'The Disney characters are… the very embodiment
of consumer-fetishism' (Byrne and McQuillian (p.23)). Critically discuss
the main critical views of 'Disney culture'.
Sabine Keller
Contemporary life has become more and more dominated by global corporations
that influence the leisure choice in society as well as change the way of
consumption and the role consumption takes in life of the individual (Ritzer1998).
This has led to consumption becomes increasingly important in leisure.
One example of modern consumer culture presents the success of the Disney
corporation. Disney characters are probably one of the best-known and most
popular features across the whole world, which underpins the influential
power Disney has on overall culture. Disney films are constructed on the
basis of fairytale or other already existing stories and consumed by the
audience as pure entertainment hence they might include a certain educative
element as Disney understood himself not only as an entrepreneur and entertainer,
but also as an moral educator with the task not merely to entertain but also
to educate and contribute in the preservation of American culture and history(Giroux
1994). The propagandistic cartoons during the second world war period might
present the most extreme form of Disney's educational activities (Bell et
al 1995).
Walt Disney's strong and charismatic personality combined with his capability
to visualise every detail might be the reason for his great influence on
practically everything that got produced by the Disney company. He applied
his understanding of the world and his values to almost all that is labelled
with Disney. The capitalist ideology of Walt Disney, which lead him to success
is reflected in the Disney corporation. Disney company's creation strongly
depended on his ideas and his overall direction and therefore mirrors his
beliefs. His ideology is conveyed consistently through his creations (Bryman
1995/ Byrne 1999). Even more Disney characters are reproductions of Walt
Disney's life and served as a justification for his own behaviour (Rojek
1993).
This paper looks first at different cultural, historical and social critiques
of Disney films, followed by the examination of Byrne's et al (1999) deconstruction
of 'The Little Mermaid', which is brought into context with the Marxist term
of consumer fetishism and followed by alternative readings. Then the paper
combines the critiques on Disney films with the Disney sites, and concludes
with a critical summary of the main points. The deconstruction of Disney
films reveals the underling political US ideology (which Walt Disney praised)
in the films which is presented symbolically through the characters and the
narratives of the films (Byrne 1999). As Disney films present low-culture
entertainment they were left out from critical discussions and analysis of
film theorists. However the deconstruction of Disney films gains importance
through the educational aspect it conveys to the audience and the effect
it might have on culture(Bell et al 1995). The delivery of the interpretation
of American values and history in Disney films has to be considered critically
since Disney has an almost monopolised position in children's entertainment.
Education is used to convey the icon of American culture and economic growth
(Giroux 1994). Among others Disney films are criticised for presenting an
exclusive culture and history that is extensively sanitizes and simplified
thus it is rather a strongly biased interpretation of history than an objective
representation. It is argued that people become misled through this kind
of surreal presentation and unconsciously influenced (Bell et al 1995/Giroux
1999).
Class and race differences are minimised and simplified in Disney films to
deliver a conflict free image of society. A special social form is justified
and reinforced. It is argued that Disney culture is distinguished through
an excessive paternalism which leads the audience to remain in a passive
infant stage (Rojek 1993). Rojek (1993:122) points out that 'Disney Culture
presents the particular and historical form of white, capitalist society
…' in order to organise moral regulation. With the strong impact of Disney
on American society this can be understood as rewriting history as well as
conducting the code of approval in American society. (Disney)…commodifies
culture, sanitizes historical memory, and constructs children's identities
exclusively within the ideology of consumerism' (Giroux 1999:156).
The educative motivation behind Disney films also needs to be questioned.
