Lecture Disneys Golden Era
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0:00 - 0:08[Music] Hi. In this lecture, we’ll explore the biography and impact of Walt Disney,
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0:08 - 0:10his transformation of the tale from the popularity
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0:10 - 0:14of the Grimms and it’s furthering of the moralizing of the Perrault circle.
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0:14 - 0:18Before Disney, we’ll examine the growing popularity of fairy
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0:18 - 0:21tales as a form of mass entertainment and influence,
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0:21 - 0:23then peer into the first animated tales and the
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0:23 - 0:27innovative techniques Disney applied to overwhelm audiences.
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0:27 - 0:30The form of the fairy tales that we know we owe
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0:30 - 0:33in large part to Walt Disney and their popularization,
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0:33 - 0:37and in this way, they have become a basic common background upon
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0:37 - 0:39which new values could be performed for audiences
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0:39 - 0:42(first with the Grimms and then with Disney).
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0:42 - 0:45We’ll track this transformation from socially responsible,
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0:45 - 0:48communal tales to those that support authoritarian,
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0:48 - 0:50patriarchal schemas and the growing manufacture
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0:50 - 0:54of the cult of personality through its new medium: film.
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0:54 - 0:59[Music] Walt Disney has had a tremendous impact on the
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0:59 - 1:01reception and perception of fairy tales in the world today.
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1:01 - 1:04With the ability of film, mass production,
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1:04 - 1:06and the distribution into a global market,
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1:06 - 1:09Disney has come to dominate the world of entertainment,
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1:09 - 1:12and through subsidiaries, has gone far beyond the screen.
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1:12 - 1:17With early application of total marketing – which means selling not just the film,
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1:17 - 1:19but licensing the brand and characters to lamps,
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1:19 - 1:21wristwatches, glasses, cups, pillows,
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1:21 - 1:24clothing, Disney was able to capitalize already on the
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1:24 - 1:27earliest opportunities to expand the entertainment
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1:27 - 1:31market into people’s homes and everyday lives.
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1:31 - 1:33Disney has become so predominant that his films,
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1:33 - 1:36or the films of the corporation,
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1:36 - 1:38just like the Grimms’ stories of the 19th century,
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1:38 - 1:41have come to be part of a shared cultural heritage
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1:41 - 1:45and have instilled values that are fundamental to many of our identities.
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1:45 - 1:47And this is a worldwide phenomenon,
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1:47 - 1:49not just restricted to the United States,
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1:49 - 1:53because of the reach and associations a global market has with the brand.
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1:53 - 1:57How does he appeal to so many different cultures?
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1:57 - 2:00The focus of his early animated features veer away from story,
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2:00 - 2:03plot and challenging the status quo,
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2:03 - 2:07and instead present viewers with spectacle and a string of sight gags,
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2:07 - 2:09collection of sketch comedy routines,
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2:09 - 2:14and musical numbers. By using fairy tales as the basis for story,
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2:14 - 2:16the well-known plots serve to frame our expectations
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2:16 - 2:19and keep the thread of the narrative intact while
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2:19 - 2:24the animators present us with many uncoordinated gags and visual effects.
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2:24 - 2:29However, this style and production has been criticized by many theorists including Bruno Bettelheim,
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2:29 - 2:32who considers the tales to be too sanitized to
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2:32 - 2:35provide children psychological insight into the dangers of the world,
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2:35 - 2:41nor the safety of finding just and harsh retribution for wrong-doing.
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2:41 - 2:44Marie Louise von Franz criticizes the tales for
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2:44 - 2:47robbing viewers of the fundamental psychological work of individuation,
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2:47 - 2:50focusing on a narrow batch of story arcs that
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2:50 - 2:53replaces the symbolic language of our psyche
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2:53 - 2:57for the spectacle and sales pitches of the animation.
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2:57 - 2:59And, Jack Zipes also criticizes Disney for producing
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2:59 - 3:02and furthering a strict hierarchical ideology
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3:02 - 3:07that supports and doesn’t question the capitalist exploitation of labor,
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3:07 - 3:12selling fantasies, while ignoring the harsh reality that Disney used to push his own Utopic vision,
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3:12 - 3:14much like that of a dictator.
