.cnu.org/charter ; the charter can also be found in Andr és Duany, Elizabeth Plater-Zyberk, and Jeff Speck, Suburban Nation: The Rise of Sprawl and the Decline of the American Dream (New York: North Point Press, 2001), 260–265; and in an extensively annotated edition edited by Emily Talen: Charter of the New Urbanism , 2nd ed. (New York: McGraw-Hill Education, 2013). Quotes in subsequent paragraphs are from the charter except as noted. 9 . Jacobs, The Death and Life of Great American Cities , 150–151; Congress for the New Urbanism, “Charter of the New Urbanism”; the charter can also be found in Duany, Plater-Zyberk, and Speck, Suburban Nation , 260–265; and in an extensively annotated edition edited by Emily Talen: Charter of the New Urbanism . 10 . The continuity and change between Jane Jacobs and New Urbanism is concisely charted in Jill L. Grant, “Time, Scale and Control: How New Urbanism (Mis)Uses Jane Jacobs,” in Reconsidering Jane Jacobs , ed. Max Page and Timothy Mennel (Chicago and Washington: American Planners Association/Planners Press, 2011), 91–103. 11 . Andr és Duany and Elizabeth Plater-Zyberk, “The Traditional Neighbourhood and Urban Sprawl,” in New Urbanism and Beyond: Designing Cities for the Future , ed. Tigran Haas (New York: Rizzoli, 2008), 64–66. 12 . Duany, Plater-Zyberk, and Speck, Suburban Nation , 4. 13 . Duany, Plater-Zyberk, and Speck, Suburban Nation ; Peter Katz, The New Urbanism: Toward an Architecture of Community (New York: McGraw-Hill, 1994); James Howard Kunstler, The Geography of Nowhere: The Rise and Decline of America’s Man-Made Landscape (New York: Touchstone, 1993). 14. Duany, Plater-Zyberk, and Speck, Suburban Nation , ix. 15 . Ibid., ix–x. 16 . Various examples are explored in David R. Coon, Look Closer: Suburban Narratives and American Values in Film and Television (New Brunswick and London: Rutgers University Press, 2013), chap. 1. 17 . Duany, Plater-Zyberk, and Speck, Suburban Nation , 15. 240 NOTES

18 . This contrast is outlined in more detail at Duany, Plater-Zyberk, and Speck, Suburban Nation , 27–31. 19 . Andr és Duany and Elizabeth Plater-Zyberk, “The Neighborhood, the District, and the Corridor,” in The New Urbanism: Toward an Architecture of Community , ed. Peter Katz (McGraw-Hill, New York, 1994), xvii. 20 . Andr és Duany, “Essay [on Principle Twenty-Five of the Charter of the New Urbanism],” in Charter of the New Urbanism , ed. Emily Talen, 2nd ed. (New York: McGraw-Hill Education, 2013), 231. 21 . The influence of such retail models on locally owned retailing is treated at length in Stacy Mitchell, Big-Box Swindle: The True Cost of Mega-Retailers and the Fight for America’s Independent Businesses (Boston: Beacon Press, 2006). 22 . Duany, Plater-Zyberk, and Speck, Suburban Nation , 26. 23 . Kunstler, The Geography of Nowhere , 181–182. 24 . Ibid., 186. 25 . For quarter-mile figure, see Duany and Plater-Zyberk, “The Neighborhood, the District, and the Corridor,” xvii. 26 . See, for example, the discussion of design’s role in “the physical creation of society” in Duany, Plater-Zyberk, and Speck, Suburban Nation , chap. 4; for the role in fostering democratic participa- tion, see Kevin Leyden and Philip Michelbach, “Democracy and ‘Neighborly Communities:’ Some Theoretical Considerations on the Built Environment,” in New Urbanism and Beyond: Designing Cities for the Future , ed. Tigran Haas (New York: Rizzoli, 2008), 238–243. 27 . Doug Farr, “Essay [on Principle Twenty-Two of the Charter of the New Urbanism],” in Charter of the New Urbanism , ed. Emily Talen, 2nd ed. (New York: McGraw-Hill Education, 2013), 201– 207; Laurence Aurbach, “Traffic Volume,” in Charter of the New Urbanism , ed. Emily Talen, 2nd ed. (New York: McGraw-Hill Education, 2013), 208–209. 28 . Duany, Plater-Zyberk, and Speck, Suburban Nation , 252. 29 . Andr és Duany and Emily Talen, “Transect Planning,” Journal of the American Planning Association 68, no. 3 (Summer 2002): 245; Sandy Sorlien, “The Transect,” in Charter of the New Urbanism , ed. Emily Talen, 2nd ed. (New York: McGraw-Hill Education, 2013), 105–107. 30 . Duany and Talen, “Transect Planning,” 249. 31 . Stephanie Bothwell, “Essay [on Principle Six of the Charter of the New Urbanism],” in Charter of the New Urbanism , ed. Emily Talen, 2nd ed. (New York: McGraw-Hill Education, 2013), 67. 32 . Duany, Plater-Zyberk, and Speck, Suburban Nation , 116. 33 . Ibid., 209. 34 . Ibid., 210. NOTES 241

35 . For the early history of Seaside, see Katz, The New Urbanism , 3–6; Steven Brooke, Seaside , 2nd ed. (Gretna: Pelican Publishing, 2005), 13 – 21. 36 . House and merchant numbers from Seaside Institute, “Seaside Facts and Frequently Asked Questions,” The Seaside Institute , 2010, http://www.theseasideinstitute.org/item/8840. 37 . Both can be found in David Mohney and Keller Easterling, eds., Seaside: Making a Town in America (New York: Princeton Architectural Press, 1991), 99, 260. 38 . The administration of the Code is discussed in some detail in David Mohney, “Interview with Andr és Duany,” in Seaside: Making a Town in America , ed. David Mohney and Keller Easterling (New York: Princeton Architectural Press, 1991), 62–73. 39 . The future plans for the town center are outlined in Daniel Parolek, “Seaside Beyond Twenty-Five,” in Views of Seaside: Commentaries and Observations on a City of Ideas , ed. Zane Kathryne Schwaiger (New York: Rizzoli, 2008), 89–91. 40 . Brooke, Seaside , 110; Parolek, “Seaside Beyond Twenty-Five,” 90. 41 . Mohney and Easterling, Seaside , 100. 42 . Ibid. 43 . Christopher B. Leinberger, “Lessons at Twenty-Five,” in Views of Seaside: Commentaries and Observations on a City of Ideas , ed. Zane Kathryne Schwaiger (New York: Rizzoli, 2008), 164. 44 . Brooke, Seaside , 21; Katz, The New Urbanism , 10. 45 . Brooke, Seaside , 33. 46. For the designer’s attitude to style, see Duany, Plater-Zyberk, and Speck, Suburban Nation , 211; Katz, The New Urbanism , 6. 47 . Mohney and Easterling, Seaside , 94. 48 . Examples include most of the larger buildings at the town center, or Alexander Gorlin’s house on Ruskin Place, discussed in Alexander Gorlin, “A Question of Style,” in Views of Seaside: Commentaries and Observations on a City of Ideas , ed. Zane Kathryne Schwaiger (New York: Rizzoli, 2008), 111–112. 49 . The eight types are discussed in Mohney and Easterling, Seaside , 64–65 and 100–104; Brooke, Seaside , 51–56. 50 . Observation of the current theme is my own from my visit in July 2010; for the former design, see Brooke, Seaside , 85. 51 . Ibid., 95. 52 . Ibid., 99. 53 . Ibid., 115. 54 . For Duany’s comments on the importance of time to making Seaside a real community, see Kunstler, The Geography of Nowhere , 257. 55 . The transition from EPCOT to Celebration has been covered in depth by various authors, with a range of different emphases, but 242 NOTES

see in particular Steve Mannheim, Walt Disney and the Quest for Community (Burlington: Ashgate, 2002), 134–138; Andrew Ross, The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Value in Disney’s New Town (New York: Ballantine Books, 1999), 53–57; Richard E. Foglesong, Married to the Mouse: Walt Disney World and Orlando (New Haven and London: Yale University Press, 2001), chaps. 8 and 9; Michael Lassell, Celebration : The Story of a Town (New York: Disney Editions, 2004), chaps. 1 and 2; Douglas Frantz and Catherine Collins, Celebration, U.S.A.: Living in Disney’s Brave New Town (New York: Henry Holt, 2000), chaps. 2 and 3. 56 . Quoted in Lassell, Celebration , 33. 57 . Both passages quoted in Ross, The Celebration Chronicles , 18. 58 . Hugh Bartling, “The Magic Kingdom Syndrome: Trials and Tribulations of Life in Disney’s Celebration,” Contemporary Justice Review 7, no. 4 (December 2004): 383. 59 . Robert A. M. Stern, “Greetings from Uncle Seaside,” in Views of Seaside: Commentaries and Observations on a City of Ideas , ed. Zane Kathryne Schwaiger (New York: Rizzoli, 2008), 118. 60 . Ross, The Celebration Chronicles , 10. 61 . Ibid., 82–83. 62 . Frantz and Collins, Celebration, U.S.A. , 184–186, 194. 63 . Ross, The Celebration Chronicles , 84. 64 . For discussion of the Pattern Book, see Frantz and Collins, Celebration, U.S.A., 64–66; Ross, The Celebration Chronicles , 87– 93; ext ract s a re i ncluded i n t he d iscussion i n L assel l, Celebration , 44–49. 65 . Ross, The Celebration Chronicles, 307. 66 . Ibid., 22. 67 . Ibid., 10. 68 . Russ Rymer, “Back to the Future: Disney Reinvents the Company Town,” Harper’s Magazine 293, no. 1757 (October 1996): 18. 69 . “Celebration Front Porch: The Celebration Community Web Site,” 2010, http://www.celebration.fl.us/towninfo.html . 70 . Andrew Ross mentions a grocery store existing on Market Street during his time in the town in 1997 to 1998, but this was no longer present when I visited in 2010. Ross, The Celebration Chronicles , 10. 71 . Quoted in Andr és Duany, “In Celebration,” Urban Land 61 (January 2002): 58–59.