Giroux (1999) blames the Disney films for a lack of delivering social value
and responsibility. They merely serve the purpose of exploitation of the
consumer as well as indirectly exploit workers in third world countries where
partner companies (Mattel, Hasbro etc.) produce the range of Disney accessories
(Giroux 1999). Children are taught through the marketers behind the films
to behave as passive consumers thus the films do not allow any participation
rather than pure consumption. Since Disney films are almost monopolised in
children's entertainment the subtle and persuasive impact of the films cannot
be underestimated (Giroux 1999). 'Combining economic control with pedagogic
influence, Disney has become a major cultural player in American life' (Giroux
1999:157). It is suggested that public culture and democracy is replaced
by commercial culture and democracy of the consumers (Giroux 1999).
In addition feminists criticise the sexism in Disney films. Women's bodies
become animated and sexualised as for instance the heroines in Snow White,
Cinderella, Sleeping Beauty, The Little Mermaid, Pocahontas and Beauty and
the Beast (Bell et al 1995/Giroux1999). The nature of women becomes simplified
into the domestic 'good' women and the evil 'bad' women. This is set in contrast
to the dominant male successful character. It is argued that this setting
leads to a gender construction in society (Bell et al 1995). Byrne et al
(1999) understands the deconstruction of Disney in 'Late Marxism' which unveils
imperialist and right-wing concepts. It is stressed that Disney films represent
an interpretation of American history including its position in the modern
world as well as American social, moral and ideological values. The ideology
of Disney is built around the question of nation, capital and race which
is mirrored in the various films. The narratives in Disney films reflect
the role of America in history as well as in the present in a symbolised
form to justify and idealise America. For instance Disney films are metaphors
for the domination of capitalism over communism, the issue of ethnical minorities
as well as ethnical clearance and colonialisation (Byren et al 1999). Especially
the capitalist ideology is reflected in the films. In fact the hidden message
in Disney films reflect the values of modern economic society as well as
the Disney characters stand for the'…very embodiment of consumer-fetishism'
(Byrne et al 1999:23).
Looking at the deconstruction of the Disney film 'The Little Mermaid' Byrne
et al (1999) identifies different layers of interpretation for the film.
One way of reading the text is to understand it as symbol of the East -
West conflict. The film displays the limitation of communist Eastern society
and the less effectiveness they use capital through the state. Ariel, the
mermaid, presents a member of this society which is yearning for the world
full of pleasure representing the capitalist world (the human world in the
film). Her behaviour stresses the desire for consumer freedom and the consumption
of commodities, which is restricted in her own merworld. Through collecting
human commodities Ariel attempts to take part in this new form of consumption,
yet satisfaction does not last long since this is not the way capitalist
consumerism works. The mechanism behind capitalist consumerism is even more
strongly represented in the contract Ariel agrees to with the merwitch in
order to immigrate to the world of the humans. The contract symbolises capitalist
business rules to get something for nothing - since consumers purchase unnecessary
and often unwanted goods for their money. In the Disney story Ariel cannot
win because of the unfairness and the cheating of the witch. Similarly in
capitalist consumerism the customer also becomes a victim of meaningless
consumer fetishism which Marx explains through the alienated capitalist method
to exchange goods (Byrne et al 1999).
Marx defined consumer fetishism as a characteristic of the economic world
where goods are not defined through their 'real' value, they would gain from
their pure utility- rather than an 'artificial' value indoctrinated by society.
In this way the value of a product is not defined through the material worth
in addition to the labour time needed yet through the meaning of the product
in society. Since in the capitalist economic system goods are no longer
exchanged directly but sold for money the original value of the product fades
into the background. The same is true for the producer who only produces
the product for the money value rather than the utility. This leads to disconnection
between the signifier (producer) and the signified (product) which indicate
a 'zweckentfremdung' in production. Goods are no longer produced to fulfil
a utility need as a commodity but to obtain their symbolic value (money).
Similarly the consumer of a product measures the product only by its money
value -in isolation to the producer- and not for its purpose. This is understood
as commodity fetishism. This development is characterised in the economic
world where products are only produced for their exchange value (money).