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3:14 - 3:17So, we’ll take a closer look at these theories as
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3:17 - 3:23we recount the history of Disney from his earliest years up to today during this week.
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3:23 - 3:25Disney revolutionized the way fairy tales were told.
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3:25 - 3:29While we shouldn’t discount the early animation work of Lotte Reiniger,
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3:29 - 3:32who pioneered the techniques that Walt would use to create depth,
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3:32 - 3:34he continued to revolutionize techniques,
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3:34 - 3:38while Reiniger maintained her distinct style throughout her career.
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3:38 - 3:41Disney was interested in how the images would
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3:41 - 3:45become ever more lifelike through the application of technology.
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3:45 - 3:50Technologies allowed for mass production and global distribution of his product,
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3:50 - 3:53and thereby also standardized the images of the
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3:53 - 3:56fairy tale characters for children around the world.
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3:56 - 3:59As we looked at the critique brought by the culture industry,
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3:59 - 4:02this standardization brought with it a restrictive
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4:02 - 4:05standardization that robbed the oral storytelling
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4:05 - 4:10of its ability to take up specific problems of local regions,
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4:10 - 4:12or even adapt the tale to the audience that was
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4:12 - 4:16hearing it – instead it was a type of Model T of the entertainment industry,
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4:16 - 4:21one size is made to fit all, and in order to accommodate such varied audiences,
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4:21 - 4:24only the most generic and uncontroversial elements would remain.
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4:24 - 4:29And what remains is an infantilization of the audience with a focus on cute,
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4:29 - 4:35adorable characters and plotless collections of sight gags and visual spectacles.
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4:35 - 4:40At the same time, a continuing impulse found in the animation of Disney is a focus on cleaning up,
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4:40 - 4:44sometimes obsessively, so that there is a demand for controlling the
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4:44 - 4:47environment – transferred by the artist boss
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4:47 - 4:52to the very animated characters themselves – a desire to continually sanitize,
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4:52 - 4:55and with this comes a continual degeneration
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4:55 - 4:59of the original material and its psychological depth into a surface,
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4:59 - 5:04visual spectacle that no longer examines or hints at the complex disparities of the world.
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5:04 - 5:11[Music.] Disney’s rise is part of a larger, longer development
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5:11 - 5:13that led to the breakthroughs in technology that
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5:13 - 5:17both has atomized (or isolated) individuals while
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5:17 - 5:21broadening the reach of reception and connecting audiences to each other.
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5:21 - 5:25The impulses to adapt fairy tales towards didactic
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5:25 - 5:27goals was already present in Perrault’s versions
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5:27 - 5:33while the tales became institutionalized as part of their socialization process.
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5:33 - 5:35While the Grimms’ enjoyed success in Germany,
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5:35 - 5:38many Americans felt that the tales could be harmful
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5:38 - 5:40for children – given the penchant the brothers
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5:40 - 5:43had for writing in gruesome details and harmful stereotypes.
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5:43 - 5:46The rise tale, first penned in Italy,
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5:46 - 5:50was part of the attraction of the economic system of capitalism and the U.S.A.
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5:50 - 5:53was seen as a land of new beginnings,
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5:53 - 5:55starting over, and the expectation that with hard work,
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5:55 - 5:58one could elevate one’s social status.
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5:58 - 6:01In the early 20th century, when Disney was a child himself,
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6:01 - 6:03there was a sense of elitism – as if America
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6:03 - 6:06was a promised land with a chosen people – and
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6:06 - 6:09that by God’s grace they would be blessed as an honest,
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6:09 - 6:11hard-working individual could,
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6:11 - 6:16through meritocracy, epitomized in the story of Horatio Alger,
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6:16 - 6:19who is a young man who picked himself up by his
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6:19 - 6:22bootstraps and made his fortune and brought himself out of poverty,
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6:22 - 6:28that with hard work one could elevate one’s social status.
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6:28 - 6:31With the adoption of reading,
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6:31 - 6:33as an institutional education for the masses,
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6:33 - 6:36and easier access to the means of publication,
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6:36 - 6:41the fairy tale underwent a transformation from the oral telling to the printed page.