6 Deconstructing the Movie Town 1 . The comparison between Celebration and Cypress Creek is discussed further in Michael Frost, “You Can’t Argue with the Little Things,” The Simpsons Archive , 2000, http://www.snpp.com/ other/papers/mf.paper.html. NOTES 243

2 . For a sense of some of these critiques see Cliff Ellis, “The New Urbanism: Critiques and Rebuttals,” Journal of Urban Design 7, no. 3 (2002): 261–291; Amanda Rees, “New Urbanism: Visionary Landscapes in the Twenty-First Century,” in Suburban Sprawl: Culture, Theory, and Politics , ed. Hugh Bartling and Matthew Lindstrom (Lanham: Rowman & Littlefield, 2003); Edward Robbins, “The New Urbanism and the Fallacy of Singularity,” Urban Design International 3, no. 1–2 (1998): 33–42; Paul Walker Clarke, “The Ideal of Community and Its Counterfeit Construction,” Journal of Architectural Education 58, no. 3 (February 2005): 43–52. 3 . Douglas A. Cunningham, “A Theme Park Built for One: The New Urbanism vs. Disney Design in The Truman Show ,” Critical Survey 17, no. 1 (2005): 118. 4 . Mark Hinshaw, “Some Cause for Celebration,” Landscape Architecture 93, no. 11 (November 2003): 134, 136. 5 . Hinshaw, “Some Cause for Celebration,” 134; it is suggested that the muzak was halted after the intervention of Disney chair- man Michael Eisner in Douglas Frantz and Catherine Collins, Celebration, U.S.A.: Living in Disney’s Brave New Town (New York: Henry Holt, 2000), 159–160. 6 . Frantz and Collins, Celebration, U.S.A. , 186. 7 . Andrew Ross, The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Value in Disney’s New Town (New York: Ballantine Books, 1999), 100–102. 8 . Frantz and Collins, Celebration, U.S.A., 307–308; for an example of the way such confusion has lingered, see the garbled account in Guy Rundle, The Shellacking: The Obama Presidency, The Tea Party, and the 2010 Midterm Elections (London: K-ist Books, 2010), 62–66, which goes as far as describing where in Celebration a particular scene from the film was supposedly shot. 9 . Ellis, “The New Urbanism: Critiques and Rebuttals,” 267. 10 . Peter Marcuse, “The New Urbanism: The Dangers so Far,” disP— The Planning Review 36, no. 140 (January 2000): 4. 11 . A. Joan Saab, “Historical Amnesia: New Urbanism and the City of Tomorrow,” Journal of Planning History 6, no. 3 (August 2007): 191–213. 12. Ellis, “The New Urbanism: Critiques and Rebuttals,” 267–268. Emphasis in original. 13 . Janet Wasko, Understanding Disney: The Manufacture of Fantasy (Cambridge: Polity Press, 2001), 179; Wasko’s “extremely white” quote is from Michael Pollan, “Town-Building Is No Mickey Mouse Operation,” The New York Times , December 14, 1997, sec. 6. It is worth noting however that Pollan’s reference did come in the midst of a passage in which he praised the diversity of the housing stock (and hence, at least potentially, land values and social strata) in the town. 244 NOTES

14 . Wasko, Understanding Disney , 179; David Mohney, “Interview with Andr és Duany,” in Seaside: Making a Town in America , ed. David Mohney and Keller Easterling (New York: Princeton Architectural Press, 1991), 72. 15 . See, for example, the discussion of housing diversity and affordability in Andr és Duany, Elizabeth Plater-Zyberk, and Jeff Speck, Suburban Nation: The Rise of Sprawl and the Decline of the American Dream (New York: North Point Press, 2001), 43–57. 16 . James Howard Kunstler, Home from Nowhere: Remaking Our Everyday World for the 21st Century (New York: Touchstone Press, 1996), 151; see also Andres Duany’s comments at Mohney, “Interview with Andr és Duany,” 72. 17 . Emily Talen, “Affordability in New Urbanist Development: Principle, Practice, and Strategy,” Journal of Urban Affairs 32, no. 4 (2010): 507. 18 . Emily Talen, “Design That Enables Diversity: The Complications of a Planning Ideal,” Journal of Planning Literature 20, no. 3 (February 2006): 233–249; Emily Talen, Design for Diversity: Exploring Socially Mixed Neighbourhoods (Burlington: Architectural Press, 20 08); Ta len, “A f fordabilit y in New Urba n ist Development”; see also the assessment of Joseph F. Cabrera and Jonathan C. Najarian, “Can New Urbanism Create Diverse Communities?,” Journal of Planning Education and Research 33, no. 4 (2013): 427–441. 19 . Neil Smith, “Which New Urbanism? New York City and the Revanchist 1990s,” in The Urban Moment: Cosmopolitan Essays on the Late 20th Century City , ed. Robert A. Beauregard and Dr. Sophie Body-Gendrot (Thousand Oaks: Sage, 1999), 200–201. 20 . Smith, “Which New Urbanism? New York City and the Revanchist 1990s,” 201–202. 21 . Ada Louise Huxtable, The Unreal America: Architecture and Illusion (New York: New Press, 1997), 63. 22 . Eric Detweiler, “Hyperurbanity: Idealism, New Urbanism and the Politics of Hyperreality in the Town of Celebration Florida,” in Disneyland and Culture: Essays on the Parks and Their Influence , ed. Kathy Merlock Jackson and Mark I. West (Jefferson and London: McFarland, 2011), 151. 23 . Wasko, Understanding Disney, 178; Dean MacCannell, “‘New Urbanism’ and Its Discontents,” in Giving Ground: The Politics of Propinquity , ed. Michael Sorkin (London and New York: Verso, 1999), 111. 24 . Rees, “New Urbanism: Visionary Landscapes in the Twenty-First Century,” 105–106; Clarke, “The Ideal of Community and Its Counterfeit Construction,” 45; David Harvey, “The New Urbanism NOTES 245

and the Communitarian Trap,” Harvard Design Magazine (Winter/ Spring 1997): 2. 25 . David Mohney and Keller Easterling, eds., Seaside: Making a Town in America (New York: Princeton Architectural Press, 1991), 99, 260. 26 . Duany, Plater-Zyberk, and Speck, Suburban Nation , 211. 27 . Frank Roost, “Synergy City: How Times Square and Celebration Are Integrated into Disney’s Marketing Cycle,” in Rethinking Disney: Private Control, Public Dimensions , ed. Mike Budd and Max H. Kirsch (Middletown: Wesleyan University Press, 2005), 280; Wasko, Understanding Disney , 180; Henry A. Giroux, The Mouse That Roared: Disney and the End of Innocence (Lanham: Rowman & Littlefield, 1999), 68. 28 . Giroux, The Mouse That Roared , 68. 29 . Pollan, “Town-Building Is No Mickey Mouse Operation,” 56. 30 . This goal is implicit throughout New Urbanist writing but for an especially clear expression, see Vincent Scully, “The Architecture of Community,” in The New Urbanism: Toward an Architecture of Community , ed. Peter Katz (New York: McGraw Hill, 1994), 221–230. 31 . Clarke, “The Ideal of Community and Its Counterfeit Construc- tion,” 47. 32 . Harvey, “The New Urbanism and the Communitarian Trap,” 69; see also David Harvey, Spaces of Hope (Edinburgh: Edinburgh University Press, 2000), 170. 33 . MacCannell, “‘New Urbanism’ and Its Discontents,” 126. 34 . Hugh Bartling, “The Magic Kingdom Syndrome: Trials and Tribulations of Life in Disney’s Celebration,” Contemporary Justice Review 7, no. 4 (December 2004), 382. 35 . Reed Kroloff, “Disney Builds a Town,” Architecture 86, no. 8 (August 1997): 116. 36 . K roloff, “Disney Builds a Town,” 116; for a similar point see also MacCannell, “‘New Urbanism’ and Its Discontents,” 110. 37 . Pollan, “Town-Building Is No Mickey Mouse Operation,” 56. 38 . Harvey, Spaces of Hope , 171–173; Clarke, “The Ideal of Community and Its Counterfeit Construction,” 45–46. 39 . Clarke, “The Ideal of Community and Its Counterfeit Construction,” 46; David Harvey, Social Justice and the City (London: Edward Arnold, 1973), 171. 40 . Harvey, Spaces of Hope , 171. 41 . Bartling, “The Magic Kingdom Syndrome,” 182; Richard E. Foglesong, Married to the Mouse: Walt Disney World and Orlando (New Haven and London: Yale University Press, 2001), 159–162. 246 NOTES

42 . Foglesong, Married to the Mouse , 159–160. 43 . Ibid., 160. 44 . Samuel Nunn, “Designing the Solipsistic City: Themes of Urban Planning and Control in The Matrix, Dark City, and The Truman Show,” CTheory.Net , 2001, http://www.ctheory.net/articles. aspx?id=292 . 45 . Nunn, “Designing the Solipsistic City.” 46 . One other, marginal example worth noting in passing is The Brady Bunch Movie (Betty Thomas, 1995). While differing in many regards from the films discussed in detail, it is worth noting for its anticipation of several themes discussed in this chapter. These include its depiction of people living in a real-world version of a media reality, and the idea that they are happy—to a point—in their oblivious existence. 47 . Lynn Spigel, Welcome to the Dreamhouse: Popular Media and Postwar Suburbs (Durham and London: Duke University Press, 2001), 391–397; Robert Beuka, SuburbiaNation: Reading Suburban Landscape in Twentieth-Century American Fiction and Film (New York: Palgrave Macmillan, 2004), 227; Cunningham, “A Theme Park Built for One”; John Archer, Architecture and Suburbia: From English Villa to American Dream House, 1690–2000 (Minneapolis: University of Minnesota Press, 2005), 344–349; Nezar AlSayyad, Cinematic Urbanism: A History of the Modern from Reel to Real (New York and London: Routledge, 2006), 214–226; Coon, Look Closer , 31–35. 48 . For the restrictions lawns, see Steven Brooke, Seaside , 2nd ed. (Gretna: Pelican Publishing, 2005), 46. 49 . “History and Movies,” Malibu Creek State Park , 2008, http:// www.malibucreekstatepark.org/climbing.html . 50 . I am grateful to Jim Collins for his observations regarding the approach to high and low art in Pleasantville . 51 . Reed Kroloff, “Suspending Disbelief,” Architecture 87, no. 8 (August 1998): 11. 52 . Henry A. Giroux and Grace Pollock, The Mouse That Roared: Disney and the End of Innocence , updated and expanded ed. (Lanham: Rowman & Littlefield, 2010), 220. 53 . Cunningham, “A Theme Park Built for One,” 109. 54 . Both quotes are from Kroloff, “Suspending Disbelief.” 55 . Christopher B. Leinberger, “Lessons at Twenty-Five,” in Views of Seaside: Commentaries and Observations on a City of Ideas , ed. Zane Kathryne Schwaiger (New York: Rizzoli, 2008), 165. 56 . Conn, Americans against the City , 287. 57 . Ellis, “The New Urbanism: Critiques and Rebuttals,” 271–273. 58 . Ibid., 283. NOTES 247