Fjellman (1992) points out that the relationship among people is strongly
effected through the commodity that is produced by someone and the commodities
one consumes. 'Without commodities we have no friends, no lovers' (Fjellman
1992:304). 'We must be taught the myth of consumer fetishism - that relationship
among people are to be seen as relations among things' (Fjellman 1992:402)
.In application the meaning of a product operates as a socio-hierarchical
indicator yet the utility value of a product becomes minimised. Following
goods become meaningless when isolated from their original purpose which
leads to completely meaningless consumption. In addition advertising persuades
consumers of the need of commodities that will deliver happiness and create
'ersatz needs' that result in a meaningless artificial world which is presumed
as reality (Fjellman 1992).
'The power of Disney, as an ambassador of Late Capitalism and American strategic
interest, lies in its ability to make itself as an object of desire, the
pleasure of which is to be found only in the construction of the desire,
never in its possession' (Byrne et al 1999:174). In this way Ariel can only
enter the human world and identify her place in it through the adoption of
the human consumer behaviour. In collecting the human goods and purely enjoying
them without really using them she becomes one step closer to the human world.
Her desire for more commodities brings her even further into the vortex of
human consumer behaviour. When she exchanges her voice against the 'fake'
opportunity to enter the human world she mirrors the passivity of consumers
which exchange their power against non existing possibilities presented through
commodities. Unlike the original fairytale of 'The Little Mermaid' the Disney
version has a happy ending to assure the audience that Ariel chose the 'right'
way in deciding for the human (capitalist) world (Byrne et al 1999).
Another reading of 'The Little Mermaid' describe the European economic concepts
which operate with financial speculation and operations with money which
does not really exist (Byrne et al 1999). Even the film itself is created
on the basis of speculations to gain success. It is argued that the whole
film can be understood as a representation of the debt situation in Europe
where Eastern states depend on making debts with the Deutsche Bank in order
to keep up and adapt to Western economy - hence debts might be remitted in
order to prevent economic regression (Byrne et al 1999). Similarly the Disney
theme parks can be described as ' revealing the underlying principles of
capitalism' (Bryman 1995 :143). In this way Disney culture supports and promote
capitalist politics in a disguised form to conduct profitable consumer behaviour.
According to Bryman (1995) Gottdiener (1982) even expands this idea and
refers to Disneyland's 'lands' as 'signifiers of capitalism' (:143), where
the mapping of Disneyland is mirroring the different capitals.
To summarise one can recognise the underlying representation of capitalist
ideology in Disney films. The Disney corporation itself stands for economic
values and capitalist ideology which is mirrored through the film characters
and narratives. Walt Disney's overall control in combination with his strong
belief in his ideology cannot be ignored which leads one to the assumption
that fairytales are not only converted to make them more entertaining but
to convey an educative message to the audience and assuring them in consumption.
In its self regarded position as a educator Walt Disney reflects and establish
the values he thanked his success as well as supports future business success
through strengthening capitalist economic ideology. Furthermore the continuity
of Disney's ideology throughout films, Disney parks and so on highlights
the carefully planned effort in presenting his version of reality as well
as to educate his ideology.
Yet Walt Disney's impact on the presentation of his ideology in the film
narrative through his overall direction and the creation of films does not
explain sufficiently the underlying meaning in the films produced by the
Disney corporation. Also one needs to take into account that many of the
stories in Disney films existed already and thus Disney 's interpretations
of them were limited. As has already been mentioned film theorist do not
consider Disney films as worthy for critical discussion and analysis since
the films present low-culture entertainment. It has to be questioned if the
deconstruction theory interprets too much in the text which only purpose
is to entertain and distract the audience. This opinion is commonly known
as pointed out by Rojek(1993) that the common consensus of the Disney leisure
industry is that it 'provides harmless fun'. Furthermore it has to be considered
that this area might not be easy to analyse.
