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Walt Disney World is a pilgrimage site filled with utopian elements, craft, and whimsy. It's a pedestrian's world, where the streets are clean, the employees are friendly, and the trains run on time. All of its elements are themed, presented in a consistent architectural, decorative, horticultural, musical, even olfactory tone, with rides, shows, restaurants, scenery, and costumed characters coordinated to tell a consistent set of stories. It is beguiling and exasperating, a place of ambivalence and ambiguity. In Vinyl Leaves Professor Fjellman analyzes each ride and theater show of Walt Disney World and discusses the history, political economy, technical infrastructure, and urban planning of the area as well as its relationship with Metropolitan Orlando and the state of Florida.Vinyl Leaves argues that Disney, in pursuit of its own economic interests, acts as the muse for the allied transnational corporations that sponsor it as well as for the world of late capitalism, where the commodity form has colonized much of human life. With brilliant technological legerdemain, Disney puts visitors into cinematically structured stories in which pieces of American and world culture become ideological tokens in arguments in favor of commodification and techno-corporate control. Culture is construed as spirit, colonialism and entrepreneurial violence as exotic zaniness, and the Other as child.Exhaustion and cognitive overload lead visitors into the bliss of Commodity Zen--the characteristic state of postmodern life. While we were watching for Orwell, Huxley rode into town, bringing soma, cable, and charge cards--and wearing mouse ears. This book is the story of our commodity fairyland.… (mer)
While at times I got lost in the philosophical discussions of postmodernism and semiotics I found this book to be quite fascinating in its dissection of Walt Disney World. Many fond childhood memories take place in WDW, and I currently struggle with nostalgic idealization of WDW intermingled with a contempt for the capitalist system that it upholds. Fjellman does a great job of discussing this struggle, as he also feels the pull of WDW while simultaneously being repulsed by it.
It was great reading about the old rides that I used to love and have since been torn apart into crappy thrill rides, and also funny to hear about the new technology of laser discs, but I would love to read an updated perspective of the park. Fjellman seems to have a bit of contempt for EPCOT Center (my favorite of the parks at Disney). The EPCOT in this book would be completely unrecognizable to anybody who has been within the last 10 years without having gone in the early or mid 1990s. The corporate sponsorship remains, and the underlying corporate messages are still intact, but I wonder how Fjellman would react to the moving away from "educational" rides to thrill rides.
Ironically, this book makes me want to go back to WDW, and look at the park through fresh eyes. ( )
Most "scholarly" books and articles about Walt Disney World come off as elitist and condescending. This is the first book that I've read that takes an intellectual and honest stance about what's going on at Walt Disney World from a cultural, sociological and anthropological point of view. The author is a perceptive observer, but also an unabashed admirer of Walt Disney World. The result is a whirlwind, very detailed tour through the WDW of the late 80's, offset by perceptive and highly referenced cultural musings.
The author does not shy away from the controversy, the incongruities, and the outright pastiche of the place, while at the same time, enjoying every minute of it.
Also interesting for its detailed description of several attractions that no longer exist, such as the original Communicore in EPCOT and Horizons. ( )
As posted to Sirsi's catalog: "Fellman analyzes each ride and theater show of Walt Disney world and discusses the history, political economy, technical infrastructure, and urban planning of the area as well as its relationship with metropolitan Orlando and the state of Florida. He argues that Disney, in pursuit of its own economic interests, acts as the muse for the allied transnational corporations that sponsor it as well as for the world of late capitalism, where the commodity form has colonized much of human life." ( )
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"It's a very funny thing," said Bear, "but there seem to be two animals now. This - whatever-it-was - has been joined by another - whatever-it-is - and the two of them are now proceeding in company. Would you mind coming with me, Piglet, in case they turn out to be Hostile Animals?" - Winnie-the-Pooh
George Washington may be the father of this country, Dad, but Walt Disney is its guardian. - Dick Schaap's son
When economic necessity is replaced by the necessity for boundless economic development, the satisfaction of primary human needs is replaced by an uninterrupted fabrication of pseudo-needs which are reduced to the single pseudo-need of maintaining the reign of the autonomous economy. - Guy Debord
It is possible that Walt Disney has taught more people history, in a more memorable way, than they ever learned in school. - Mike Wallace
Corporate desire to fudge the past combined with Disney's ability to spruce it up promotes a sense of history as a pleasantly nostalgic memory, now so completely transcended by the modern corporate order as to be completely irrelevant to contemporary life. - Mike Wallace
What then is the American, this new man?... He is an American, who, leaving behind him all his ancient prejudices and manner,s receives new ones from the new mode of life he has embraced, the new government he obeys, and the new rank he holds. He has become an American by being received in the broad lap of our great Alma Mater. Here individuals of all races are melted into a new race of man, whose labors and posterity will one day cause great changes in the world. Americans are the western pilgrims. - Hector St. John de Crevecoeur
These Disney versions have now themselves become a special mode of first-hand experience in the repertoire of the great national shared experience. - David M. Johnson
One of the things I've learned from Disneyland is to control the environment. Without that we get blamed for the things that someone else does. When they come here they're coming because of an integrity that we've established over the years, and they drive for hundreds of miles and the little hotels on the fringe jump their rate three times. I've seen it happen and I just can't take it because, I mean, it reflects on us. - Walt Disney
In ten years a quarter of the nation's population had made its way to Disneyland... Of the riches that poured in, $273 million went to Disneyland, but another $555 million was spent outside its gates - just outside them. - Richard Schickel
By the conventional wisdom, mighty mice, flying elephants, Snow White and Happy, Grumpy, Sneezy and Dopey - all these were fantasy, escapism from reality. It's a question of whether they are any less real, any more fantastic than the intercontinental missiles, poisoned air... and scraps from the moon. This is the age of fantasy, however you look at it, but Disney's fantasy wasn't lethal. People are saying we'll never see his like again. - Eric Severeid
They want to take you by the jeans, turn you upside down and shake till all your spare change comes loose. - Rod Caborn
I'm going to Disney World. - Orel Hershiser, Gretchen Elizabeth Carlson, Joe Dumars, Joe Montana, the Chicago Bulls, and so on
Please Waste - words on WDW trash bins
While there are many "carrots" at Disney World, there is only one exit. At the end of a long day, everybody files past Main Street USA. - Florida Trend
The truth of the matter is the only new towns of any significance built in America since World War II are Disneyland in Anaheim, California, and Disney World in Orlando, Florida. Both are "new", both are "towns" and both are staggeringly successful. - Peter Blake
The trouble with Walt Disney World is that it doesn't smell. - D.L.