Conclusion: The Perpetual Suburb 1 . Several of these are discussed in David R. Coon, Look Closer: Suburban Narratives and American Values in Film and Television (New Brunswick and London: Rutgers University Press, 2013). 2 . Subtle references to homosexuality are encountered in 1950s films—for example, the relationship between Jim and Plato in Rebel Without a Cause has overtones of an unrequited homosexual desire on Plato’s part—but these are nothing like as overt as Haynes is able to be. 3 . For the patterns of increasing self-awareness in genres, see Thomas Schatz, Hollywood Genres: Formulas, Filmmaking, and The Studio System (New York: McGraw-Hill, 1981), 36–41. 4 . For Happiness as a suburban text, see Douglas Muzzio and Thomas Halper, “Pleasantville? The Suburb and Its Representation in American Movies,” Urban Affairs Review 37, no. 4 (2002): 544. 5 . The study of what creates such pleasing places is of course a vast discipline in itself, most equivalent to the professional discipline of “urban design.” An excellent primer is Jan Gehl, Cities for People (Washington, Covelo, and London: Island Press, 2010). 6 . Mark Gottdiener, The Theming of America: Dreams, Media Fantasies, and Themed Environments , 2nd ed. (Boulder and Oxford: Westview Press, 2001), 75. 7 . Pamela Robertson Wojcik, The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975 (Durham and London: Duke University Press, 2010), 5. Bibliography

Adams, Judith A. The American Amusement Park Industry: A History of Technology and Thrills . New York: Twayne Publishers, 1991. AlSayyad, Nezar. Cinematic Urbanism: A History of the Modern from Reel to Real . New York and London: Routledge, 2006. Archer, John. Architecture and Suburbia: From English Villa to American Dream House, 1690–2000 . Minneapolis: University of Minnesota Press, 2005. Aurbach, Laurence. “Traffic Volume.” In Charter of the New Urbanism , edited by Emily Talen, 2nd ed., 208–209. New York: McGraw-Hill Education, 2013. Avila, Eric. Popular Culture in the Age of White Flight: Fear and Fantasy in Suburban Los Angeles . Berkeley, Los Angeles, and London: University of California Press, 2004. Barrier, Michael. Hollywood Cartoons: American Animation in Its Golden Age . New York and Oxford: Oxford University Press, 1999. ———. The Animated Man: A Life of Walt Disney . Berkeley and Los Angeles: University of California Press, 2007. Bartling, Hugh. “The Magic Kingdom Syndrome: Trials and Tribulations of Life in Disney’s Celebration.” Contemporary Justice Review 7, no. 4 (December 2004): 375–393. Baudrillard, Jean. Simulacra and Simulation . Translated by Sheila Faria Glaser. Ann Arbor: University of Michigan Press, 1994. Baxandall, Rosalyn, and Elizabeth Ewen. Picture Windows: How the Suburbs Happened . New York: Basic Books, 2000. Best, Joel, and Kathleen S Lowney. “The Disadvantage of a Good Reputation: Disney as a Target for Social Problems Claims.” The Sociological Quarterly 50, no. 3 (2009): 431–449. Beuka, Robert. SuburbiaNation: Reading Suburban Landscape in Twentieth- Century American Fiction and Film. New York: Palgrave Macmillan, 2004. ———. “The View Through the Picture Window: Surveillance and Entrapment Motifs in Suburban Film.” In Worlds Away: New Suburban Landscapes , edited by Andrew Blauvelt, 89–100. Minneapolis: Walker Art Center, 2008. 250 BIBLIOGRAPHY

Bingen, Steven. Warner Bros.: Hollywood’s Ultimate Backlot . Lanham: Taylor Trade Publishing, 2014. Bingen, Steven, Stephen X. Sylvester, and Michael Troyan. MGM: Hollywood’s Greatest Backlot . Solana Beach: Santa Monica Press, 2011. Birchard, Robert S. Early Universal City . Charleston: Arcadia, 2009. Blake, Lindsay. “The Martini House from ‘It’s A Wonderful Life.’” Iamnotastalker.com , December 22, 2009. http://www.iamnotastalker. com/2009/12/22/the-martini-house-from-its-a-wonderful-life/ . Blake, Peter. “Walt Disney World.” Architectural Forum , June 1972, 24–40. Bordwell, David, Janet Staiger, and Kristin Thompson. The Classical Hollywood Cinema: Film Style & Mode of Production to 1960 . New York: Routledge, 1985. Bothwell, Stephanie. “Essay [on Principle Six of the Charter of the New Urbanism].” In Charter of the New Urbanism , edited by Emily Talen, 2nd ed., 67–69. New York: McGraw-Hill Education, 2013. Bradley, Mark. “Colonial Street—‘Leave It to Beaver House.’” Thestudiotour. com , 2012. http://www.thestudiotour.com/ush/backlot/street_colo- nial_beaver.html . ———. “Universal Studios Hollywood—Backlot—Colonial Street— History.” Thestudiotour.com . Accessed April 6, 2012. http://www.thestudiotour.com/ush/backlot/colonialstreet_history.php. Brooke, Steven. Seaside . 2nd ed. Gretna: Pelican Publishing, 2005. Bryman, Alan. Disney and His Worlds . London and New York: Routledge, 1995. ———. The Disneyization of Society . London, Thousand Oaks, and New Delhi: Sage Publishers, 2004. Burton, Hal. “Trouble in the Suburbs.” Saturday Evening Post , September 17, 1955. Butler, Jeremy G. Television: Critical Methods and Applications . 3rd ed. Mahwah and London: Lawrence Erlbaum Associates, 2007. Cabrera, Joseph F., and Jonathan C. Najarian. “Can New Urbanism Create Diverse Communities?” Journal of Planning Education and Research 33, no. 4 (2013): 427–441. Campanella, Thomas J. “Jane Jacobs and the Death and Life of American Planning.” In Reconsidering Jane Jacobs , edited by Max Page and Timothy Mennel, 141–60. Chicago and Washington, DC: American Planners Association/Planners Press, 2011. “Celebration Front Porch: The Celebration Community Web Site,” 2010. http://www.celebration.fl.us/towninfo.html . Cerra, Julie Lugo, and Marc Wanamaker. Movie Studios of Culver City . Charleston: Arcadia, 2011. Clarke, David, ed. The Cinematic City . London & New York: Routledge, 1997. Clarke, Paul Walker. “The Ideal of Community and Its Counterfeit Construction.” Journal of Architectural Education 58, no. 3 (February 2005): 43–52. BIBLIOGRAPHY 251

Clavé , Salvador Anton. The Global Theme Park Industry . Cambridge and Oxford: CABI, 2007. Congress for the New Urbanism. “Charter of the New Urbanism,” 1996. http://www.cnu.org/charter . Conn, Steven. Americans against the City: Anti-Urbanism in the Twentieth Century . Oxford: Oxford University Press, 2014. Coon, David R. Look Closer: Suburban Narratives and American Values in Film and Television . New Brunswick and London: Rutgers University Press, 2013. Crawford, Margaret. “The World in a Shopping Mall.” In Variations on a Theme Park: The New American City and the End of Public Space , edited by Michael Sorkin, 3–30. New York: Hill and Wang, 1992. Cress, Robby. “Bachelor in Paradise (1961)—Film Locations.” Dear Old Hollywood , March 20, 2011. http://dearoldhollywood.blogspot.com. au/2011/03/bachelor-in-paradise-1961-film.html . Crowther. “The Dream Merchant.” New York Times , December 16, 1966. Cunningham, Douglas A. “A Theme Park Built for One: The New Urbanism vs. Disney Design in The Truman Show .” Critical Survey 17, no. 1 (2005): 109–130. Davis, Mike. City of Quartz: Excavating the Future in Los Angeles . New York: Vintage, 1992. ———. “Fortress Los Angeles: The Militarization of Urban Space.” In Variations on a Theme Park: The New American City and the End of Public Space , edited by Michael Sorkin, 154–180. New York: Hill and Wang, 1992. Dear, Michael J. The Postmodern Urban Condition . Oxford: Blackwell, 2000. Dear, Michael J., and J. Dallas Dishman, eds. From Chicago to L.A.: Making Sense of Urban Theory . Thousand Oaks, London & New Delhi: Sage, 2002. Dempewolff, Richard F. “More House for Less Money.” Popular Mechanics , October 1953. Detweiler, Eric. “Hyperurbanity: Idealism, New Urbanism and the Politics of Hyperreality in the Town of Celebration Florida.” In Disneyland and Culture: Essays on the Parks and Their Influence , edited by Kathy Merlock Jackson and Mark I. West, 150–168. Jefferson and London: McFarland, 2011. Donaldson, Scott. The Suburban Myth . Lincoln: iUniverse, 2002. Dorfman, Ariel, and Mattelart. How to Read Donald Duck: Imperialist Ideology in the Disney Comic . Translated by David Kunzle. 3rd ed. New York: International General, 1991. Duany, Andr és. “Essay [on Principle Twenty-Five of the Charter of the New Urbanism].” In Charter of the New Urbanism , edited by Emily Talen, 2nd ed., 231–235. New York: McGraw-Hill Education, 2013. ———. “In Celebration.” Urban Land , January 2002, 57–61. 252 BIBLIOGRAPHY

Duany, Andr és, and Elizabeth Plater-Zyberk. “The Neighborhood, the District, and the Corridor.” In The New Urbanism: Toward an Architecture of Community , edited by Peter Katz, xvii–xx. McGraw-Hill, New York. ———. “The Traditional Neighbourhood and Urban Sprawl.” In New Urbanism and Beyond: Designing Cities for the Future , edited by Tigran Haas, 64–66. New York: Rizzoli, 2008. Duany, André s, Elizabeth Plater-Zyberk, and Jeff Speck. Suburban Nation: The Rise of Sprawl and the Decline of the American Dream . New York: North Point Press, 2001. Duany, Andr és, and Emily Talen. “Transect Planning.” Journal of the American Planning Association 68, no. 3 (Summer 2002): 245. Eco, Umberto. Travels in Hyperreality . Translated by William Weaver. San Diego, New York, London: Harcourt Brace, 1986. Eddy, Bob. “Private Life of a Perfect Papa.” Saturday Evening Post , April 27, 1957. Ellis, Cliff. “The New Urbanism: Critiques and Rebuttals.” Journal of Urban Design 7, no. 3 (2002): 261–291. Everitt, David. “Comedy’s Second Golden Age.” Television Quarterly 32, no. 2/3 (Fall 2001): 22–27. Farish, Michael. “Disaster and Decentralization: American Cities and the Cold War.” Cultural Geographies , no. 10 (2003): 125–148. Farr, Doug. “Essay [on Principle Twenty-Two of the Charter of the New Urbanism].” In Charter of the New Urbanism , edited by Emily Talen, 2nd ed., 201–207. New York: McGraw-Hill Education, 2013. Fishman, Robert. Bourgeois Utopias: The Rise and Fall of Suburbia . New York: Basic Books, 1989. ———. Urban Utopias in the Twentieth Century: Ebenezer Howard, Frank Lloyd Wright, Le Corbusier . Cambridge and London: MIT Press, 1982. Fitzgerald, Michael Ray. “Sitcoms and Suburbia: The Role of Network Television in the De-Urbanization of the U.S., 1949–1991.” Master’s Thesis, University of Florida, 2007. Fjellman, Stephen M. Vinyl Leaves: Walt Disney World and America . Boulder and Oxford: Westview Press, 1992. Flint, Anthony. Wrestling with Moses: How Jane Jacobs Took On New York’s Master Builder and Transformed the American City . Rep. ed. New York: Random House Trade Paperbacks, 2011. Foglesong, Richard E. Married to the Mouse: Walt Disney World and Orlando . New Haven and London: Yale University Press, 2001. Francaviglia, Richard. “History after Disney: The Significance of ‘Imagineered’ Historical Places.” The Public Historian 17, no. 4 (Autumn 1995): 69–74. ———. Main Street Revisited: Time, Space, and Image Building in Small- Town America. Iowa City: University of Iowa Press, 1996. ———. “Main Street U.S.A.: A Comparison/Contrast of Streetscapes in Disneyland and Walt Disney World.” The Journal of Popular Culture 15, no. 1 (1981): 141–156. BIBLIOGRAPHY 253