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6:41 - 6:44The Grimms’ ability to distribute and spread
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6:44 - 6:50their version of the tales ceded them legitimacy – as being the official version of the tales.
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6:50 - 6:51As these were adopted in schools,
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6:51 - 6:54they were also adapted more towards children.
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6:54 - 6:57The tales helped to reinforce the patriarchal order,
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6:57 - 6:59demonstrate the positive values of the heroes
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6:59 - 7:02and heroines that children should strive to emulate.
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7:02 - 7:04And, as they were adapted to American audiences,
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7:04 - 7:09there was a healthy dose of optimism infused into the tales.
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7:09 - 7:11Tales were also given a happy end and plot closure,
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7:11 - 7:13abolishing the gruesome punishments,
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7:13 - 7:16and the tales were also made into plays that
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7:16 - 7:19became part of Christmas traditions in schools everywhere.
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7:19 - 7:24[Music] It was first in Kansas City in the early twenties
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7:24 - 7:27that a very young Walt Disney sought to bring
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7:27 - 7:30his animation company and career to life with several partners,
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7:30 - 7:34the most renown of those being Ub Iwerks.
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7:34 - 7:37Most of the early investing was through corporate sponsorship,
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7:37 - 7:45and businesses were – Most of the early investing was through corporate sponsorship,
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7:45 - 7:47and business was incredibly difficult.
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7:47 - 7:50The early cartoons – the laugh-o-grams – had their fill of stereotypes,
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7:50 - 7:53but also they incorporated progressive elements
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7:53 - 7:58that demonstrated social insight into the conditions of different social classes.
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7:58 - 8:03The tales were regressive in their emphasis on spectacle over plot,
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8:03 - 8:05and they all had titles of well-known fairy tales,
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8:05 - 8:10but were in many cases, barely recognizable as such tales.
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8:10 - 8:14In the earliest cartoons, a character that looked a lot like a young Walt
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8:14 - 8:20Disney attempting to get the girl and that was the basic plotline of the shorts.
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8:20 - 8:22He was accompanied by Julius the Cat,
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8:22 - 8:27which was the earliest version of the humorous animal that accompanied the protagonist.
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8:27 - 8:29These characters would eventually merge into
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8:29 - 8:33one figure that would become known as Mickey Mouse.
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8:33 - 8:35The Tales included takes on Little Red Riding Hood,
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8:35 - 8:38Four Musicians of Bremen, Cinderella,
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8:38 - 8:45and Puss–n-Boots. And, Disney used techniques that were pioneered in the Expressionist films of the era,
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8:45 - 8:48and made those films so that he invited audiences
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8:48 - 8:52to become immersed in a fantasy world of the artist,
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8:52 - 8:55where the constraints of the real world no longer weighed upon them.
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8:55 - 9:00For example, Alice’s Wonderland was one of his most innovative and ambitious films,
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9:00 - 9:02a film that would bankrupt his studio,
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9:02 - 9:05but remain a technological wonder of the time.
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9:05 - 9:07It was after this bankruptcy that Walt thought
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9:07 - 9:10it a good idea to leave town and head for Hollywood,
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9:10 - 9:14where his talents as a film editor and animator would certainly be in higher demand.
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9:14 - 9:19[Music.] Walt convinced his brother Roy to invest in the
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9:19 - 9:23Disney Brother’s Studio and in 1923 they set up their business,
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9:23 - 9:25where they worked with the young star of the
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9:25 - 9:29last Alice’s Wonderland for six more shorts that they sold to theaters,
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9:29 - 9:32but it didn’t do very well. In 1926,
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9:32 - 9:36the studios would move and change names again into the Walt Disney Studios.
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9:36 - 9:40It was here that they would develop the character of Oswald the Rabbit,
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9:40 - 9:42another precursor to Mickey Mouse,
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9:42 - 9:44but a bit more wild in his adventures.
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9:44 - 9:48And, it wasn’t too much later that Steamboat Willie was introduced,
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9:48 - 9:50so that with the addition of sound,
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9:50 - 9:52the animated character sprung to life and one
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9:52 - 9:57of the total – and was also part of the total marketing scheme.
