Mickey Mouse: Emblem of the American Spirit GarryApgar. Walt Disney Family Foundation Press, 2015.Disney Culture John Wills. Rutgers University Press, 2017.Music in Disney's Animated Features: Snow White and the Seven Dwarfs to The Jungle Book James Bohn.

2017 ◽  
Vol 40 (4) ◽  
pp. 422-424
Author(s):  
Kathy Merlock Jackson
Keyword(s):  
Walt Disney ◽  
Mickey Mouse ◽  
Rutgers University ◽  
Snow White

Disney, Walter Elias (1901–1966)

2018 ◽  
Author(s):  
Richard J. Leskosky
Keyword(s):  
Kansas City ◽  
Production Model ◽  
Walt Disney ◽  
Mickey Mouse ◽  
Snow White ◽  
Business Failures ◽  
The World ◽  
Film Producer ◽  
Honore Daumier

Walt Disney, (b. 5 December 1901, d. 15 December 1966) born in Chicago and raised in Kansas City, Missouri, was a film producer and entrepreneur who built an entertainment empire on the foundation of his animated cartoons. As a result of Disney’s resounding success and influence, the vast majority of animation studios across the world, at different times, either emulated or reacted against his style and production model. After early business failures, Disney gained worldwide success with the release of the world’s first synchronised sound cartoon and the debut of Mickey Mouse, Steamboat Willie (1928). The cartoon’s huge popularity permitted Disney to launch the Silly Symphonies series – where he experimented with new animations techniques – leading directly to his first cartoon feature, Snow White and the Seven Dwarfs (1937). Disney films are known for their Midwestern sensibilities, sentimentality, and a realistic style that aspired to create the ‘illusion of life’. Disney drew upon works by European artists and illustrators including Honoré Daumier, Gustave Doré, Heinrich Kley, Arthur Rackham, and John Tenniel to inspire his staff. Disney provided training for his animators, enrolling them in drawing classes at the Chouinard Art Institute.

The Walt Disney Company: Mickey Mouse Visits Shanghai

2016 ◽  
pp. 1-11
Author(s):  
Stephen Maiden ◽  
Case Writer ◽  
Gerry Yemen ◽  
Elliott N. Weiss ◽  
Oliver Wight
Keyword(s):  
Good Reason ◽  
Chinese Economy ◽  
Chinese Stock Market ◽  
Walt Disney Company ◽  
Cost Overruns ◽  
Walt Disney ◽  
Mickey Mouse ◽  
Disney World ◽  
Disney Theme Park ◽  
The Right

The strategic and tactical problems of managing the operations function in a service environment can be examined through the context of the Walt Disney Company (DIS) opening Shanghai Disneyland. The company and its investors were excited about the Shanghai opening for a good reason: demographics. The resort would be located in the Pudong district of Shanghai, easily the wealthiest of all of China’s districts. A massive 330 million people lived with a three-hour driving radius of the resort site, compared with 19.6 million who lived within the same radius at DIS’s most profitable park, Walt Disney World in Orlando, Florida. Still, risks remained. Construction complications had delayed the opening almost a year longer than expected and cost overruns and alterations had increased the final price tag of the project. The Chinese economy had also hit a rough patch following the Chinese stock market slump in the summer of 2015. With the world watching, could the classic Disney theme park experience be delivered with the right cultural balance to appeal to its largely Chinese customers? Could DIS get it right?

The Walt Disney Company: Mickey Mouse Visits Shanghai

2017 ◽  
Author(s):  
Elliott N. Weiss ◽  
Gerry Yemen ◽  
Stephen E Maiden
Keyword(s):  
Walt Disney Company ◽  
Walt Disney ◽  
Mickey Mouse

scholarly journals Walt Disney Treasures or Mickey Mouse DVDs? Animatophilia, Nostalgia, and the Competing Representations of Theatrical Cartoon Shorts on Home Video

Animation ◽  
2018 ◽  
Vol 13 (1) ◽  
pp. 53-68 ◽  
Author(s):  
David McGowan
Keyword(s):  
Historical Context ◽  
Film Culture ◽  
General Audience ◽  
Home Video ◽  
Walt Disney ◽  
Mickey Mouse ◽  
Family Friendly ◽  
The Status ◽  
Cinematic Experience ◽  
The One

Theatrical-era short animation has often acquired a complex, even contradictory, textual identity: most cartoons were originally produced for a general audience, but were then marketed almost exclusively towards children as repeats on television. The rise of DVD has further complicated the status of these films. On the one hand, the format has facilitated the release of a lot of rare animated material, most notably within a series of multi-volume special editions entitled the Walt Disney Treasures, explicitly aimed at the previously marginalized adult viewer. However, Disney has also produced lower priced, ‘family friendly’ discs featuring many of the same cartoons. Unlike the Treasures volumes, the latter sets tend to censor problematic content and generally lack contextualizing bonus features. The choice to watch one of these collections over the other can thus have a significant impact upon one’s interpretation of the collected films. Thomas Elasasser argues that film culture – embodied most fervently by the devoted cinephile (and, for the purposes of this study, the equivalent figure of the animatophile) – has often failed to recognize itself as a product of generational memory. It is frequently implied by such groups that DVD special editions are the most ‘authentic’ because they privilege the original cinematic experience, without acknowledging the degree to which the format itself serves to remediate its contents. For instance, while the Treasures discs generally present the films uncut – sometimes ‘restoring’ footage unseen since the 1930s and 40s – these are often prefaced with mandatory disclaimers providing historical context for contentious elements such as racism. The sheer volume of material that these collections provide, including opportunities for binge-watching with ‘play all’ functions, similarly alters the portioned availability of these texts in the theatrical sphere. This article will suggest that both the special edition and ‘family friendly’ DVD options ultimately reflect a nostalgic struggle to appropriate and define the present and future reception of the films, rather than to truly reclaim the past.

Snow White and the Seven Dwarfs: Master Score by Walt Disney

Notes ◽  
2016 ◽  
Vol 73 (1) ◽  
pp. 157-161
Author(s):  
Daniel Batchelder
Keyword(s):  
Walt Disney ◽  
Snow White
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