Frantz, Douglas, and Catherine Collins. Celebration, U.S.A.: Living in Disney’s Brave New Town . New York: Henry Holt, 2000. Frost, Michael. “You Can’t Argue with the Little Things.” The Simpsons Archive , 2000. http://www.snpp.com/other/papers/mf.paper.html. Frumkin, Howard, Lawrence Frank, and Richard Joseph Jackson. Urban Sprawl and Public Health: Designing, Planning, and Building for Healthy Communities . Washington, Covelo, and London: Island Press, 2004. Gabler, Neal. Walt Disney: The Triumph of the American Imagination . New York: Vintage, 2006. Gans, Herbert J. The Levittowners: Ways of Life and Politics in a New Suburban Community . New York: Columbia University Press, 1967. Gehl, Jan. Cities for People . Washington, Covelo, and London: Island Press, 2010. Gennawey, Sam. Walt and the Promise of Progress City . Lexington: Ayefour Publishing, 2011. Giroux, Henry A. The Mouse That Roared: Disney and the End of Innocence . Lanham: Rowman & Littlefield, 1999. Giroux, Henry A., and Grace Pollock. The Mouse That Roared: Disney and the End of Innocence . Updated and expanded ed. Lanham: Rowman & Littlefield, 2010. Gladwell, Malcolm. “The Terrazo Jungle: Fifty Years Go, the Mall Was Born. America Would Never Be the Same.” In Worlds Away: New Suburban Landscapes , edited by Andrew Blauvelt, 216–224. Minneapolis: Walker Art Center, 2008. Goldberger, Paul. “Mickey Mouse Teaches the Architects.” The New York Times Magazine , October 22, 1972. Gomery, Douglas. “Disney’s Business History: A Reinterpretation.” In Disney Discourse: Producing the Magic Kingdom , edited by Eric Smoodin, 71–86. New York and London: Routledge, 1994. Gorlin, Alexander. “A Question of Style.” In Views of Seaside: Commentaries and Observations on a City of Ideas , edited by Zane Kathryne Schwaiger, 111–112. New York: Rizzoli, 2008. Gottdiener, Mark. “Disneyland: A Utopian Urban Space.” Journal of Contemporary Ethnography 11, no. 2 (1982): 139–162. ———. The Theming of America: Dreams, Media Fantasies, and Themed Environments . 2nd ed. Boulder and Oxford: Westview Press, 2001. Grant, Jill L. “Time, Scale and Control: How New Urbanism (Mis)Uses Jane Jacobs.” In Reconsidering Jane Jacobs , edited by Max Page and Timothy Mennel, 91–103. Chicago and Washington: American Planners Association/Planners Press, 2011. Griffin, Sean P. Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out . New York and London: NYU Press, 2000. Gruen, Victor. The Heart of Our Cities: The Urban Crises: Diagnosis and Cure. London: Thames and Hudson, 1965. Halberstam, David. The Fifties . New York: Random House, 1993. 254 BIBLIOGRAPHY

Halevy, Julian. “Disneyland and Las Vegas.” The Nation 7 (1958): 510–513. Hall, Derrick. “Wisteria Lane Resembles Communities Built by Homebuilder.” PR Newswire , January 17, 2005. KB Home press release archived at http://www.prnewswire.com.au . Hall, Peter. Cities of Tomorrow: An Intellectual History of Urban Planning and Design in the Twentieth Century . Third edition. Oxford: Blackwell, 2002. Hamamoto, Darrell Y. Nervous Laughter: Television Situation Comedy and Liberal Democratic Ideology . New York, Westport, and London: Praeger, 1989. Hannigan, John. Fantasy City: Pleasure and Profit in the Postmodern Metropolis . London and New York: Routledge, 1998. Haralovich, Mary Beth. “Sitcoms and Suburbs: Positioning the 1950s Homemaker.” Quarterly Review of Film and Video 11, no. 1 (1989): 61–83. Haralovich, M. B. “All That Heaven Allows: Color, Narrative Space, and Melodrama.” In Close Viewings: An Anthology of New Film Criticism , 57–72. Gainesville: University Press of Florida, 1990. Hardwick, M. Jeffrey. Mall Maker: Victor Gruen, Architect of an American Dream . Philadelphia: University of Pennsylvania Press, 2004. Harvey, David. Social Justice and the City . London: Edward Arnold, 1973. ———. Spaces of Hope . Edinburgh: Edinburgh University Press, 2000. ———. The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change . Cambridge & Oxford: Blackwell, 1992. ———. “The New Urbanism and the Communitarian Trap.” Harvard Design Magazine , Winter/Spring 1997, 68–69. Hayden, Dolores. Building Suburbia: Green Fields and Urban Growth, 1820– 2000 . New York: Vintage, 2003. ———. “Building the American Way: Public Subsidy, Private Space.” In The Politics of Public Space , edited by Setha Low and Neil Smith, 35–48. New York: Routledge, 2006. ———. Redesigning the American Dream: The Future of Housing, Work and Family Life . New York and London: W. W. Norton, 2002. Hayden, Dolores, and Jim Wark. A Field Guide to Sprawl . New York & London: W.W. Norton, 2004. Hench, John, and Peggy Van Pelt. Designing Disney: Imagineering and the Art of the Show . New York: Disney Editions, 2008. Henthorn, Cynthia Lee. From Submarines to Suburbs: Selling a Better America, 1939–1959 . Athens: Ohio University Press, 2006. Hiaasen, Carl. Team Rodent : How Disney Devours the World. New York: Ballantine Books, 1998. Himmelstein, Hal. Television Myth and the American Mind . New York: Praeger, 1984. Hinshaw, Mark. “Some Cause for Celebration.” Landscape Architecture 93, no. 11 (November 2003): 134, 136. BIBLIOGRAPHY 255

“History and Movies.” Malibu Creek State Park , 2008. http://www.malibucreekstatepark.org/climbing.html . Hodgins, Eric. “Mr Blandings Goes to Hollywood.” Life , April 12, 1948. Hof, Mischa. “Blondie Street.” The Unofficial Columbia Ranch Site , 2009. http://www.columbiaranch.net/Blondiestreet. Howard, Ebenezer. To-Morrow: A Peaceful Path to Real Reform . London: Swan Sonnenschein, 1898. Hunt, Darnell M. “Representing ‘Los Angeles:’ Media, Space, and Place.” In From Chicago to L.A.: Making Sense of Urban Theory , edited by Michael J. Dear and J. Dallas Dishman, 321–42. Thousand Oaks, London & New Delhi: Sage, 2002. Huxtable, Ada Louise. The Unreal America: Architecture and Illusion . New York: New Press, 1997. Jackson, Carlton. Picking Up the Tab: The Life and Movies of Martin Ritt . Bowling Green: Bowling Green State University Popular Press, 1994. Jackson, Kenneth T. Crabgrass Frontier: The Suburbanization of the United States . New York & Oxford: Oxford University Press, 1985. Jacobs, Jane. The Death and Life of Great American Cities . New York: Random House, 1961. Jameson, Fredric. Postmodernism, Or, the Cultural Logic of Late Capitalism . Durham: Duke University Press, 1991. Jones, Adam R. “Burbank Area Sites: Agnes Street.” 1164 Morning Glory Circle , 2004. http://www.1164.com/burbank/agnes-street/index.html . ———. “Warner Bros. Ranch: Ranch TV & Movie Sightings.” 1164 Morning Glory Circle, 1995. http://www.1164.com/ranch/tv/index.html . Jones, Gerard. Honey, I’m Home! Sitcoms: Selling the American Dream . New York: St. Martin’s Press, 1992. Jones, John Bush. All-Out for Victory! Magazine Advertising and the World War II Home Front . Lebanon: University Press of New England, 2009. Joslyn, James, and John Pendleton. “The Adventures of Ozzie and Harriet.” The Journal of Popular Culture 7, no. 1 (1973): 23–41. Jurca, Catherine. “Hollywood, the Dream House Factory.” Cinema Journal 37, no. 4 (Summer 1998): 19–36. ———. White Diaspora: The Suburb and the Twentieth-Century American Novel . Princeton: Princeton University Press, 2001. Kassel, Michael B. “Mass Culture, History and Memory and the Image of the American Family.” PhD Thesis, Michigan State University, 2004. Katz, Peter. The New Urbanism: Toward an Architecture of Community. New York: McGraw-Hill, 1994. Kaufman, Gerald. Meet Me in St. Louis . London: British Film Institute, 1994. Kay, Jane Holtz. Asphalt Nation: How the Automobile Took Over America, and How We Can Take It Back . Berkeley and Los Angeles: University of California Press, 1997. King, M. J. “Disneyland and Walt Disney World: Traditional Values in Futuristic Form.” Journal of Popular Culture 15, no. 1 (1981): 116–140. 256 BIBLIOGRAPHY