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9:57 - 10:01The Mickey Mouse wristwatch with Mickey’s hands pointing out the time,
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10:01 - 10:04became a new must-have item for audiences.
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10:04 - 10:09Over the course of the 1930’s we could see a distinct transformation from pro-social values,
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10:09 - 10:12where their heroes are a collective group of
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10:12 - 10:17gnomes who rescue two babes in the woods. The woods are also depicted as dark and scary,
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10:17 - 10:19and while the gnomes are industrious,
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10:19 - 10:21there is not an over-emphasis on cleaning,
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10:21 - 10:26or work for work’s sake, but rather the houses seem rather unkempt,
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10:26 - 10:31and the creatures that the children have turned into are rather monstrous.
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10:31 - 10:32It is first in the following year that with The
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10:32 - 10:34Three Little Pigs (1933) that we see that the
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10:34 - 10:37Protestant work ethic is what keeps the wolf at bay,
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10:37 - 10:39specifically those pigs who have leisure time,
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10:39 - 10:40end up at the mercy of the wolf,
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10:40 - 10:42who comes and blows their door down.
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10:42 - 10:44They have to turn towards the industrious leader,
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10:44 - 10:49who made his house of brick. The song was also a hit for its audiences.
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10:49 - 10:54In 1934, The Flying Mouse even goes so far as to challenge dreaming itself,
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10:54 - 10:56the mouse who thought he could fly,
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10:56 - 10:58turns into a bat and is ostracized,
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10:58 - 11:00kicked out from his family and home,
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11:00 - 11:05until he has learned his lesson and has to return home dismissing his dream forever.
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11:05 - 11:09[Music.] The success of Disney would soon come in the form
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11:09 - 11:12of feature films that in order to create the next film,
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11:12 - 11:16typically, Disney would invest all of his profits back into the business.
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11:16 - 11:20With one flop, the Studio would risk incurring irreparable losses.
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11:20 - 11:22Films like Snow White and the Seven Dwarves (1937)
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11:22 - 11:24amazed audiences across the world with its smooth
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11:24 - 11:29animation taken from tracing over actors with sound and bright colors.
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11:29 - 11:35These innovations continued to provide audiences new visuals as the technology allowed it.
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11:35 - 11:38A series of modestly unsuccessful films were
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11:38 - 11:42then released in the years following like Pinocchio in 1940,
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11:42 - 11:45Dumbo in 1941, and Bambi in 1942,
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11:45 - 11:46all considered classics today,
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11:46 - 11:50but at the time compounded the economic situation for Disney,
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11:50 - 11:52so that he took to making films about South America
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11:52 - 11:55to aid in travel and tap into other markets.
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11:55 - 11:58Cinderella in 1950 provided another success,
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11:58 - 12:01and as the Disney brand became recognizable with
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12:01 - 12:04television programming and films that fed into a vision of his parks,
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12:04 - 12:07films such as Treasure Island and Peter Pan were
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12:07 - 12:11both created to incorporate as part of this total
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12:11 - 12:16strategy of marketing as theme rides for his park as well.
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12:16 - 12:19Disney had been interested in marketing these
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12:19 - 12:21other products to accompany his films for a long time,
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12:21 - 12:24and the first items were things such as buttons,
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12:24 - 12:28stencil sets, and chocolate covered marshmallows,
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12:28 - 12:31and he had a hit with Mickey Mouse watch in 1929
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12:31 - 12:35He was able to generate more income from renegotiating
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12:35 - 12:39his initial royalty licensing agreement with Borgfelt & Co.
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12:39 - 12:45At that time his proceeds rose from 2 percent to 5 percent of those things sold,
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12:45 - 12:48but then he struck it rich with a 50 percent
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12:48 - 12:56royalty deal with Herman “Kay” Kamen who agreed to that in 1933 so that he could sell napkins,
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12:56 - 12:57books, wallpaper, phonographs,
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12:57 - 13:02hairbrushes, toys, etc. So, one of the most sought after items today still
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13:02 - 13:08is an original Ingersoll timepiece that is now valued between 1,500 and 2,500 dollars.
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13:08 - 13:15[Music] In the 1950s, Disney began to not only dominate family entertainment on the screens,
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13:15 - 13:18but also introduced Little Golden Book picture books,
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13:18 - 13:22further solidifying and standardizing the global vision of fairy tale characters.
