DOCSLIB.ORG

Dream Bigger, Disney: Exploring the Walt Disney Company's Future

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dream Bigger, Disney: Exploring the Walt Disney Company's Future Sustinere, Volume 1 (2021), No. 1, pp. 113-130 Dream Bigger, Disney: Exploring the Walt Disney Company’s Future Role in Planetary Politics MARYAM REHMAN The Walt Disney Company is one of the most powerful, innovative and influential companies in the whole world. A pioneer in many respects, the Walt Disney Company has led the way in the entertainment industry for decades. This paper begins by analyzing the origins of the Walt Disney Company, with a particular focus in Walt Disney’s creative vision that led to incredibly innovative developments in the entertainment industry. It also explores the gradual decline of creative risks taken by the company after Walt Disney’s death, which may have helped the company navigate through tough financial times but also made it lose its revolutionary role and influence as a creative pioneer. Leading into the present, the paper explores CEO Bob Iger’s techniques and leadership trajectory including international park expansion and numerous company acquisitions that have helped Disney regain its financial, influential and dominant footing in the entertainment space. Its primary hypothesis centres on the crossroads that the Walt Disney Company has currently reached between its present and future role. It also demonstrates another hypothesis that the company now has the influence and financial capacity to revive its role as a creative visionary in entertainment, and establish its role in global governance by focusing its new position in corporate climate action. The paper follows these goals and hypotheses and draws conclusions that follow this trajectory from extensive research. What is most interesting about this piece is that it explores the climate crisis and the ramifications of planetary politics in global governance through the lens of one company. Rehman 114 INTRODUCTION The Walt Disney Company (WDC) is one of the most powerful, innovative and influential companies in the world. A pioneer in many respects, the company has led the entertainment industry for decades. This paper will explore why Disney can use this leadership and impact in global climate governance. Many of the WDC’s innovative strides can be attributed to the expansive vision and creative spirit of Walt Disney himself. Unfortunately, the passing of the company’s founder in 1966 caused the WDC to enter an era faced with financial challenges, mistakes, and a retreat from the creative risks it once took.1 This led to a general reduction in the radical creative pursuits that defined the WDC under Walt.2 Simultaneously, an emerging global challenge threatening the existence of life on Earth and the magical world of Disney itself caught the attention of scientists: climate change. Since 2005, under the new leadership of CEO Bob Iger, the WDC saw a significant revival from financial losses and has now entered into an era of prosperity and media dominance.3 The company also began taking action to combat climate change through the Disney Conservation Fund4 and the National Geographic Society.5 However, in order to fully reestablish its innovative role, the company must take on an even stronger leadership position in corporate climate action. While this may be difficult to achieve, I will offer four solutions. Firstly, the WDC should reinstitute Walt’s version of EPCOT and develop a model city for the future dedicated to incubating innovative technologies to combat climate change. In addition, the company should radically expand its impact in climate action and justice by investing more in existing avenues like The Disney Conservation Fund and the National Geographic Society. Furthermore, the company 1 The Imagineering Story, "What Would Walt Do," episode 2, Disney Plus, November 15, 2019, created by Leslie Iwerks, narrated by Angela Bassett. 2 The Imagineering Story, "What Would Walt Do," episode 2. 3 The Imagineering Story, "A Carousel of Progress," episode 5, Disney Plus, December 6, 2019, created by Leslie Iwerks, narrated by Angela Bassett. 4 “The Disney Conservation Fund - Fact Sheet," news release, accessed February 24, 2020, https:// wdwnews.com/fact-sheets/2018/04/20/the-disney-conservation-fund-fact-sheet/. 