It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture.1 The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last (...) of these, environment. (shrink)

Although Disney films are sometimes denigrated as popular or “low” art forms, this article argues that they often engage deeply with, and thereby communicate, significant moral truths. The capitalistic enterprise of contemporary modern cinema demands that cinematic moral pedagogy be sublimated into non-partisan forms, often by substituting secular proxies for otherwise divine or spiritual components. By adapting Søren Kierkegaard’s tripartite existential anthropology of the self, I analyze the subjective experiences of the protagonists in three recent animated fairy tales—Disney’s (...) Frozen, Moana, and Tangled—to demonstrate how these princess movies bridge the imaginative gap between the mundane and the divine. (shrink)

Disney’s Frozen (2013) and Frozen 2 (2019) are among the highest-grossing films of all time (IMDb 2021) and are arguably among the most influential works of fantasy produced in the last decade in any medium. The films, based loosely on Hans Christensen Andersen’s “The Snow Queen” (Andersen 2014) focus on the adventures of the sisters Anna and Elsa as they, together with their companions, seek to safeguard their people both from external threats and (importantly) from Elsa’s inabilities to control (...) her magical abilities to summon ice and snow. While Anna’s choices drive much of the action of both films, Elsa has undoubtedly been the more influential and popular of the two characters, as indicated by measures such as merchandise sales (Ellen Byron and Paul Ziobro 2014), Google search data (Play Like Mum 2020), and even baby name choices (Wolfers 2015). -/- Despite her popularity, Elsa is in many ways a paradoxical sort of hero, as she finds her actions all but predetermined by both external and internal forces. This is particularly the case in the first film, where we meet an Elsa who has been born with a power she cannot control, and which appears more as a force of nature than as anything that “belongs” to Elsa. The film’s action is driven, in large part, precisely by Elsa’s failures to exert control over her emotions and abilities. She begins the film by accidentally injuring Anna. This, in turn, causes Elsa to become fearful and withdrawn and to isolate herself from her sister, even after their parents die on a quest to find a cure for Elsa. Elsa's fear and lack of control lead to an even more dire outcome when she inadvertently calls down winter on Arendelle and abandons her people for the mountains. It is only through Anna's devoted quest to rescue her sister, first by pursuing her to the mountains, and later by throwing herself in front of the villainous Hans’ sword attack on her sister, that Elsa (and Arendelle) are saved. Elsa's most active contribution to this is to appreciate the import of Anna's sacrifice and to discover the power of "love" to overcome her fear. -/- What then, are we to make of Elsa as a character? It is the younger sister Anna who corresponds most closely to Gerda, the unquestioned protagonist of Andersen’s original tale, and her character arc fits neatly with the well-known “Hero’s Journey” model for describing myth (Campbell 2020). It is Anna, for example, who goes on a quest, meets a group of motley companions (the human Kristoff, the reindeer Sven, and the magical snowman Olaf), accepts advice from wise elders (the trolls), undergoes a severe trial, and even gets the "reward" of romantic love at the end. All of this has led some scholars (Niemiec and Bretherton 2015; Heit 2019) to hold up Anna, rather than Elsa, as something like the hero of the story. Existing scholarship on Elsa, by contrast, has focused largely on issues related to her gender and sexuality (Law 2014; Lee 2015; Steinhoff 2017; Streiff and Dundes 2017; Dundes, Streiff, and Streiff 2018; Dundes 2020; Llompart and Brugué 2020). In what follows, I’ll be taking a closer look at Elsa’s unique status as a protagonist, and what her struggles with fate reveal about the nature of free will and ethical responsibility. I’ll argue that Elsa provides a useful model of a “Stoic hero” and that her strengths and weaknesses as a character provide valuable insight into an often-misunderstood school of philosophy. My argument will proceed in several stages. I’ll begin by describing the basic tenets of Stoic philosophy, paying special attention to the role of fate and nature. I’ll then move on to a more detailed treatment of Stoic ethics, as exemplified by Elsa’s own character development. I’ll close by considering the infamous “Lazy Argument” against. (shrink)