Klein, Naomi. No Logo . 10th anniversary ed.. London: Fourth Estate, 2000. Klugman, Karen, Jane Kuenz, Shelton Waldrep, and Susan Willis. Inside the Mouse: Work and Play at Disney World . London: Rivers Oram Press, 1995. Koenig, David. More Mouse Tales: A Closer Peek Backstage at Disneyland . Irvine: Bonaventure Press, 1999. ———. Mouse Tales: A Behind-the-Ears Look at Disneyland . Irvine: Bonaventure Press, 1994. Koppes, Clayton R., and Gregory D. Black. Hollywood Goes to War: How Politics, Profits, and Propaganda Shaped World War II Movies . Berkeley and Los Angeles: University of California Press, 1987. Kostof, Spiro. The City Shaped: Urban Patterns and Meanings Through History . New York: Bulfinch Press, 1993. Krieger, Alex. “The Costs—or Have There Been Benefits Too?—of Sprawl.” Harvard Design Magazine , no. 19 (2004). Kroloff, Reed. “Disney Builds a Town.” Architecture 86, no. 8 (August 1997): 114–118. ———. “Suspending Disbelief.” Architecture 87, no. 8 (August 1998): 11. Krutnik, Frank. “Something More than Night: Tales of the Noir City.” In The Cinematic City , ed. David B. Clarke, 83–109. London and New York: Routledge, 1997. Kunstler, James Howard. Home from Nowhere: Remaking Our Everyday World for the 21st Century . New York: Touchstone Press, 1996. ———. The Geography of Nowhere: The Rise and Decline of America’s Man- Made Landscape . New York: Touchstone, 1993. Lamster, Mark, ed. Architecture and Film . New York: Princeton Architectural Press, 2000. Lapsley, Rob. “Mainly in Cities and at Night: Some Notes on Cities and Film.” In The Cinematic City , edited by David B. Clarke, 186–208. London & New York: Routledge, 1997. Lassell, Michael. Celebration : The Story of a Town . New York: Disney Editions, 2004. Le Corbusier. The City of To-Morrow and Its Planning . Translated by Frederick Etchells. New York: Dover Publications, 1987. Lee, Chang-Moo, and Kun-Hyuck Ahn. “Is Kentlands Better than Radburn? The American Garden City and New Urbanist Paradigms.” Journal of the American Planning Association 69, no. 1 (Winter 2003): 50–71. Leibman, Nina C. Living Room Lectures: The Fifties Family in Film and Television . Austin: University of Texas Press, 1995. Leinberger, Christopher B. “Lessons at Twenty-Five.” In Views of Seaside: Commentaries and Observations on a City of Ideas , edited by Zane Kathryne Schwaiger, 163–166. New York: Rizzoli, 2008. Levy, Emanuel. S mall-Town America in Film: The Decline and Fall of Community . New York: Continuum, 1990. BIBLIOGRAPHY 257

Leyden, Kevin, and Philip Michelbach. “Democracy and ‘Neighborly Communities’: Some Theoretical Considerations on the Built Environment.” In New Urbanism and Beyond: Designing Cities for the Future , edited by Tigran Haas, 238–243. New York: Rizzoli, 2008. Liell, John. “Levittown: A Study in Community Planning and Development.” PhD Dissertation, Yale University, 1952. MacCannell, Dean. “‘New Urbanism’ and Its Discontents.” In Giving Ground: The Politics of Propinquity , edited by Michael Sorkin, 106–128. London and New York: Verso, 1999. MacKinnon, Kenneth. Hollywood’s Small Towns: An Introduction to the American Small-Town Movie . Metuchen, N.J. & London: Scarecrow Press, 1984. Maland, Charles J. Frank Capra . Boston: Twayne, 1980. Maltin, Leonard. The Disney Films . 4th ed. New York: Disney Editions, 2000. Mannheim, Steve. Walt Disney and the Quest for Community . Burlington: Ashgate, 2002. Marc, David. Comic Visions: Television Comedy and American Culture . 2nd ed. Malden: Blackwell, 1997. Marcuse, Peter. “The New Urbanism: The Dangers so Far.” disP–The Planning Review 36, no. 140 (January 2000): 4–6. Marcus, Greil. “Forty Years of Overstatement: Criticism and the Disney Theme Parks.” In Designing Disney’s Theme Parks: The Architecture of Reassurance , edited by Karal Ann Marling, 201–207. Montreal: Canadian Centre for Architecture, 1997. Marling, Karal Ann. As Seen on TV: The Visual Culture of Everyday Life in the 1950s . Cambridge and London: Harvard University Press, 1994. ———., ed. Designing Disney’s Theme Parks: The Architecture of Reassurance . Montreal: Canadian Centre for Architecture, 1997. ———. “Disneyland, 1955: Just Take the Santa Ana Freeway to the American Dream.” American Art 5, no. 1/2 (1991): 168. ———. “Imagineering the Disney Theme Parks.” In Designing Disney’s Theme Parks: The Architecture of Reassurance , edited by Karal Ann Marling, 29–176. Montreal: Canadian Centre for Architecture, 1997. Mayer, Albert. “The Need for Synchronized Dispersal.” Bulletin of the Atomic Scientists , February 1952, 49–52. McArthur, Colin. “Chinese Boxes and Russian Dolls: Tracking the Elusive Cinematic City.” In The Cinematic City , ed. David B. Clarke, 19–45. London and New York: Routledge, 1997. McGilligan, Patrick. Alfred Hitchcock: A Life in Darkness and Light . Chichester: Wiley, 2003. McNiven, Roger D. “The Middle-Class American Home of the Fifties: The Use of Architecture in Nicholas Ray’s Bigger than Life and Douglas Sirk’s All That Heaven Allows.” Cinema Journal 22, no. 4 (Summer 1983): 38–57. 258 BIBLIOGRAPHY

Meades, Jonathan. Museum Without Walls . London: Unbound, 2012. Mitchell, Stacy. Big-Box Swindle: The True Cost of Mega-Retailers and the Fight for America’s Independent Businesses . Boston: Beacon Press, 2006. Mitraš inovi , Miodrag. Total Landscape, Theme Parks, Public Space . Aldershot: Ashgate, 2006. Mohney, David. “Interview with André s Duany.” In Seaside: Making a Town in America , edited by David Mohney and Keller Easterling, 62–73. New York: Princeton Architectural Press, 1991. Mohney, David, and Keller Easterling, eds. Seaside: Making a Town in America . New York: Princeton Architectural Press, 1991. Moore, Charles W. “You Have to Pay for the Public Life.” Perspecta 9 (1965): 57–106. Mumford, Lewis. The City in History: Its Origins, Its Transformations, and Its Prospects . San Diego, New York, London: Harvest Books, 1961. Murdy, John. “The World Famous Universal Studio Tour.” Thestudiotour.com , 2002. http://www.thestudiotour.com/ush/studiotour/history.html . Muzzio, Douglas, and Thomas Halper. “Pleasantville? The Suburb and Its Representation in American Movies.” Urban Affairs Review 37, no. 4 (2002): 543–574. National League of Cities. “Most Common U.S. Street Names.” Nlc.org , 2010. http://nlc.org/build-skills-networks/resources/cities-101/most- common-u-s--street-names . Neuman, Robert. “Disneyland’s Main Street, USA, and Its Sources in Hollywood, USA.” The Journal of American Culture 31 (March 2008): 83–97. Newberry, Sara, ed. Desperate Housewives: Behind Closed Doors . London: Time Warner Books , 2005. Nicolaides, Becky. “How Hell Moved From the City to the Suburbs: Urban Scholars and Changing Perceptions of Authentic Community.” In The New Suburban History , edited by Kevin M. Kruse and Thomas J. Sugrue, 80–98. Chicago and London: University of Chicago Press, 2006. Nunn, Samuel. “Designing the Solipsistic City: Themes of Urban Planning and Control in The Matrix, Dark City, and The Truman Show.” CTheory. Net , 2001. http://www.ctheory.net/articles.aspx?id=292 . Parolek, Daniel. “Seaside Beyond Twenty-Five.” In Views of Seaside: Commentaries and Observations on a City of Ideas , edited by Zane Kathryne Schwaiger, 89–91. New York: Rizzoli, 2008. Peary, Danny. Cult Movies: The Classics, the Sleepers, the Weird, and the Wonderful. New York: Delta, 1981. Phillips, Gene D. Alfred Hitchcock . Boston: Twayne, 1984. Pollan, Michael. “Town-Building Is No Mickey Mouse Operation.” The New York Times . December 14, 1997, sec. 6. Polyzoides, Stefanos. “The Congress for the New Urbanism.” In The Seaside Debates: A Critique of the New Urbanism , edited by Todd W. Bressi, 16–20. New York: Rizzoli, 2002. BIBLIOGRAPHY 259

Powell, John. “Sprawl, Fragmentation and the Persistence of Racial Inequality: Limiting Civil Rights by Fragmenting Space.” In Urban Sprawl: Causes, Consequences, & Policy Responses , edited by Gregory D. Squires, 73–117. Washington, DC: The Urban Institute Press, 2002. Putnam, Robert D. Bowling Alone: The Collapse and Revival of American Community . New York: Simon & Schuster, 2001. Ramí rez, Juan Antonio. Architecture for the Screen: A Critical Study of Set Design in Hollywood’s Golden Age. Translated by John F. Moffitt. Jefferson: McFarland, 2004. Ray, Robert B. A Certain Tendency of the Hollywood Cinema, 1930–1980 . Princeton: Princeton University Press, 1985. Rees, Amanda. “New Urbanism: Visionary Landscapes in the Twenty-First Century.” In Suburban Sprawl: Culture, Theory, and Politics , edited by Hugh Bartling and Matthew Lindstrom. Lanham: Rowman & Littlefield, 2003. Reeves, Tony. The Worldwide Guide to Movie Locations . 3rd rev. ed. London: Titan Books, 2006. Ritzer, George. The McDonaldization of Society: An Investigation into the Changing Character of Contemporary Social Life . Revised Edition. Thousand Oaks, London, and New Delhi: Pine Forge Press, 1996.. Robbins, Edward. “The New Urbanism and the Fallacy of Singularity.” Urban Design International 3, no. 1–2 (1998): 33–42. Roost, Frank. “Synergy City: How Times Square and Celebration Are Integrated into Disney’s Marketing Cycle.” In Rethinking Disney: Private Control, Public Dimensions , edited by Mike Budd and Max H. Kirsch, 261–298. Middletown: Wesleyan University Press, 2005. Ross, Andrew. The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Value in Disney’s New Town . New York: Ballantine Books, 1999. Rowan, Jamin Creed. “The Literary Craft of Jane Jacobs.” In Reconsidering Jane Jacobs , edited by Max Page and Timothy Mennel, 43–56. Chicago and Washington: American Planners Association/Planners Press, 2011. Rundle, Guy. The Shellacking: The Obama Presidency, The Tea Party, and the 2010 Midterm Elections . London: K-ist Books, 2010. Rymer, Russ. “Back to the Future: Disney Reinvents the Company Town.” Harper’s Magazine 293, no. 1757 (October 1996): 65–78. Saab, A. Joan. “Historical Amnesia: New Urbanism and the City of Tomorrow.” Journal of Planning History 6, no. 3 (August 2007): 191–213. Sanders, James. Celluloid Skyline: New York and the Movies . New York: Alfred A. Knopf, 2002. Schatz, Thomas. Hollywood Genres: Formulas, Filmmaking, and The Studio System . New York: McGraw-Hill, 1981. Schickel, Richard. The Disney Version: The Life, Times, Art and Commerce of Walt Disney . 3rd ed. Chicago: Ivan R. Dee, 1997. 260 BIBLIOGRAPHY

