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The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories

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The Theme Park As University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. This was accomplished using a mixed methods approach drawing data from interviews with creative professionals, archival research, fieldwork, and an analysis of more than eight hundred narrative attractions. The survey of narrative attractions revealed the most common narrative expressions to be dark rides and stage shows. Source material tends to be cultural tales (legends, fairy tales) or intellectual properties (generally films). Throughout major periods and world regions, setting, scenes, and visual storytelling are the most ubiquitous narrative devices. Three dozen techniques and technologies are detailed in this project. Significant impetuses for narrative change over time are the advent of technologies, formalization of the industry, explicit discourse on storytelling, formation of design philosophies, and general convergence of media. There are at least a half dozen key distinctions in theme park narratives compared with other mediums: dimensionality, scale, communality, brevity, a combinatory aspect, and a reiterative nature. Also significant is that creative professionals view themselves as storytellers, purposefully design with narrative systems, embed them in spaces, and participate in public dialogue surrounding narrative and design principles. This study was initiated to expand the literature on emerging media and narratives within the Texts and Technology approach and to fill a gap in the scholarship, as designer standpoint is rarely considered in analysis. This is the first large-scale study of storytelling in the global theme park industry. It uses underrepresented creative voices as participants and recognizes their contributions as storytellers. Finally, the project lays the groundwork for future inquiries into theme parks as storytellers and spatial narrative mediums. iii ACKNOWLEDGMENTS I would like to thank my committee for their support and guidance during the research, examination, and dissertation phases: Drs. Duncan Dickson, Moniek Hover, Rudy McDaniel, Anastasia Salter, and Natalie Underberg-Goode. Thanks to Duncan for organizing the independent study on visual storytelling in theme parks that led to this big research project, for connecting me to Moniek, and for believing I could do this from the beginning. Thanks also to the faculty in the Texts and Technology program who helped refine my work and expand my thinking including Dr. J.D. Applen, whose end-of-term research project was a direct influence on my prospectus and dissertation. I want to thank the committee who awarded me the T&T Dissertation Research Award, which allowed me to do valuable field research. Thanks also to Breda University of Applied Sciences, Efteling theme park, and Seminole State College of Florida for the assistance with research trips to the Netherlands. Thank you to my interview participants for sharing your insights with me. It was an honor to learn from you, and the knowledge gained was essential to this finished work. Special thanks to Olaf Vugts whose conversation inspired the metaphor and title of my dissertation. I am grateful to the many creative professionals I got wisdom from through archival research and the fans and journalists who published these interviews. Thanks to the creators in general whose work motivated me to pursue this project and whose attractions I find meaning in. I appreciate my colleagues who have cheered me on or shared their graduate school war stories. Thanks to my family members who have supported me, especially my mother and mother-in-law, who can’t wait to call me Dr. Baker. First and last, to my husband Joshua, my best friend, life partner, fellow world traveler, and research assistant. Thank you for reminding me what makes me smile and for making my dreams come true. Where shall we visit next? iv TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................................... viii LIST OF TABLES .......................................................................................................................... x CHAPTER ONE: INTRODUCTION AND OVERVIEW ............................................................. 1 Research Questions ..................................................................................................................... 2 Methodology ............................................................................................................................... 3 Positionality ............................................................................................................................ 3 Purpose and Epistemology ...................................................................................................... 5 Research Method .................................................................................................................... 7 Coding ................................................................................................................................... 10 The Central Metaphor of “De Sprookjessprokkelaar” .............................................................. 11 Significance of the Research ..................................................................................................... 13 Definitions................................................................................................................................. 17 Amusement Park versus Theme Park ................................................................................... 17 Dark Rides ............................................................................................................................ 21 Narrative and Story ............................................................................................................... 23 Storytelling Debate ............................................................................................................... 26 Themed Entertainment .......................................................................................................... 33 Chapter Organization ................................................................................................................ 36 CHAPTER TWO: SURVEY OF THEME PARK NARRATIVES ............................................. 38 Why Storytelling? ..................................................................................................................... 38 Pre-Theme Park Narratives ....................................................................................................... 50 Disneyland: Birth of the Theme Park (1955) ............................................................................ 57 Walt Disney Imagineering .................................................................................................... 63 Disneyland Opening Year ..................................................................................................... 65 The Chicken and Egg Question: Disney and Storytelling .................................................... 71 Theme Park Narratives Overview ............................................................................................. 81 Early Theme Park Narratives (1950s-1970s) ............................................................................ 84 Maturing Theme Park Narratives (1980s-2000s) ..................................................................... 85 Current Narratives (2010s) ....................................................................................................... 87 The Pervasiveness of Narrative in the Theme Park Industry .................................................... 89 v CHAPTER THREE: EVOLUTION OF NARRATIVE TECHNIQUES AND TECHNOLOGIES ....................................................................................................................................................
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