As mentioned earlier the deconstructing of films can deliver alternative
interpretations of the text as well as delivering different layers of the
film's symbolic content. Following the deconstruction might depend on the
researcher and is not necessarily identical with what other audiences perceive,
which suggests that grounded semiotics also need to be considered. Alternatively
the whole argument is constructed on the assumption that the Disney films
watching audience are passive victims that become manipulated in their perception
and behaviour through the films. This suggests that that the audience is
not able to resist or clever enough to recognise an underlying message. Hence
the audience might be much more sophisticated in watching television and
resistant to the integration of the consumed fiction into their lives. In
fact a postmodern analysis of the Disney films could lead to the result that
the audience is much more actively playing with the signs.
Otherwise it could be argued that Disney films present just another phenomenon
of postmodernity. History becomes distorted, simplified and sanitised to
deliver it in an easy digestible, playful way with the purpose to entertain.
This suggests that there might not necessarily be an underlying, carefully
constructed meaning of the narrative. Equally the criticism of the false
impact Disney films have on children's behaviour might not only be exclusively
true for Disney films since watching television in general educates an audience
to passively consume and there is rarely a huge amount of activity involved.
In addition other applications of deconstruction theory even free from the
political force and suggest to concentrate on 'undecidability' of meaning.
In this way there cannot be any certainty about the interpretation of the
Disney narratives (Jary et al 1999). Also to consider might be that the
Western world is constructed on capitalist ideology and the economic system
only functions on the basis of consumer fetishism. It seems natural that
this ideology is mirrored in all different cultural aspects and might not
have been deliberately constructed.
Finally one comes to the conclusion that the deconstruction of Disney films
only deliver a vague and ambiguous analysis. The films are interpreted selectively
and the interpretation strongly depend on the analyst. This might indicate
the importance to critically re-read Disney films as well as to examine the
grounded semiotics of the audience. Hence one could suggest that there might
no definite interpretation to be found.
References
Elizabeth Bell, Lynda Haas, Laura Sells (1995) From the Mouse to the Mermaid
Indiana University Press Indianapolis
Alan Bryman (1995) Disney and his Worlds Routledge London
Eleanor Byrne, Martin McQuillian (1999) Deconstructing Disney Pluto Press
London
Stephen M. Fjellman (1992) Vinyl Leaves Westview Press Oxford
Henry A. Giroux (1994) The Mouse that Roared Rowman & Littlewood Oxford
David Jary, Julia Jary (1999) Dictionary of Sociology Harper Collins Glasgow
George Ritzer (1998) The McDonalization Thesis Sage Publications London
C. Rojek 'Disney Culture' in Leisure Studies 12 (1993) 121-35
Karl Marx Das Kapital Chapter 1 Section 4 Der Fetischcharakter der Waren
und sein Geheimnis : http://home.+-oneline.de/home/mlwerke_6/me23_000.htm
(12/11/01)
Bibliography
Elizabeth Bell, Lynda Haas, Laura Sells (1995) From the Mouse to the Mermaid
Indiana University Press Indianapolis
Alan Bryman (1995) Disney and his Worlds Routledge London
Eleanor Byrne, Martin McQuillian (1999) Deconstructing Disney Pluto Press
London
Stephen M. Fjellman (1992) Vinyl Leaves Westview Press Oxford Henry A. Giroux
(1994) The Mouse that Roared Rowman & Littlewood Oxford David Jary, Julia
Jary (1999) Dictionary of Sociology Harper Collins Glasgow George Ritzer
(1998) The McDonalization Thesis Sage Publications London C. Rojek 'Disney
Culture' in Leisure Studies 12 (1993) 121-35 Eric Smoodin (1994) Disney Discourse
Routledge London The Project on Disney (1995) Inside the Mouse Rivers Oram
Press London Karl Marx Das Kapital Chapter 1 Section 4 Der Fetischcharakter
der Waren und sein Geheimnis : http://home.+-oneline.de/home/mlwerke_6/me23_000.htm
(12/11/01)