Schroeder, S. L. “Consuming Main Street: Correlations between the Design of Disney’s Main Street USA and Recent Main Street Revitalization in Three Upstate New York Villages.” Master’s Thesis, State University of New York, 2004. Schwarzer, Mitchell. Zoomscape: Architecture in Motion and Media . New York: Princeton Architectural Press, 2004. Scully, Vincent. “The Architecture of Community.” In The New Urbanism: Toward an Architecture of Community , edited by Peter Katz, 221–230. New York: McGraw Hill, 1994. Seaside Institute. “Seaside Facts and Frequently Asked Questions.” The Seaside Institute , 2010. http://www.theseasideinstitute.org/item/8840. Seidman, Steve. Comedian Comedy: A Tradition in Hollywood Film . Ann Arbor: UMI Research Press, 1981. Shearing, Clifford D., and Philip C. Stenning. “From the Panopticon to Disneyworld: The Development of Discipline.” In Perspectives in Criminal Law: Essays in Honour of John LL.J. Edwards , edited by Anthony N. Doob and Edward L. Greenspan, 335–349. Ontario: Canada Law Book, 1985. Shiel, Mark. “Cinema and the City in History and Theory.” In Cinema and the City: Film and Urban Studies in a Global Context , edited by Mark Shiel and Tony Fitzmaurice, 1–18. Oxford: Blackwell, 2001. ———., ed. Screening the City . London and New York: Verso, 2003. Shiel, Mark, and Tony Fitzmaurice, eds. Cinema and the City: Film and Urban Societies in a Global Context . Oxford: Blackwell, 2001. Shoup, Donald C. The High Cost of Free Parking . Chicago and Washington: Planners Press, 2005. Smith, Neil. “Which New Urbanism? New York City and the Revanchist 1990s.” In The Urban Moment: Cosmopolitan Essays on the Late 20th Century City , edited by Robert A. Beauregard and Dr. Sophie Body- Gendrot, 185–208. Thousand Oaks: Sage, 1999. Soja, Edward W. Thirdspace: Journeys to Los Angeles and Other Real-and- Imagined Places . Cambridge: Blackwell, 1996. Sorkin, Michael. “See You in Disneyland.” In Variations on a Theme Park: The New American City and the End of Public Space , 205–232. New York: Hill and Wang, 1992. ———. Variations on a Theme Park: The New American City and the End of Public Space . New York: Hill and Wang, 1992. Sorlien, Sandy. “The Transect.” In Charter of the New Urbanism , edited by Emily Talen, 2nd ed., 105–107. New York: McGraw-Hill Education, 2013. Spigel, Lynn. Make Room for TV: Television and the Family Ideal in Postwar America . Chicago and London: University Of Chicago Press, 1992. ———. Welcome to the Dreamhouse: Popular Media and Postwar Suburbs . Durham and London: Duke University Press, 2001. Spoto, Donald. The Art of Alfred Hitchcock: Fifty Years of His Motion Pictures . 2nd ed. New York: Anchor/Doubleday, 1992. BIBLIOGRAPHY 261

Stephens, E. J., Michael Christaldi, and Marc Wanamaker. Early Paramount Studios . Charleston: Arcadia Publishing, 2013. Stephens, E. J., and Marc Wanamaker. Early Warner Bros. Studios . Charleston: Arcadia, 2010. Stern, Robert A.M. “Greetings from Uncle Seaside.” In Views of Seaside: Commentaries and Observations on a City of Ideas , edited by Zane Kathryne Schwaiger, 117–118. New York: Rizzoli, 2008. Stern, Robert A. M., David Fishman, and Jacob Tilove. Paradise Planned: The Garden Suburb and the Modern City . New York: Monacelli Press, 2013. Talen, Emily. “Affordability in New Urbanist Development: Principle, Practice, and Strategy.” Journal of Urban Affairs 32, no. 4 (2010): 489–510. ———., ed. Charter of the New Urbanism . 2nd ed. New York: McGraw-Hill Education, 2013. ———. Design for Diversity: Exploring Socially Mixed Neighbourhoods . Burlington: Architectural Press, 2008. ———. “Design That Enables Diversity: The Complications of a Planning Ideal.” Journal of Planning Literature 20, no. 3 (February 2006): 233–249. ———. New Urbanism and American Planning: The Conflict of Cultures . London: Routledge, 2005. Taylor, Nigel. Urban Planning Theory Since 1945 . London: Sage, 1998. Teague, Kipp. “40 Acres—The Lost Studio Backlot of Movie & Television Fame.” Retroweb , 2012. http://www.retroweb.com/40acres_gwtw.html . ———. “Leave It to Beaver on Universal City’s ‘Colonial Street’ and Beyond.” Retroweb , 2012. http://www.retroweb.com/universal_leave_ it_to_beaver.html . ———. “TV Studios and Ranches in the 1950’s-1970’s (Hollywood and Vicinity).” Retroweb , 2012. http://www.retroweb.com/tv_studios_and_ ranches.html . Thomas, Bob. Walt Disney: An American Original . New York: Disney Editions, 1994. Thompson, Craig. “Growing Pains of a Brand-New City.” Saturday Evening Post , August 7, 1954. Tuan, Yi-Fu. Escapism . Baltimore and London: The Johns Hopkins University Press, 1998. Waldie, D. J. “Shadows of Suburbia.” Variety (VLife Supplement) , September 12, 2005. Wasko, Janet. Understanding Disney: The Manufacture of Fantasy. Cambridge: Polity Press, 2001. Watts, Steven. The Magic Kingdom: Walt Disney and the American Way of Life . Columbia and London: University of Missouri Press, 1997. Webber, Andrew, and Emma Wilson, eds. Cities in Transition: The Moving Image and the Modern Metropolis . London and New York: Wallflower Press, 2008. 262 BIBLIOGRAPHY

Weldon, Don. “Ready Made City Will House 70,000.” Popular Science , November 1952. Whyte, William H. The Organization Man . Philadelphia: University of Pennsylvania Press, 2002. Willian, Michael. The Essential It’s a Wonderful Life: A Scene-by-Scene Guide to the Classic Film . Second edition. Chicago: Chicago Review Press, 2006. Wilson, Alexander. “The Betrayal of the Future: Walt Disney’s EPCOT Center.” In Disney Discourse: Producing the Magic Kingdom , edited by Eric Smoodin, 118–128. New York and London: Routledge, 1994. Wilson, Sloan. The Man in the Gray Flannel Suit . Cambridge: Da Capo Press, 1955. Wlodarczyk, Holley. “Intermediate Landscapes: Constructing Suburbia in Postwar American Photography.” In Worlds Away: New Suburban Landscapes , edited by Andrew Blauvelt, 101–12. Minneapolis: Walker Art Center, 2008. Wojcik, Pamela Robertson. The Apartment Plot: Urban Living in American Film and Popular Culture, 1945 to 1975 . Durham and London: Duke University Press, 2010. Wood, Robin. “Ideology, Genre, Auteur.” Film Comment 13, no. 1 (1977): 46–51. Wright, Gwendolyn. Building the Dream: A Social History of Housing in America . Cambridge and London: The MIT Press, 1981. Zukin, Sharon. Naked City: The Death and Life of Authentic Urban Places . New York: Oxford University Press, 2011. Index

40 Acres backlot, 23 Bachelor in Paradise (Arnold), 89, 95, 99, 100, 106, 107, 108, The Adventures of Ozzie and 109 Harriet, 59–63, 65, 67, 69–72 Back to the Future (Zemeckis), 43, advertising (of communities). See 111–12 marketing (of communities) backlot sets African Americans, 84–5, 129, 194, characteristics (commercial and 205. See also race civic precincts), 23–6, 31, alcohol and alcoholism (depictions), 33–4, 62–5, 191, 192–3 27, 94, 99, 102, 103–4, 105, 111 characteristics (residential All I Desire (Sirk), 64, 67 precincts), 31–2, 65–8, 72–6, All That Heaven Allows (Sirk), 67, 108, 192–3 89, 92–3, 96, 100, 105–6, 107, influence on Disneyland, 115–16, 108, 111, 205 120–1 Allen, Woody, 6, 210 New Urbanism and, 156, 162–3 AlSayyad, Nezar, 29, 48, 189 see Circle Drive (backlot set), American Beauty (Mendes), 75, Colonial Street (backlot set), 204, 206 Courthouse Square (backlot amusement park. See Disney World, set), Columbia ranch backlot, Disneyland (theme park), Epcot Genesee St (backlot set), MGM Center (theme park), Magic backlot, Paramount backlot, Kingdom Republic Studios backlot, RKO Annie Hall (Allen), 210 40 Acres backlot, Universal apartment living. See inner city: Studios backlot, Warner Bros. depictions, ideals backlot Archer, John, 189 bad suburb (depictions) automobile. See cars alcohol and alcoholism, 102–3, Avila, Eric, 129, 179 103–4, 105, 111 conformity, 93–7 Babbitt (Lewis), 83 families, 77–8, 97–100, 111, baby boom, 56, 208. See also 204–5, 207 suburbs: development (post financial pressures, 90–3 World War II) homes, 106–8, 111 264 INDEX bad suburb (depictions)—Continued children leisure, 102–4, 204–5 in negative depictions of suburbs, in millennial films, 204–7 97, 98, 100, 105–6 in New Urbanist writing, 155 in small town movies, 29, 32, 38 as notional place, 9, 88–90, in suburban sitcoms, 63, 66–7, 68 110–14 in suburbs, 56, 58, 85–6, 160 television, 78, 104–6, 111 see also family women in, 77–8, 100–1, 205–6 Circle Drive (backlot set), 64, 66–7 see also suburbs: criticism The City in History (Mumford), 83–4 Barrier, Michael, 117, 131 Clarke, Paul Walker, 184, 186 Bartling, Hugh, 185 Clavé, Salvador Anton, 131 Baudrillard, Jean, 130–1 Collins, Catherine, 169, 178, 179 Benson, Sally, 44 Colonial Street (backlot set), 64, Best, Joel, 138 66–9, 73, 74–5, 108, 193 Best Years of Our Lives (Wyler), 3 Columbia ranch backlot, 66, 69, Beuka, Robert, 37, 48, 88, 113, 189 73–4, 75, 191, 193 Bewitched, 73 commercialization big city (as notional place), 6–7, 17, in Disney Developments, 135–8 44–5, 51–2, 77, 203, 210 in New Urbanist developments, Blast from the Past (Wilson), 43 185–7 Breakfast at Tiffany’s (Edwards, 210) see also privatization of public Breaking Bad, 204 space, retailing Broadacre City (Wright), 13 community, sense of Broggie, Roger, 118 decline, 27, 45–6, 80–1, 87–8, Brooke, Steven, 164, 165 105–6 Bryman, Alan, 129, 131, 133, depictions, 1–2, 26–30, 34–5, 137, 179 71–2 The ‘Burbs (Dante), 74 design for, 147–8, 152–4, 156–8, 162–4, 169 Calthorpe, Peter, 154 negative aspects, 35, 81–4, 180–1, Capra, Frank, 1–2, 21, 24, 29, 184–5 (see also conformity) 47–9, 113 community institutions cars depictions, 26–8, 72 depictions, 3, 24, 36, 40–3, 45, in New Urbanist developments, 90, 189–90 156–8 influence on cities and urban conformity, 81, 82–4, 93–7, 205, planning, 3, 13–14, 15, 20, 206. See also homogeneity 31, 40–3, 54–6, 80, 81–2, Connecticut, 52, 90, 101, 108 86–7, 123, 136, 148, 158, 164, consumer goods, 53, 57–9, 77–8, 170–1, 208 86, 90 in theme parks, 121, 144 control and surveillance see also highways depictions, 101, 195–7, 212–13 Celebration, 124, 165–73, 175, in Disney Developments, 123–4, 177–87, 191, 192, 193, 196–7, 132–5, 141–2 199–200, 212, 213 in New Urbanist developments, Cheever, John, 83, 103 183–5, 187–9, 200 INDEX 265