5 National Geographic Society, "About Us," National Geographic, accessed March 7, 2020, https:// www.nationalgeographic.org/about-us/. Rehman 115 should incorporate environmental sustainability more visibly in its content to inspire a cultural shift towards climate action among its audience. Lastly, the WDC should establish itself as a non-state actor in hybrid global climate governance. The WDC has the financial capability and the space for CEO, Bob Chapek, to establish the company as a leader in corporate climate action, while reviving its role as a pioneering and innovative company. Being a leader of the movement to save the planet from environmental destruction is perhaps the most radical dream Disney can pursue, but the company is currently in the perfect position to fulfill it. SECTION 1: THE DECLINE OF CREATIVE PURSUITS AND THE EMERGENCE OF THE CLIMATE CRISIS A Brief History of the Walt Disney Company from 1923-2005 The WDC was founded on October 16, 1923 by Walt Disney and Roy Disney as a studio for making cartoons like Alice’s Wonderland.6 Walt focused on the creative vision for the company while his brother, Roy, oversaw the business aspects and managed the finances.7 The WDC’s animation improved as they made technological advancements, adding colour to their cartoons and creating the first cartoon with synchronized sound called Steamboat Willie, which transformed the industry forever.8 The Disney brothers were always striving to improve their production standards and lead the way in the emerging entertainment industry. Through a variety of financial ups and downs, the company became successful under Walt’s optimism and drive. From the creation of Snow White and the Seven Dwarves to the Disneyland theme park, Walt removed any doubts and solidified the company’s position as a leader in the entertainment industry.9 The death of Walt Disney in 1966 shook the company to its core, as he was 6 Giannalberto Bendazzi, Foundations - The Golden Age, vol. 1, Animation: A World History (Burlington, MA: Focal Press, 2015), 51. 7 Alan Bryman, Disney and his Worlds (London, England: Routledge, 1995), 5. 8 Bendazzi, Foundations - The Golden Age, 96. 9 Bryman, Disney and his Worlds, 10. Rehman 116 both “a national institution and the fount of new ideas for the organization.”10 A team filled Walt’s place, often referred to as the Disney troika, and included Roy Disney, Donn B. Tatum and E. Cardon Walker who guided the overall direction of the company.11 Under the Disney troika’s leadership from 1966-1971, the company saw a considerable increase in profits with box office successes and the opening of Walt Disney World Florida.12 This “period of stability” came to an end on December 20th, 1971 when Roy Disney passed away.13 Beginning its next phase, from 1972-1984, the WDC experienced financial struggles and a decrease in creative pursuits like theme parks. Motion pictures, which were of central importance to the company, were no longer as successful.14 Almost all analyses of this phase of the company describe it as being caught “in the grips of a paralysis in which a ‘what would Walt have done’ litmus test was constantly applied.”15 As songwriter and composer Richard Sherman explained, “we had a board of directors that was not quite sure where they were going. It was kind of a frustrating time for the creative people, because many times great projects and ideas were killed because they weren’t quite sure which direction to go.”16 During this time, the WDC also tried to keep up with a changing market of moviegoers who sought more action-packed and thrilling films, while maintaining its traditional values and family brand. For instance, the company created the Disney Channel, with hopes it would be the biggest profitable platform and opportunity since the opening of Disneyland, but low subscriptions meant the WDC lost a lot of money instead.17 The creation of Touchstone Pictures, a different 10 Bryman, Disney and his Worlds, 27. 11 Chris Pallant, Demystifying Disney: A History of Disney Feature Animation (New York, NY: Continuum, 2011), 71. 12 Bryman, Disney and his Worlds, 28. 13 Pallant, Demystifying Disney, 71. 14 Pallant, Demystifying Disney, 71. 15 Bryman, Disney and his Worlds, 30. 16 The Imagineering Story, "What Would Walt Do," episode 2. 17 Pallant, Demystifying Disney, 78. Rehman 117 label for the company to produce less family-oriented entertainment, was created, and their first film Splash was a big hit.18 However, the WDC continued to struggle, and even faced the threat of a takeover by corporate raider Saul Steinberg.19 The then-leaders of the WDC, Watson and Miller, eventually used the green mail strategy which allowed them to pay Steinberg to go away.20 Despite the prevention of the takeover, Watson and Miller faced criticism for their decisions and new leadership was considered. In 1984, Michael Eisner, a successful executive at Paramount, took over as CEO of the WDC, and Frank Wells, a lawyer with strong credentials in the film industry, became President and COO.21 Under their leadership, the WDC entered a new era of profitability and prosperity. Eisner and Wells made an incredible team that revived Walt Disney Imagineering, the group behind Disney’s theme parks and other cutting edge creative pursuits that led to the company’s advances in animation technology, for example.22 They focused on projects that made the WDC relevant for teenagers, drawing the market to their television content and theme parks. Eisner and Wells expanded the WDC’s hotels and resorts, revived the Disney Channel, and pursued the creation of a European Disneyland, or Euro Disneyland, after the success of Disneyland Tokyo in 1983.