This book is the first to put forward a general theory of the manner in which different media--music, words, moving picture, and dance--work together to create multimedia. Beginning with a study of the way in which meaning is mediated in television commercials, the book concludes with in-depth readings of Disney's Fantasia, Madonna's video Material Girl, and Armide (Godard's sequence from the collaborative film Aria). Analysing Musical Multimedia not only shows how approaches deriving from music theory can contribute to the (...) understanding of multimedia, but also seeks to draw conclusions from the practice and further development of musical analysis. (shrink)

Urban centers are being transformed into consumer tourist playgrounds made possible by dense networks of surveillance. The safety and entertainment however, come at an unseen price. One of the historical roots of surveillance can be connected to the modern information base of tracking individuals for economic and political reasons. Though its antecedents can be traced via Foucault's account of panoptic discipline which walled in society's outcasts for rehabilitation, the following essay explores the shift to the urban panopticism of today where (...) society's outcasts are subtly filtered out of "public" view. Juxtaposing a sociological account of the concentration camp with urban Disneyization fosters a greater understanding of how surveillance creates certain categories of citizenship. In particular, how urban surveillance intensifies Walter Benjamin's description of the flâneur who often experiences the brunt of the new urban panopticon's filtering power. (shrink)

Ang mga pelikula ng viva max ay namayagpag mula ng magkaroon ng lockdown sa Pilipinas. Sa yugtong ito, nagpalabas ang viva films ng mga pelikula sa pamamagitan ng aplikasyong viva max. Sa panonood ng mga pelikula rito, kailangan mag-subscribe ng manonood. Ang pinakamababng subscription nito ay 149.00. Sa plan na ito, isang buwan ng makakapanood ang subscriber ng lahat ng pelikula ng viva max. Nilalayon ng pananaliksik na ito na talakayin ang kalagayan ng kababaihang gumaganap sa mga piling pelikula ng (...) viva max batay sa kanilang katangian at maging ang papel sa lipunan gamit ang lenteng feminismo. Gumamit ang mananaliksik ng thematic analysis. Sa paggamit ng metodong ito, masusing pinag-aralan at binigyang-kahulugan ang mga impormasyon at datos na susuriin. Naging sandigan din ng pananaliksik na ito ang teoryang feminismo kung saan sinuri ang katangian at papel na ginampanan ng bawat tauhang babae sa mga piling pelikula ng viva max upang mabigyang-linaw ang pagbabagong naganap sa kanilang katauhan. Maging ang dahilan nang patuloy na pagtangkilik ng mga manonood sa ganitong uri ng palabas sa kabila ng iba-ibang palabas na matatagpuan sa ilang aplikasyong katulad ng Netflix, Iflix at Disney. Hindi maikakaila na malaki pa rin ang hatak ng mga pelikula na mapapanood sa viva max. Makikita rin sa pananaliksik na ito ang iba-ibang katangian at kakayahan ng mga kababaihan na tiyak na hahangaan ng sinumang manonood. Mga katangiang hindi binibigyang pansin ng ilang manonood lalo na ng mga kalalakihan ngunit kung susuriin, ito ay nagpapakita ng mahahalagang aral na tiyak na kapupulutan ng aral. Mahalagang talakayin ang ganitong uri ng pananaliksik upang magbigay- linaw kung bakit patuloy itong tinatangkilik sa paglipas ng panahon sa kabila ng paglabas ng mga bagong panoorin. (shrink)

Dentro da produção da UPA, estúdio que buscou rivalizar esteticamente com os preceitos da Disney no cinema de animação nos anos 1950, Gerald McBoing-Boing é a personagem mais emblemática, estrelando quatro curtas de animação que representam os preceitos do estúdio. No entanto, o mote narrativo de McBoing-Boing é que ele não se comunica com sons, mas sim por efeitos sonoros, e se fazendo entender. Para entender quais são as possibilidades linguísticas desse uso sonoro e como ele não nos aparece (...) enquanto algo surreal, analisaremos tal representação à luz da segunda filosofia de Ludwig Wittgenstein, cuja obra-chave são as Investigações Filosóficas. Concentrando no §528, o objetivo é mostrar como McBoing-Boing se encaixa em um fenômeno language-like, representando um ponto central na crítica estética da UPA. (shrink)