Coon, David R., 110, 189 critical perspectives, 125–39, Corbusier, Le. See Le Corbusier 176–6, 181–2, 185–7, 199–200 Courthouse Square (backlot set), depictions, 197–8 64–5, 74, 111–12, 151 design projects (see Celebration, The Crack in the Picture Window Disney World, Disneyland (Keats), 83 (theme park), EPCOT Crowther, Bosley, 118 (planned community), Epcot Cunningham, Douglas, 177–8, Center (theme park), Magic 189 Kingdom, Main Street USA) see also Disney, Walt Dante, Joe, 74, 112, 151 The Disney Version (Schickel), Dark City, (Proyas), 187–8, 212 127–8, 137, 138 Davis, Marvin, 119 Disney World, 122, 130, 133, 134, Davis, Mike, 134 137–8, 139, 179, 187. See also Davis, Miles, 194 Epcot Center (theme park), Davis, Robert, 162, 163, 168, 183, EPCOT (planned community), 186 Magic Kingdom Death Wish (Winner), 6 Disneyland (television show), 117, December Bride, 78 119–20 decentralization, 13, 55–7, 82, Disneyland (theme park) 86–7, 136, 155, 159, 170–1 civic space within, 121, 140–6 Dennis the Menace, 73 criticism, 125–39 Depression (1929–1939), 2, 3, 15, defences from criticism, 139–50 20, 27, 43–4, 56 design, planning and influences, The Desperate Hours (Wyler), 69 115–24 Desperate Housewives, 74–6, 204 transport within, 121 Detweiler, Eric, 182 see also Main Street USA Disney, Walt diversity. See social diversity attitude to cities and suburbs, Donaldson, Scott, 83 115–16, 146 The Donna Reed Show, 78 critical perspectives, 125–39 Duany, Andrés, 154–61, 162, 164, filmmaking, 115–16, 117 165, 169, 171, 180, 183, 186, property development projects, 197 116–17, 118–19, 177–8 (see also Disneyland (theme park), Eco, Umberto, 130–1, 133, 182 EPCOT (planned community), Eisner, Michael, 166, 167 Main Street USA) Ellis, Cliff, 179, 180, 200–1 see also Disney Corporation, EPCOT (planned community). Disney World, Disneyland Compare Epcot Center (theme (theme park), EPCOT park) (planned community), Epcot criticism, 124, 125, 129, 134, 136 Center (theme park), Magic defences from criticism, 146–50 Kingdom, Main Street USA design, planning and influences, Disney Corporation 116–17, 122–4, 146–8 business strategies, 135–8, governance, 123, 134, 149 185–7 transport, 123, 148 266 INDEX

Epcot Center (theme park), 124, in suburbs, 58, 85–6, 211 148. Compare EPCOT in theme parks, 129 (planned community) General Electric, 19, 53, 58 Genesee St (backlot set), 24–6, 28, fakery 29, 33, 121 depictions, 191–3, 196–7 genre, 9, 22, 89, 112, 206, 212 as design criterion, 213–14 The George Burns and Gracie Allen in Disney developments, 125–31, Show, 61 140–3, 144, 169–70, 178–9, GI Bill (Serviceman’s Readjustment 196–7 Act 1944), 56 in New Urbanist developments, Giroux, Henry, 129, 138, 147, 179, 169–70, 178–82, 198–201 184, 197 family Goddhart-Rendel, Harry, 5 depictions, 37–9, 70–2, 97–100 Goff, Harper, 119 as a focus of suburbs, 56, 58, Gottdiener, Mark, 131, 145, 209 70–2, 85–6, 160 The Graduate (Nichols), 89, in New Urbanist developments, 99–100, 102–3, 104 159–60 Great Depression. See Depression see also children, gender roles (1929–1939) Family Ties, 113 The Great Gatsby (Fitzgerald), 83 Far from Heaven (Haynes), 205 Gremlins (Dante), 112, 152 Father Knows Best, 59–67, 69–73, Gremlins 2: The New Batch (Dante), 78, 172, 189, 191 151–2 Father of the Bride (Minnelli), 60 Griffin, Sean P., 139 Federal Housing Administration, Gruen, Victor, 136, 147 57, 85 The Feminine Mystique (Friedan), 86 Hail the Conquering Hero (Sturges), film noir, 45, 187–8 21, 24, 28, 31, 34, 35, 37, Fitzgerald, F. Scott, 83 41, 66 Fjellman, Stephen, 130, 131, 133 Halberstam, David, 60, 70, 71 Foglesong, Richard, 139 Halevy, Julian, 127–8 Francaviglia, Richard, 23, 31, 119, Hannigan, John, 135 141, 144, 145 Happiness (Solondz), 207 Frantz, Douglas, 169, 178, 179 Haralovich, Mary Beth, 62, 70–1 Friedan, Betty, 86 Hart, Robert, 144 Friends, 203, 210 Harvey, David, 15, 184, 186 Hayden, Dolores, 59, 85, 86 Gans, Herbert, 84 The Heart of Our Cities (Gruen), Garden City (Howard), 11–12, 13, 136, 147 123, 147. See also Howard, Hench, John, 26, 121, 128, 132–3, Ebenezer 141–2 Garnett, William, 81, 82, 109 Hiaasen, Carl, 138 gender roles highways, 1, 13, 40, 55, 80, 123, depictions, 52, 70–1, 77–8, 148, 208. See also cars 98–101, 106, 181, 195, Himmelstein, Hal, 60 197–8, 205–6 Hinshaw, Mark, 178 INDEX 267

Hitchcock, Alfred, 21, 25–6, 44–5 It’s a Wonderful Life (Capra), 1–4, Home Improvement, 113 21–2, 24, 26, 28–30, 33–41, Home Owners Loan Corporation, 85 43, 45–9, 59, 71, 98, 102, 110, homes 112–13, 115, 121, 211 depictions, 31–2, 47, 68–72, 77–9, 106–8 Jacobs, Jane, 153–5, 157, 188, 210 role in suburban ideal, 19–20, Jackson, Robert, 119 52–4, 57–9, 68–72 Jefferson, Thomas, 46 see also housing Jones, Gerard, 60, 62 homogeneity, 70, 81, 82–4, 96, 179–81, 184. See also Kassel, Michael B., 67 conformity, social diversity Keats, John, 83 homosexuality, 129, 205 Kings Row (Wood), 21, 23, 28, 30, The Honeymooners, 60, 61, 192 32, 33, 34, 35, 36, 37–8, 41, Hot Fuzz (Wright), 188, 194, 196, 43, 44, 46–7 198 Klein, Naomi, 128 housewives. See gender roles Knotts, Don, 197 housing Kroloff, Reed, 185–6, 196, 198 boom (post World War II), 56–9 Krutnik, Frank, 45–6 construction techniques, 57 Kunstler, James Howard, 82, 135, policy, 56 144, 155, 157, 180 shortages, 53–4, 56 see also homes Lapsley, Rob, 4 Housing Act 1949, 56 Las Vegas, 130, 131, 165 How I Met Your Mother, 210 Le Corbusier, 13–15, 16, 17, Howard, Ebenezer, 11–12, 13, 136, 147, 148, 149, 152–3, 14, 15, 16, 56, 123, 147–8, 166 149, 210 Leave it to Beaver (film, Cadiff), 75 Hunt, Darnell M., 7–9 Leave it to Beaver (television show), Huxtable, Ada Louise, 128, 131, 59–72, 74, 75, 111, 155, 160, 139, 182 191 hyperreality, 26, 130–1, 182 Lethal Weapon (film series, Donner), 74 I Dream of Jeannie, 69, 73 Levitt, William J., 58, 70, 84–5 The Ice Storm (Lee), 204, 206 Levitt and Sons, 57–8, 67, 70, 81, imaginary places. See notional 82, 132 places Levittown, 57–8, 81, 84 Inherit the Wind (Kramer), 64, 67 Levy, Eugene, 20, 21, 22, 38, 88, inner city 93, 113 decay and abandonment, 6, 45, Lewis, Sinclair, 83 54, 56, 77, 79, 80, 146 Liell, John, 57–8 depictions, 6, 17, 44–5, 51–2, “Little Boxes” (song), 83 77, 203, 210 Little Children (Field), 204, 206 ideals, 6, 153–4, 203, 210 Little Shop of Horrors (Oz), 77–9 redevelopment, 14–15, 119, 136, location photography, 25–6, 48, 65, 152–4 108–9, 111–12, 190 268 INDEX