Load more

Recommended publications
  • The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
    University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique.
    [Show full text]
  • A Totally Awesome Study of Animated Disney Films and the Development of American Values
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice.
    [Show full text]
  • Star Wars: Rise of the Resistance Makes Galactic Debut at Walt Disney World Resort
    Star Wars: Rise of the Resistance Makes Galactic Debut at Walt Disney World Resort Groundbreaking new attraction brings guests into a battle between the Resistance and First Order beginning Dec. 5 at Disney’s Hollywood Studios and Jan. 17, 2020, at Disneyland Park LAKE BUENA VISTA, Fla. (Dec. 4, 2019) – This is the Disney attraction you’re looking for. Star Wars: Rise of the Resistance makes its public debut Dec. 5, 2019, inside Star Wars: Galaxy’s Edge at Disney’s Hollywood Studios in Florida, and at Disneyland Park in California on Jan. 17, 2020. After years of anticipation for this groundbreaking new attraction, guests will now become heroes of the Resistance in a climactic battle with the First Order. During a special dedication ceremony Wednesday night inside Star Wars: Galaxy’s Edge at Disney’s Hollywood Studios, Disney Parks, Experiences and Products Chairman Bob Chapek lauded the attraction’s immersive storytelling and technological innovation. “Star Wars: Rise of the Resistance sets a new standard for what a theme park experience can be,” Chapek said. “Tonight, we’re welcoming the world to experience the Star Wars galaxy like never before, with the opening of the most ambitious, immersive, advanced, action-packed attraction we’ve ever created.” Star Wars: Rise of the Resistance is one of the most ambitious attractions ever created for a Disney park. The thrilling action takes place in massive sets that give guests the feeling of stepping inside a Star Warsfilm as they elude the clutches of Kylo Ren and the First Order in a mad dash through a Star Destroyer.
    [Show full text]
  • October 13, 2020
    October 13, 2020 Robert A. Iger Executive Chairman and Chairman of the Board The Walt Disney Company 500 South Buena Vista Street Burbank, CA 91521 Bob Chapek Chief Executive Officer The Walt Disney Company 500 South Buena Vista Street Burbank, CA 91521 Dear Mr. Iger and Mr. Chapek: I write to express concern about The Walt Disney Company’s (Disney) recent decision to lay off 28,000 workers during an economic recession1 while reinstating pay rates for highly compensated senior executives.2 In the years leading up to this crisis, your company prioritized the enrichment of executives and stockholders through hefty compensation packages3, and billions of dollars’ worth of dividend payments4 and stock buybacks,5 all of which weakened Disney’s financial cushion and ability to retain and pay its front-line workers amid the pandemic. While I appreciate that your company has continued to provide health-care benefits to furloughed workers for the past six months,6 thousands of laid off employees will now have to worry about how to keep food on the table7 as executives begin receiving hefty paychecks again.8 I would like to know whether Disney’s financial decisions have impacted the company’s 1 Disney Parks, Experiences and Products, “Statement from Josh D’Amaro, Chairman, Disney Parks, Experiences and Products (DPEP),” September 29, 2020, https://dpep.disney.com/update/. 2 Deadline, “Disney & Fox Corporation End Temporary Executive Pay Cuts Related To COVID-19 Pandemic,” Nellie Andreeva and Dominic Patten, August 20, 2020, https://deadline.com/2020/08/disney-fox-coronavirus-pay- reductions-restored-1203018873/.