It is the middle class that systematically scavenges the earth for new experiences to be woven into a collective, touristic version of other people and other places. - Dean MacCannell
Around the world in thirty minutes. - CNN Headline News
It's crazy as hell out there. There has arisen from this mess a strange form of comfort with artifice and falsehood... There may be an actual preference for the unreal. - Joel Achenbach
All the horses are white, Disney spokespeople will tell you, because all the riders are good guys. - Steve Birnbaum
Disney-MGM Studios gives everybody some time in the limelight; if nobody puts you on stage, you can always cut your own record or make the cover of Newsweek. And if you crave a glimpse of an actual movie star instead of a man in a mouse suit, be content with what you do see. The real Brown Derby is gone, and movie stars today aren't so different from everybody else. Robert Redford raises horses on his ranch in Utah; Paul Newman sells popcorn and lemonade. Stick with the illusion. Even in Hollywood's heyday, that was always the rule. - William J. Sertl
The spectacle is not a collection of images, but a social relation between people, mediated by images... the spectacle is the main production of present-day society. - Guy Debord
Disney World is nothing if not homage to the Mickey Mouse that lurks in each one of us, an advertisement written to the Genuine Imitation. It is a tribute to the lifelike. As opposed to, say, the live. - Ellen Goodman
With EPCOT, Disney is marrying an international exposition to an industrial trade show, sending the happy couple off in a shower of technologically sophisticated amusements to set up housekeeping in an immense shopping mall. - J. Tevere MacFadyen
EPCOT is the world's biggest trade show. - Jennifer Allen
Most of the exhibits start with the Dawn of Civilization so you can get a clear picture of how miserable everybody was before we had large corporations such as General Motors. - Dave Barry
Instead of educating or inspiring those in its audience, EPCOT distracts them with sleight of hand. It is a high-tech fun house filled with costumed mannequins, glittering gizmos and special effects... it ignores serious technological questions that confront America as the 20th century draws to a close. - Peter Larson
The function of EPCOT is to excite people to potentials, and to be as accurate as possible... not to educate fully, of course, but to be on the rim of educating, so that when you leave, your life is changed forever. - Ray Bradbury
They can be forgiven a certain amount of hubris because the laws of reality do not operate here. - Jennifer Allen
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To Melina
Inledande ord
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There is a tree in central Florida.
Citat
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Walt Disney World is a pilgrimage site filled with utopian elements, craft, and whimsy. It's a pedestrian's world, where the streets are clean, the employees are friendly, and the trains run on time. All of its elements are themed, presented in a consistent architectural, decorative, horticultural, musical, even olfactory tone, with rides, shows, restaurants, scenery, and costumed characters coordinated to tell a consistent set of stories. It is beguiling and exasperating, a place of ambivalence and ambiguity. In Vinyl Leaves Professor Fjellman analyzes each ride and theater show of Walt Disney World and discusses the history, political economy, technical infrastructure, and urban planning of the area as well as its relationship with Metropolitan Orlando and the state of Florida.Vinyl Leaves argues that Disney, in pursuit of its own economic interests, acts as the muse for the allied transnational corporations that sponsor it as well as for the world of late capitalism, where the commodity form has colonized much of human life. With brilliant technological legerdemain, Disney puts visitors into cinematically structured stories in which pieces of American and world culture become ideological tokens in arguments in favor of commodification and techno-corporate control. Culture is construed as spirit, colonialism and entrepreneurial violence as exotic zaniness, and the Other as child.Exhaustion and cognitive overload lead visitors into the bliss of Commodity Zen--the characteristic state of postmodern life. While we were watching for Orwell, Huxley rode into town, bringing soma, cable, and charge cards--and wearing mouse ears. This book is the story of our commodity fairyland.
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(3.69)
1
It was great reading about the old rides that I used to love and have since been torn apart into crappy thrill rides, and also funny to hear about the new technology of laser discs, but I would love to read an updated perspective of the park. Fjellman seems to have a bit of contempt for EPCOT Center (my favorite of the parks at Disney). The EPCOT in this book would be completely unrecognizable to anybody who has been within the last 10 years without having gone in the early or mid 1990s. The corporate sponsorship remains, and the underlying corporate messages are still intact, but I wonder how Fjellman would react to the moving away from "educational" rides to thrill rides.
Ironically, this book makes me want to go back to WDW, and look at the park through fresh eyes. (