Los Angeles, 8–9, 65, 93, 108–9, Marling, Karal Ann, 117, 118, 145, 111–12, 116, 129, 134, 143–4, 146 145, 188, 209 The Matrix (Wachowskis), 187–8, Lowney, Kathleen, 138 212 Mayer, Albert, 55 MacCannell, Dean, 182 McArthur, Colin, 45 Mackinnon, Kenneth, 7, 20, 49, 93 Meet Me in St. Louis (Minnelli), 21, Mad Men, 205–6 22, 23–4, 28, 30, 31–2, 33, Magic Kingdom, 124, 125, 166, 35, 37, 38, 41, 43, 44, 49, 66, 178. See also Disney World, 67, 160 Disneyland (theme park) Menzies, William Cameron, 121 The Magnificent Ambersons (Welles), MGM backlot, 23–4, 66, 67 21–2, 23, 28, 32, 34, 35, 36, Midnight Cowboy (Schlesinger), 6 37, 38, 39, 41, 42–3, 71 Minnelli, Vincente, 21, 33, 60 Main Street The Miracle of Morgan’ Creek notional place, 7, 22–3 (Sturges), 21, 24, 28, 29, in real communities, 23, 31, 86, 31, 33–4, 35, 37, 38, 40–1, 128, 131, 156, 157, 168, 176 43, 66 in sitcom suburbs, 62–5, 72 Mitrašinović, Miodrag, 126, 131 in small-town movies, 22–6, 31, Modern Family, 113, 204 33–4, 191, 192–3 Moore, Charles, 135, 143–4 see also Main Street USA Moule, Elizabeth, 154 Main Street USA movie town (notional place) as civic space, 140–6, 209 characteristics and key texts, design and influences, 116, 20–2 119–21, 135–6 families within, 37–9 fakery of, 126, 128, 129, 130 links to rural areas, 35–7 links to backlots, 119, 120 parallels in New Urbanism, parallels in Celebration, 166–7, 152–73 178, 182 residential precincts, 31–2 see also Disneyland (theme park), retail and civic precincts, 22–31 Main Street similarity to sitcom suburb, malls. See retailing 59–60 The Man in the Gray Flannel Suit social structure, 34–5 (book, Wilson), 83, 90 transport, 40–3 The Man in the Gray Flannel Suit walkability, 34 (film, Johnson), 89, 90–1, 97–8, Mr. Blandings Builds His Dream 100, 102, 105, 106, 108, 205 House (Potter), 51–4, 67, 90 Manhattan. See New York City Mumford, Lewis, 83–4 Mannheim, Steve, 146–7 The Munsters, 73 Marc, David, 59 Marcus, Greil, 127 National Lampoon’s Christmas Marcus Welby M.D., 73 Vacation (Chechik), 74 marketing (of communities), 19–20, neotraditionalism. See New 53, 57–9, 75–6, 108–9, 167, Urbanism 209–10 New Deal, 56 INDEX 269

New Urbanism Our Town (play, Wilder), 21, 27 Charter of, 154–61 Ozzie and Harriet. See The critical perspectives, 177–87, Adventures of Ozzie and Harriet 198–201 depictions, 175–7, 187–201, Paramount backlot, 24, 26, 28, 212–13 31–2, 193 ideals underpinning, 152, Parenthood (Howard), 131 154–61 The Partridge Family, 73 links to cinema, 154–61 patriarchy. See gender roles links to Disney design, 177–87, pedestrians 196–7 depictions, 24, 25, 34, 40, 45, links to Jane Jacobs, 154–5 68, 77, 111, 176 New Urbanist developments (see design for, 86, 123, 145, 147–9, Celebration, Seaside) 154, 155, 156, 158, 163, 171, origins, 154, 161–2 176, 178, 189 New York City, 6–7, 8, 9, 13, 31, influence on city form, 12 51–2, 90, 101, 108, 147, 151, People and Places: Disneyland 153–4, 203, 210 U.S.A. (Luske), 120, 142 No Down Payment (Ritt), 89, 91–2, Perry, Clarence, 147 94–7, 98–9, 102, 105, 108–9, Pillow Talk (Gordon), 210 206 Plater-Zyberk, Elizabeth, 154–61, noir. See film noir 162, 164, 169, 183 nostalgia, 2, 23, 27, 31, 35, 41, Pleasantville (Ross), 43, 75, 187–9, 43–4, 60, 74, 112, 114, 117, 191–9, 206, 212 120, 140, 146, 154, 155, 169, Pollan, Michael, 184, 186 171, 179–80 Poltergeist (Hooper), 89, 105, notional place 107–8, 109–10 definition, 7–10 Polyzoides, Stefanos, 154 materialization of, 126, 189–91 postmodernism, 129–30, 137, 182, subversion, 212 199–200 see big city (as notional place), privacy. See control and surveillance Main Street: notional privatization of public space, 1, 2, place, movie town (notional 86, 117, 133–8, 143–5, 149, place), sitcom suburb 184, 185, 199, 208–9 (notional place). Compare Putnam, Robert B., 27, 87 bad suburb (depictions): as notional place race Nunn, Samuel, 187–8 depictions of exclusion, 95–6, 193–5, 205 Olmsted, Frederick Law, 13, 15, 16, exclusion and stereotyping in 32, 46, 108 theme parks, 129 The Organization Man (Whyte), exclusion in New Urbanist 82–3, 90–1, 93 communities, 180–2, 199, 211 Our Town (film, Wood), 21, 22–3, exclusion in suburbs, 84–5 26–8, 29, 30, 33, 34, 35, 37, exclusion or omission in culture, 38–9, 41–2, 43, 44, 153 60, 211 270 INDEX

Ray, Robert B., 46 Seaside, 161–5, 168–73, 177–8, Rebel Without a Cause (Ray), 89, 180–1, 183–5, 185–7, 189–90, 93–4, 97, 102, 105, 107, 108 193, 195–6, 197, 198–200, The Reluctant Dragon (Werker & 212–13 Luske), 120 Seinfeld, 210 Republic Studios backlot, 63, 66–8 semiotics, 8–9, 23, 48–9, 89, residential precincts 113–14, 138–9, 145, 187, depictions, 31–2, 65–8, 108–10, 206–7, 212 111–12 (see also homes: sense of community. See depictions) community, sense of in New Urbanist projects, 163–4, Serviceman’s Readjustment Act 168–73 (1944), 56 in postwar suburbs, 80–1, 86 sets. See backlot sets retailing Sex and the City, 210 depictions, 1–2, 29–30, sexism. See gender roles 33–4, 62–5, 72, 112, 175, Shadow of a Doubt (Hitchcock), 21, 176, 190 25, 28, 29, 31, 34, 37, 38, 40, in New Urbanist thought and 41, 44 practice, 157, 163, 165, 168 Shiel, Mark, 4 in postwar suburbs, 1–2, 80, signs. See semiotics 81–2, 135–7, 145, 157 The Simpsons, 175–7 in theme parks, 121, 135–7 sitcom suburb (notional place) Revolutionary Road (book, Yates), characteristics and key texts, 83, 205 59–62 Revolutionary Road (film, Mendes), depiction of residential precincts, 205, 206 65–72 Reynolds, Malvina, 83 depiction of retail and civic RKO 40 Acres backlot, 23 precincts, 62–5 RKO Encino backlot. See Genesee parallels in Celebration, 171–3 St (backlot set) parallels in postwar suburbs, Robertson, Jaquelin, 166, 170 9–10, 75–6 Ross, Andrew, 169, 170, 178 satirical depictions, 77–9 Rouse, James, 144 similarity to movie town, 59–60 Rummell, Peter, 166, 170 sitcoms rural areas depiction of community (see depictions, 20, 35–7, 176 sitcom suburb (notional place)) links to cities and towns, production methods, 61–2, 11–12, 35–7, 46–7, 155, 69–70, 73–4 158–9, 176 suburban and small town, 59–61 urban, 61, 200, 210 Sanders, James, 6, 9, 153 see also sitcom suburb (notional Schickel, Richard, 127–8, 137, 138 place) Schlesinger, John, 6 small towns, depictions in 1940s Schwarzer, Mitchell, 71 movies. See movie town Scorsese, Martin, 6 (notional place) INDEX 271

So Dear to My Heart (Shuster & Suburgatory, 204 Luske), 115–16, 118 surveillance. See control and social diversity, 180–2, 186–7, surveillance 193–5. See also homogeneity The Swimmer (Perry), 89, 103–4, Soja, Edward, 131 107–8 Solomon, Daniel, 154 “Somewhere That’s Green” (song), Tarantula (Arnold), 64 77–9 Taxi Driver (Scorsese), 6 Sorkin, Michael, 131, 134–5, 137, Taylor, Nigel, 15 138, 139 television Spigel, Lynn, 10, 105, 189 depictions, 70, 78–9, 104–6, Stein, Clarence, 147, 148 110, 192 The Stepford Wives (Forbes), 89, role in post-war culture, 3, 10, 101, 103, 105, 108, 139, 176 54, 59–60, 87, 105, 117 The Stepford Wives (Oz), 188, 194, theme parks. See Disney World, 196, 197–8, 212 Disneyland (theme park), Epcot Stern, Robert, 166, 167, 170, 184 Center (theme park), Magic Sturges, Preston, 21, 22, 24, 26, Kingdom 34, 40–1, 193 themed spaces, 109, 130–1, 136, suburbs 145, 165, 169–70, 177, 182, aesthetic critiques, 81–2, 108–10 199, 208–9. See also Disney characteristics (post-World War World, Disneyland (theme II), 79–88 park), Epcot Center (theme criticism, 79–88 (see also bad park), Magic Kingdom suburb (depictions)) Title I program, 56 development (post-World War II), To Kill a Mockingbird (Mulligan), 3, 54–9, 136 64 historical (pre-World War II), The Truman Show (Weir), 179, 11–15, 54–5 187–201, 206, 208, 212–13 ideals and concepts underpinning, 11–15, 19–20, Universal Studios backlot, 63–9, 54–9 73, 74–5, 108, 111–12, 120, literary critiques, 83, 88 151, 172, 193 negative depictions (see bad urban planners. See urban planning suburb (depictions)) urban planning positive depictions, 48–9, 113–14 definition, 3 (see also sitcom suburbs) depictions, 175–7, 187–201, racial exclusion in, 84–5 212–13 railroad- and streetcar-based, 55 links to cinema, 3–11, 16–18, semiotics of, 48–9, 89, 113–14, 152–61, 187–9, 198–201, 206–7, 212 207–14 sprawl, 13, 55–7, 82, 86–7, 136, post-World War II approaches, 155, 159, 170–1 3, 15–18, 54–9, 135–6, women in, 58, 85–6, 211 (see also 146–7, 152–61 (see also New gender roles) Urbanism) 272 INDEX urban planning—Continued Warner Bros. backlot, 73, 172 pre-World War II theorists and Warner Bros. ranch backlot. See approaches, 11–15, 54–5, Columbia ranch backlot 146–7 Wasko, Janet, 133, 135, 180, 182 rationalist approaches, 14–15, Weeds, 204 16–17, 59, 147, 149, 152–3 Welles, Orson, 21, 34, 41 urban renewal, 14–15, 56 Whyte, William H., 82–3, 90–1, 93 urbanism in film, 3–11, 16–18, Wilder, Thornton, 21, 44 152–61, 187–9, 198–201, Willian, Michael, 24, 45 207–14 Wilson, Sloan, 83, 90 Winner, Michael, 6 Vegas Vacation (Kessler), 74 The Wire, 17 Victorian era Wojcik, Pamela Robertson, 210 architecture, 1, 17, 24, 31, 33, women (roles of). See gender roles 111, 121, 169 Wood, Robin, 45 cities and towns, 11, 15, 17, 128 Wood, Sam, 21 themed representations, 126, World’s Fairs, 21, 119, 124, 179 128, 140, 142 (see also Main Wright, Frank Lloyd, 13, 14, 15, Street USA) 16, 56 Wright, Henry, 147, 148 walkability. See pedestrians Walt Disney World. See Disney World Yates, Richard, 83, 205