    [Show full text]
  • Upholding the Disney Utopia Through American Tragedy: a Study of the Walt Disney Company’S Responses to Pearl Harbor and 9/11
    Upholding the Disney Utopia Through American Tragedy: A Study of The Walt Disney Company's Responses to Pearl Harbor and 9/11 Lindsay Goddard Senior Thesis presented to the faculty of the American Studies Department at the University of California, Davis March 2021 Abstract Since its founding in October 1923, The Walt Disney Company has en- dured as an influential preserver of fantasy, traditional American values, and folklore. As a company created to entertain the masses, its films often provide a sense of escapism as well as feelings of nostalgia. The company preserves these sentiments by \Disneyfying" danger in its media to shield viewers from harsh realities. Disneyfication is also utilized in the company's responses to cultural shocks and tragedies as it must carefully navigate maintaining its family-friendly reputation, utopian ideals, and financial interests. This paper addresses The Walt Disney Company's responses to two attacks on US soil: the bombing of Pearl Harbor in 1941 and the attacks on September 11, 200l and examines the similarities and differences between the two. By utilizing interviews from Disney employees, animated film shorts, historical accounts, insignia, government documents, and newspaper articles, this paper analyzes the continuity of Disney's methods of dealing with tragedy by controlling the narrative through Disneyfication, employing patriotic rhetoric, and reiterat- ing the original values that form Disney's utopian image. Disney's respon- siveness to changing social and political climates and use of varying mediums in its reactions to harsh realities contributes to the company's enduring rep- utation and presence in American culture. 1 Introduction A young Walt Disney craftily grabbed some shoe polish and cardboard, donned his father's coat, applied black crepe hair to his chin, and went about his day to his fifth-grade class.
    [Show full text]
  • Imagineering—The Blending of Creative Imagination with Technical Know-How.” -Walt Disney Imagineering
    A little history Walt Disney Animator, writer, voice actor and film producer. A pioneer of the American animation industry, he introduced several developments in the production of cartoons. As a film producer, Disney holds the record for most Academy Awards earned by an individual, having won 22 Oscars from 59 nominations. He was presented with two Golden Globe Special Achievement Awards and an Emmy Award, among other honors. Several of his films are included in the National Film Registry by the Library of Congress. BUT he was also a father…. Spent days with his children at Los Angeles area amusements…usually on the bench. “Why would you want to “my park will not be be in that business”? anything like those”! “Amusement parks are dirty, unsafe, and the people who work there are nasty” Years before Disneyland opened, Walt Early Concept Drawing Disney and his staff considered building an amusement enterprise right across the street from their Burbank studio. Drawn from Disney Studio Original “Imagineers” professionals Herb Ryman painted many of the conceptual illustrations of the park to be built in Anaheim. “There’s really no secret about our approach. We keep moving forward— opening up new doors and doing new things—because we’re curious. And curiosity keeps leading us down new paths. We’re always exploring and experimenting. At WED, we call it Imagineering—the blending of creative imagination with technical know-how.” -Walt Disney Imagineering The Process How it is used to design and build attractions (and so much more) Share a story about Imagineering and CM/ECF Apply a lesson to a current court challenge The importance of story to the Imagineers doesn’t mean that every attraction tells a story; instead, it suggests that every attraction is based upon a story.
