迪斯尼的制胜之道

迪斯尼公司的全称为The Walt Disney Company,简称迪斯尼,取其名自创始人沃尔特.迪斯尼,总部设在美国的伯班克,主要业务包括娱乐节目制作、主题公园、玩具、图书、电子游戏和传媒网络,并以家喻户晓的米老鼠、唐老鸭等卡通明星人物和迪斯尼主题公园驰名世界。迪斯尼以创造性思维为公司的核心价值理念,以创新、质量、乐观、共享和尊重提升自己的市场核心竞争力,以精确定位和广泛的品牌延伸构建完整的产业链,以充分开发品牌价值和整合集团资源打造全球娱乐王国。因此,迪斯尼被誉为艺术产业化、大众化的先驱,是全球服务经济发展的成功典范。     

Emerging,attracting and challenging: how some of the world's largest media companies perceive their challenges and opportunities in China

China's emerging media market, despite having heavy entry regulations, attracts foreign companies that suffer from saturation and stagnation in their home markets. This paper seeks to provide an understanding of how some of the world's largest media companies perceive their opportunities and challenges in China by discussing research interviews with company managers. It analyzes the findings of the interviews in the light of existing conceptualizations, which suggest that in emerging and opening media markets, cultural barriers to the success of imported media increase with the waning interest in foreign media and the increasing strength of the domestic media industry. The article suggests that Chinese audiences will become more inwardly oriented in their media tastes and that if the Chinese media market opens further in the future, the existing advantages that the Western media companies appear to have over their Chinese counterparts will have diminished by that time.     

论迪士尼动画对民间文学的继承与创新

迪士尼的动画电影在全世界拥有众多的观众,其中一个重要的原因是迪士尼在影片题材上大量借鉴了世界各民族的民间文学元素。迪士尼电影作品在对民间文学的改编中,主要以塑造具有激情与灵性的人物为核心手段,所以在每一部高口碑、高票房的动画电影中都会有一个极富影响力的人物形象。复杂与丰满的情节也是其对民间故事改编的主要着力点;当然,对美国的文化内涵表达也是其改编民间文学的重要依据之一。     

New York: The Animated City

Abstract

The urban landscape of New York City is one that is familiar to many, but, through the medium of animation, this familiarity has been consistently challenged. Often metamorphic, and always meticulously constructed, animated imagery encourages reflective thinking. Focusing on the themes of construction, destruction, and interactivity, this article seeks to cast critical light upon the animated double life that New York City has lived through the following moving image texts: Disney’s Fantasia 2000 (1999), Patrick Jean’s computer-generated short Pixels (2009), and Rockstar Games’ open-world blockbuster Grand Theft Auto IV (2008).     

Happily (n)ever after: the cruel optimism of Disney’s romantic ideal

Drawing on Ahmed’s articulation of the performativity of affect, we analyze how Disney love, as it is constructed in Disney Princess films, acts pedagogically as a “happy object” that orients the happiness of women toward the acquisition of love. We assert that the happiness we derive from loving Disney is a form of what Berlant calls “cruel optimism,” in which we become attached to fantasies of happiness and fulfillment that are unsustainable and detrimental. The cruel optimism we learn from Disney Princess films manifests as an incitement to pursue an impossible ideal of romantic love, or what Heise calls a bridal fiction, that reinforces the supremacy of a white heteropatriarchal family ideal and keeps us attached to “compromised conditions of possibility” that limit female agency and impede social progress.     

#wheresRey: feminism,protest, and merchandising sexism in Star Wars: The Force Awakens

The blockbuster film Star Wars: The Force Awakens (2015) earned over $2 billion dollars at the box-office worldwide and became a cultural phenomenon. Produced by media giant Disney, The Force Awakens also generated huge merchandising sales and earned over $9 billion within a year. The film’s main protagonist, Rey, was heralded as a strong, feminist-influenced heroine that capably carved her own space within the male dominated Star Wars universe. Unfortunately, the inherent sexism of the film’s marketing strategy meant that Rey was excluded from the merchandising line. Consumers protested Rey’s absence and demonstrated the importance of popular culture within the realm of political protests about gender equality and commercialization, ultimately leading to industrial and social change.     

The Best of Both Worlds?

The Disney Channel hit show, Hannah Montana, constructs contemporary US girlhood and notions of femininity in relation to celebrity, such that its primary girl characters, Hannah Montana, Miley Stewart, and Lilly Truscott, as well as star Miley Cyrus, are positioned as particularly post-feminist subjects. In such a context, each of these girls can be understood as having chosen to perform a femininity that finds its locus in the maintenance and control of the body, as an illustration of her power as a girl, though without reference to feminist gains or “empowerment” rhetoric. Via discursive, narrative, and ideological textual analysis, this project explores the circulation of a post-feminist sensibility, as Rosalind Gill refers to it, and its iterations and ramifications for constructions of girlhood in contemporary media foregrounding girls and attracting young female audiences.     

The Disneyfication of the World: A Grobalisation Perspective

Abstract

This article analyses the Disneyfication of the world based on the grobalisation model. As a radical form of globalisation, grobalisation refers to the imperialistic goals, desires, and needs of multinational corporations (MNCs) or even entire nations to enter diverse markets worldwide so that their supremacy, impact, and profits can grow. Regarding grobalisation and the Walt Disney Company, Disneyfication implies the internationalisation of the entertainment values of US mass culture. It is the idea of bigger, faster, and better entertainment with an overarching sense of uniformity worldwide. In this article, Disneyfication is regarded as spectacle, theming, hybrid consumption, and emotional labour. By the same token, the authors compare Disneyfication with three other types of grobalisation: McDonaldisation, Wal-Martisation, and Disneyisation.     

Is Disney Disabling?

Abstract

This article discusses ongoing lawsuits against Disney Parks and Resorts U.S., brought by people with autism and their families. These lawsuits illuminate an ethical dilemma about the appropriate scope of disability equality. This article suggests that Disney and the courts have adopted a standard of simple equality where all theme park patrons are treated the same way, regardless of ability. I argue, however, that the standard of equality that should be used moving forward is equal access to advantage – specifically, equal access to opportunities that enable people with disabilities to have an enjoyable theme park experience.