You are here

Home » Content

Disney animation: Global diffusion and local appropriation of culture

Journal Name:

  • Uluslararası İnsan Bilimleri Dergisi

Publication Year:

  • 2012

Key Words:

Author NameUniversity of Author
Abstract (2. Language): 
Children’s media products reflect the cultural values of their producers and the social, political and economic conditions under which they were produced. Watching an animated cartoon, therefore, cannot be regarded as an innocent and simple act of consumption. It rather involves a complex process of coding/decoding and appropriating cultural meanings. Disney films are not only global means of entertainment but they can also function as an ideological apparatus. In an era of globalisation where the boundaries and divisions between entertainment and materiel consumption are blurred, Arab audiences are faced with a one-way flow of seemingly alien ideas and values that are disseminated through Disney stories, images and narratives. The relation between structured patterns of communication under globalization, on one hand, and the local conditions under which Disney cartoon products are marketed and consumed in the Arab world, on the other, can be understood as the main axis of globalised diffusion and localised appropriation of American cultural values and lifestyle among Arab societies.
Bookmark/Search this post with
FULL TEXT (PDF): 
PDF icon arastrmx_161047_9_pp_704-714.pdf
  • 2
704-714
  • English

REFERENCES

References: 

Blakley, J. (2001). «Entertainment Goes Global: Mass Culture in a Transforming World», Norman
Lean Center, < http://www.learcenter.org/pdf/EntGlobal.pdf>, consulted on 12 April 2011
Curran,J. & M.J. Park (2000). De-westernizing Media Studies, New York: Routledge.Gilman, S. (1985). Difference and Pathology: Stereotypes of Sexuality, Race, and Madness, Ithaca,
NY: Cornell University Press.
Giroux, H. (1996). Fugitive Cultures: Race, Violence and Youth, New York: Routledge.
Giroux, H. (1995). «Memory and Pedagogy in the Wonderful World of Disney: Beyond the
Politics of Innocence», in E. Bell, et al (dir.) Mouse to Mermaid: The Politics of Film, Gender,
and Culture, Bloomington: Indiana University Press.
Kramer, P. (2000). « Entering the Magic Kingdom: The Walt Disney Company, the Lion King and
the Limitations of Criticism», Film Studies, n°2: 44-50.
Kilbourne, J. (1999). Deadly Persuasion: why Women and Girls must fight the Addictive Power of
Advertising, New York: Free Press.
Kimmel, M. S. (2004). The Gendered Society, New York: Oxford University Press.
Lacan, J. (1953). «Some Reflections on the Ego», In International Journal of Psychoanalysis, n° 34:
11-17.
Leys, C. (1996). The Rise and Fall of Development Theory, Indiana University Press.
Martin, C. (2007). Perfect Girls, Starving Daughters: The Frightening New Normalcy of Hating
your Body, Free Press.
Mumme, L. & A. Fernald (2003). «The Infant as Onlooker: Learning from Emotional Reactions
Observed in a Television Scenario», Child Development, n° 74: 221-237.
Said, E. (1994). Orientalism, New York: Vintage Books.
Schickel, R. (1968). The Disney Version: The Life, Times, Art, and Commerce of Walt Disney,
New York: Simon and Schuster.
Steven, C. (2001). Hollywood and Anti-Semitism: Cultural History up to World War II, Cambridge
University Press.
Sturken, M. & L. Cartwright (2001). « Practices of Looking: An introduction to visual culture», New
York: Oxford University Press- Spectatorship, Power and Knowledge.
Tanner, L. S. Haddock et al. (2003). «Images of couples and families in Disney feature-length
animated films», The American Journal of Family Therapy, n° 31: 355-373.
Zoepf, K. (2005). «Bestseller in Mideast: Barbie with a Prayer Mat», ,
consulted on 02 June 2011

Thank you for copying data from http://www.arastirmax.com