    [Show full text]
  • Bob Iger Kevin Mayer Michael Paull Randy Freer James Pitaro Russell
    APRIL 11, 2019 Disney Speakers: Bob Iger Chairman and Chief Executive Officer Kevin Mayer Chairman, Direct-to-Consumer & International Michael Paull President, Disney Streaming Services Randy Freer Chief Executive Officer, Hulu James Pitaro Co-Chairman, Disney Media Networks Group and President, ESPN Russell Wolff Executive Vice President & General Manager, ESPN+ Uday Shankar President, The Walt Disney Company Asia Pacific and Chairman, Star & Disney India Ricky Strauss President, Content & Marketing, Disney+ Jennifer Lee Chief Creative Officer, Walt Disney Animation Studios ©Disney Disney Investor Day 2019 April 11, 2019 Disney Speakers (continued): Pete Docter Chief Creative Officer, Pixar Kevin Feige President, Marvel Studios Kathleen Kennedy President, Lucasfilm Sean Bailey President, Walt Disney Studios Motion Picture Productions Courteney Monroe President, National Geographic Global Television Networks Gary Marsh President & Chief Creative Officer, Disney Channel Agnes Chu Senior Vice President of Content, Disney+ Christine McCarthy Senior Executive Vice President and Chief Financial Officer Lowell Singer Senior Vice President, Investor Relations Page 2 Disney Investor Day 2019 April 11, 2019 PRESENTATION Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Good afternoon. I'm Lowell Singer, Senior Vice President of Investor Relations at THe Walt Disney Company, and it's my pleasure to welcome you to the webcast of our Disney Investor Day 2019. Over the past 1.5 years, you've Had many questions about our direct-to-consumer strategy and services. And our goal today is to answer as many of them as possible. So let me provide some details for the day. Disney's CHairman and CHief Executive Officer, Bob Iger, will start us off.
    [Show full text]
  • Enjoy the Magic of Walt Disney World All Year Long with Celebrations Magazine! Receive 6 Issues for $29.99* (Save More Than 15% Off the Cover Price!) *U.S
    Enjoy the magic of Walt Disney World all year long with Celebrations magazine! Receive 6 issues for $29.99* (save more than 15% off the cover price!) *U.S. residents only. To order outside the United States, please visit www.celebrationspress.com. To subscribe to Celebrations magazine, clip or copy the coupon below. Send check or money order for $29.99 to: YES! Celebrations Press Please send me 6 issues of PO Box 584 Celebrations magazine Uwchland, PA 19480 Name Confirmation email address Address City State Zip You can also subscribe online at www.celebrationspress.com. Cover Photography © Mike Billick Issue 44 The Rustic Majesty of the Wilderness Lodge 42 Contents Calendar of Events ............................................................ 8 Disney News ...........................................................................10 MOUSE VIEWS ......................................................... 15 Guide to the Magic by Tim Foster............................................................................16 Darling Daughters: Hidden Mickeys by Steve Barrett ......................................................................18 Diane & Sharon Disney 52 Shutters & Lenses by Tim Devine .........................................................................20 Disney Legends by Jamie Hecker ....................................................................24 Disney Cuisine by Allison Jones ......................................................................26 Disney Touring Tips by Carrie Hurst .......................................................................28
    [Show full text]
  • Attractions Management News 4Th September 2019 Issue
    Find great staff ™ IAAPA EXPO EUROPE ISSUE MANAGEMENT NEWS 4 SEPTEMBER 2019 ISSUE 138 www.attractionsmanagement.com World's tallest coaster for Six Flags Qiddiya Six Flags has announced new details for its long-awaited venture in Saudi Arabia, revealing among its planned attractions the longest, tallest and fastest rollercoaster in the world and the world's tallest drop-tower ride. When it opens in 2023, Six Flags Qiddiya will be a key entertainment facility in the new city of Qiddiya, which is being built 40km (25m) from the Saudi capital of Riyadh. The park will cover 320,000sq m (3.4 million sq ft) and will feature 28 rides and attractions, with QThe record-breaking Falcon's Flight will six distinct lands around The