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Transcript of Disney World
time Bed time
stories Fairy tales
& dreams Mysterious
magic Wishing to be the princess or the prince Learning bout
cultures Or just being a kid
again Golden age of
innocence Childhood Corporate power Could Disney be one of them Disney is a market driven global media
oligopoly "who annual revenues exeeded
22 billion dollors as a result of its ability to
manufacture,sell, and distribute culture on
a global scale" (Giroux, 1999) For many of us, Disney signifies innocence and simplicity through the popular imagination. Disney's coporation holdings allow it to wield an enormous amount of power through the construction and regulation of the nation's media culture space. "The Disney stores promote the consumer products, which promote the theme parks, which promote the TV shows. The TV shows promote the company. Roger Rabbit promotes Christmas at Disneyland"
chairman,CEO,and president of The Walt Disney National Association for the Education of Young Children children between
2 and 5 years
of age start to
become aware of
gender and disabilities. They can accurately
identify “Black” and “White”
when labeling pictures, dolls
and people. Children develop their own racial
identity during preschool and
elementary school years
(Ramsay, 2003). Children learn stereotypes
and attitudes about race
from their parents, caretakers
and the world around them.
(Linn & Poussaint, 1999). That world includes
books and various
such as television
and movies that
on a regular basis. I think of a child’s mind as a blank book. During the first years of his life, much will be written
on the pages. The quality of that writing will affect his life profoundly.
- Walt Disney
All our dreams can come true,
if we have the courage to pursue them.
- Walt Disney Movies can and do have tremendous influence in shaping young lives in the realm of entertainment towards the ideals and objectives of normal adulthood.
- Walt Disney Disney’s view of innocence had to be constructed within particular maps of meaning in which children and adults could define themselves though a culture language that offers them both modest pleasure and a coherent sense of identity. (Giroux, H. 1999). Refusing to separate entertainment from education,
Disney challenged the assumption that entertainment has little educational value and is simply about leisure(Giroux, H. 1999). Disney had invented a new cultural pedagogy that helped promote a particular vision of the world. to understand Disney as a source of cultural pedagogy, consider this:
200 million people watch a Disney film a year
395 million people watch a Disney TV show every week
212 million listen or dance to Disney music, records or CDs
50 million people from all lands pass through Disney these parks a year Disney appeals to many of us through a complex affective process where we negotiate our beliefs, values, desires, and expectations in the realm of pleasure and meaning.
(M. Tavin & Anderson; 2003) Many of the representationse emanating
from Disney, are sutured to dominant
discourses around gender, race, ethnicity, and history
and history (M. Tavin & Anderson; 2003) Gender Representations Idealised teenaged heroine Wicked middle aged beauty Nurturing post menopausal women The female characters in Disney movies present a distorted version of femininity highly sexualized bodies, coy seductiveness, always needing to be rescued by a male (Pettit, R; 2001) Stereotypical feminine traits: obedient, submissive, dependent, anxious to please, emotional, nurturing, affectionate, gentle, understanding, sensitive, sacrificing, family-oriented, obsessed
with physical appearance Stereotypical masculine traits: achievement-oriented/ambitious, self-reliant, self-confident, independent, responsible, decisive, rational, dominant/aggressive/violent Happily
After Middle-aged women in Disney animated films are often portrayed as hyper-authoritarian adversaries in the formo f evil step-mothersd, epraved ogres, wicked queens, and sinful witches (M. Tavin & Anderson; 2003) As opposed to young or middle-aged women, older women in Disney films are frequently represented as non-sexualized magical beings such as wise grandmothers and fairyg odmother (M. Tavin & Anderson; 2003) Representations of Race and Ethnicity Disney Style of teaching History There is no denying evidence that our students are affected by this form of Disney’s cultural pedagogy. Many of Disney movies portray many races and cultures in a negative way. As a results, children who view such movies may form negative biases and prejudices toward that race and culture. It is the job of parents and educators to inform and explaining these inaccuracies. Teachers should present children with positive images that can help children learn tolerance and acceptance of individuals from different races, cultures and ethnicities. Disney version Real version resembles a shapely, contemporary, high fashion supermodel that falls in love with the brave John Smith Pocahontas was a girl of 11; Smith was a man of 28 and never had a romantic
connection with him. The Disney version of history also largely ignores the horrors of genocide at the hands of the colonists and the real fate of Pocahontas's people, the Powhatan Nation (M. Tavin & Anderson; 2003). references :
Brunette L. Mallory C & Wood S (2008). Stereotypes & Racism in Children’s Movies
Giroux, H. (1999). The Mouse That Roared: Disney and the End of Innocence. Latham, MD: Rowman & Littlefield Publishers.
Linn, S. & Poussaint, A., (1999). Watching Television: What are Children Learning About Race and Ethnicity. Child Care Information Exchange, 128, 50-52.
Pettie R. (2001). Mickey Mouse Monopoly: Disney, Childhood & Corporate Power. Media Education Foundation Study Guide. 2-13
Ramsey, P. (2003) Growing up with the contradictions of race and class. In C. Copple (Ed.), A World of Difference: Readings on Teaching Young Children in a Diverse Society (pp.24- 28), Washington, D.C.: National Association for the Education of Young Children.
Tavin, K. M., and Anderson, D. (2003). Teach (popular) Visual Culture: Deconstructing Disney in the Elementary Art Classroom. Art Education, 56(3),21-23;32-35