By Eleanor Byrne, Martin McQuillan
Demonising Disney is not anything new. Disney movies have lengthy been synonymous with a definite conservative, patriarchal, heterosexual ideology, occupying a centre-stage place on the center of the evil empire. Deconstructing Disney takes factor with knee-jerk polarities, overturning classical oppositions and recognising that, simply because the Disney ‘text’ has replaced, so too needs to the phrases of serious engagement. This e-book is a sharply concentrated deconstruction of the political tradition — and the cultural politics — of the Disney canon within the years because the emergence of the so-called New international Order. Eleanor Byrne and Martin McQuillan supply a serious come upon with Disney which alternates among readings of person texts and wider thematic matters corresponding to race, gender and sexuality, the wider context of yankee modern tradition, and the worldwide pursuits and insularity of the final nice superpower. the films mentioned comprise The Little Mermaid, The Lion King, Pocohontas, Snow White, Bedknobs and Broomsticks, Dumbo, Peter Pan, The Jungle e-book, Hercules and Mulan.
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Extra info for Deconstructing Disney
The term ‘Disney classic’ implies the weak reading of itself (in which a particular film compared to others in the oeuvre is a classic) but operates through an insistence on the strong reading (in which the term is a double-barrelled noun bestowing an honorific status on the film). The word ‘classic’ becomes part of the proper name of Disney and implies not a restrictive qualification but a mark of excellence. Just as the salient feature of The Mighty Joe Young is that he is mighty, of the Great Mouse Detective that he is great, so the defining characteristic of a Disney film is that it is a classic.
As far as the servants are concerned this story could happily be abbreviated to B&B. In fact it would appear that the staff are ill-prepared for the arrival of the stranger and find that their well choreographed routine is disrupted by Belle, who flouts the conditions of her hospitality by visiting the west wing of the castle. This initially results in Belle leaving the castle after a confrontation with the Beast, showing that a programmed approach to hospitality will only result in misappropriation, misunderstanding and exclusion.
The cheap thrill covers the cost of the realisation that the leg can be frozen and snapped off and so pays the price of ‘anxiety’s epistemological retreat ... in blindness from the memory of the castration complex’ (p. 90). Similarly, the cheap thrill of Ariel’s legs (which emerge suggestively from the water when she is first transformed into a human), together with the loss of her voice, mark her own castration. Entering into the human world she is symbolically castrated, no longer a princess but merely a possible love object for a prince.
Deconstructing Disney by Eleanor Byrne, Martin McQuillan