Citadel open as part of the Qiddiya park in 2023 – a central hub covered by a billowing canopy inspired by Bedouin tents, where from all over the world have come to visitors will fi nd shops and cafés. expect from the Six Flags brand and The record-breaking Falcon's Flight to elevate those experiences with coaster and Sirocco Tower drop-tower will authentic themes connected to the be situated in The City of Thrills area. location," said Michael Reininger, CEO Our vision is to make "Our vision is to make Six Flags of Qiddiya Investment Company, which Six Flags Qiddiya a park Qiddiya a theme park that delivers all is driving the development of Qiddiya. that delivers thrills the thrills and excitement that audiences MORE: http://lei.sr/w5R9z_A Michael Reininger THEME PARKS AQUARIUMS MUSEUMS Disney to open Avengers World's 'highest
    [Show full text]
  • Creating an Inclusive Community
    Spring 2018 l No. 39 No. Sergio Rebia leads a drawing demonstration on Application Day at Cal State Fullerton. 51 students from 45 high schools attended, and 75% of them later applied to Ryman Arts Creating an Inclusive Community “I encourage my students to apply [to Ryman Arts] because it forces them out of their bubble of comfort and complacency. Students are exposed to quality art supplies and instruction they may not be able to afford on their own,” says L’lia Thomas (Ms. T) from La Tijera K-8 Academy of Excellence Charter School. Every year, Ryman Arts connects with over 2,000 Ms. T is an exemplary model of the community students through school presentations, community champions we count on to learn about student fairs, and Application Days. These efforts combat needs in our communities. Because of her the challenges that some students experience in initiative, we have continued to build our learning about and completing the application to relationship with La Tijera Charter School and Ms. T (second from left) and students from La Tijera our highly competitive program. Through strong recently added a special in-school workshop for Charter School relationships with public school teachers like her students. Ms. T, we have made great strides in “It was incredible having Miss Robin come out increasing access to Ryman Arts. to my classroom to facilitate a two-day workshop Application Days have been successful for students who are applying. Her approach in in creating a supportive environment my classroom gave students a real taste of what it where prospective students can take an would be like [at Ryman Arts].” introductory drawing class led by one of Ensuring broad access to Ryman Arts remains our faculty and work on a still life that an important part of our efforts because of the can be included in their application.
    [Show full text]
  • Winter 2009 Vol. 18 No. 4 Disney Files Magazine Is Published by the Good People at I Look at This Edition of Disney Files Magazine, and I See a World of Laughter
    Winter 2009 vol. 18 no. 4 Disney Files Magazine is published by the good people at I look at this edition of Disney Files Magazine, and I see a world of laughter. A world of Disney Vacation Club tears. A world of hope. A world of fears. (Well maybe not tears or fears, but stay with me.) P.O. Box 10350 I’m reminded that there’s so much that we share. That it’s time we’re aware. Sing it with me Lake Buena Vista, FL 32830 now. “It’s a small world after all.” To help celebrate the debut of Disney Vacation Club’s first California resort (cover and All dates, times, events and prices pages 2-4), we’ve reached beyond our home state of Florida to deliver a broader mix of news printed herein are subject to change without notice. (Our lawyers and perspectives than ever. This puppy’s so global and happy that it should’ve been delivered do a happy dance when we say that.) by a pack of singing dolls. (Stupid budget constraints.) Let’s begin our journey in the aforementioned Golden State, where D23, the official MOVING? community for Disney fans, recently hosted the first D23 Expo. Fans gathered. News broke. Update your mailing address Films premiered. Legends were crowned. (Or inducted. But we think there should’ve been online at www.dvcmember.com crowns.) And your Disney Files staff recorded the highlights for those unable to attend (pages 5-6). Perhaps you were too busy sailing on the S.S. Member Cruise to attend the MEMBERSHIP QUESTIONS? Expo.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]