- Series: Culture and Education Series
- Paperback: 208 pages
- Publisher: Rowman & Littlefield Publishers; First Paperback Printing edition (April 11, 2001)
- Language: English
- ISBN-10: 0847691101
- ISBN-13: 978-0847691104
- Product Dimensions: 5.4 x 0.6 x 8.4 inches
- Shipping Weight: 9.6 ounces (View shipping rates and policies)
- Average Customer Review: 36 customer reviews
- Amazon Best Sellers Rank: #1,344,954 in Books (See Top 100 in Books)
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The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series) First Paperback Printing Edition
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From Publishers Weekly
To many people, the name Disney has become synonymous with childhood innocence and squeaky-clean fantasy. But in this polemical, didactic work, Penn State education professor Giroux (Channel Surfing) charges that Disney is in fact a powerful corporation whose ideologyAlargely predicated on getting the consumer to buy Disney productsAis far from innocent. Giroux tackles Disney's theme parks, its recent forays into education and its movies in an attempt to expose how Uncle Walt's legacy is eroding democracy and endangering our nation's youth. He disparages Disneyland and Disney World for whitewashing history and casting America's past in a nostalgic light, excluding any mention of slavery, civil unrest, racial tension or war. In keeping with this practice of regulation and homogenization, employees are required to dress a certain way, to have their hair a certain length and to adhere to the "Disney philosophy." Disney's movies, argues Giroux, promote sexism and racism ("bad" characters speak with thick foreign accents, or in inner-city jive; female characters, however strong, depend on the men around them for identity) and encourage massive consumer spending while assuming the guise of innocuous family fun. But because children learn increasingly from popular culture, Giroux warns that it is dangerous to ignore the influence of a corporation whose private town, Celebration, dictates the color of its residents' window shades and house paint. The notion of Disney as a corporate, market-obsessed monolith was hilariously expounded last year in Team Rodent, Carl Hiassen's contribution to Ballantine's Library of Contemporary Thought series. In contrast, Giroux's sustained shock and outrage, buried in thickets of dense, academic prose, quickly wear thin. (June)
Copyright 1999 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
The average fan of Mickey and Donald or Simba and Nala won't notice, but readers awed by the broad power of the Disney Company should read this critical examination by an education professor at Pennsylvania State University. The basic complaint about Disney has always been just what makes Wall Street love it: Disney's "imagineers" are so very good at convincing customers they need to see, visit, and own as much Disney product as possible. But Giroux goes beyond this concern (that the entertainment Disney cloaks in innocence and good fun is a constant sales pitch) to examine the varied messages of Disney's films for children and adults; for example, the racial coding in Aladdin and The Lion King and the positions, roles, and values of specific characters in Good Morning, Vietnam and Pretty Woman. Although Giroux charges no conspiracy, he maintains that "challenging the ideological underpinnings of Disney's construction of common sense" is a vital step in understanding corporate infotainment media and in empowering citizens to demand something better and more democratic. Mary Carroll --This text refers to an out of print or unavailable edition of this title.
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