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13:22 - 13:29One of the first books was an adaptation of the Italian Carlo Collodi’s Pinocchio from 1883.
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13:29 - 13:34[Music] In the original Pinocchio is a jerk.
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13:34 - 13:36He’s not so cute He’s an angry,
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13:36 - 13:38violent and rude stick that eventually badgers
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13:38 - 13:41a browbeaten Gepetto into carving him into life.
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13:41 - 13:45He even betrays his “father” once by lying to
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13:45 - 13:50a police officer that throws Gepetto in jail for being abusive.
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13:50 - 13:55While Gepetto is in jail, Pinocchio starts to regret this decision as he’s starving.
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13:55 - 13:59But, then when Gepetto is finally released and comes home with food,
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13:59 - 14:03Pinocchio thoughtlessly gobbles up everything that he offers.
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14:03 - 14:06He even kills Cricket, his conscience,
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14:06 - 14:09and the Fox and the Cat that he trusts,
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14:09 - 14:15they hang him and get bored when he doesn’t seem to suffocate as quickly as they thought.
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14:15 - 14:17He even bites off the cat’s paw,
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14:17 - 14:21and when he is resuscitated by the fairy with the blue hair,
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14:21 - 14:26he is greedy and takes all the sugar and medicine,
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14:26 - 14:28and treats her dismissively. So,
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14:28 - 14:31many of the early horribly self-centered behaviors
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14:31 - 14:36that Pinocchio exudes eventually subside through his education,
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14:36 - 14:41and then there’s a recognition by him of the people who sacrificed for him,
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14:41 - 14:43and that’s sort of his transformation.
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14:43 - 14:47[Music] In our film by Disney,
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14:47 - 14:51all of the early bad behavior is avoided by Pinocchio already from the outset,
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14:51 - 14:54and he looks entirely too human,
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14:54 - 14:57cute, and naïve, rather than fundamentally selfish.
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14:57 - 15:01Akin to the original, the Disney puppet wishes to be a real boy,
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15:01 - 15:02and must prove himself brave,
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15:02 - 15:06truthful, and unselfish. What makes him good is that he abides by the
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15:06 - 15:10work ethic and requires little in return except the approval of the father figure,
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15:10 - 15:15the leader. As he tries out the vices of the adult world,
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15:15 - 15:17which is cigars, gambling, idleness,
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15:17 - 15:20he turns into an ass like all the other boys.
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15:20 - 15:22It is interesting then how this early focus on
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15:22 - 15:27the Protestant work ethic and Pleasure Island or Toyland as a corrupting influence,
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15:27 - 15:34that Pinocchio is in the very same entertainment that he is being,
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15:34 - 15:42uh – basically, Pinocchio is the very same entertainment that he represents to his audience.
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15:42 - 15:46Even further along, the Toyland and Pleasure Island that corrupts
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15:46 - 15:48provides the basis for the idea of Disneyland
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15:48 - 15:52that opens up that very same year as the film is released.
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15:52 - 15:59[Music] The Swiss environmentalist classic Bambi,
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15:59 - 16:01A Life in the Woods, by Felix Salten,
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16:01 - 16:05published in 1923 is a brutal look at the brief
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16:05 - 16:08and dangerous life of the creatures of the forest.
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16:08 - 16:11The book often introduces characters as naïve,
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16:11 - 16:13empathetic, and curious of the world,
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16:13 - 16:17only to graphically depict their demise a few pages later.
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16:17 - 16:18Some of the characters are treacherous,
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16:18 - 16:23like Gobo the dog, who befriends then kills the fox on the Hunter’s command,
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16:23 - 16:28blindly following orders. The book was seen as supporting a pacifist agenda,
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16:28 - 16:31as it even laid bare the gruesomeness of nature
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16:31 - 16:33as it lifted the veil of life as struggle mentality
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16:33 - 16:37of the Nazi Party and was summarily banned during the regime’s rule.
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16:37 - 16:41[Music.] In order to adapt the novel,
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16:41 - 16:44and make it palatable to audiences that included small children,
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16:44 - 16:48most all of the danger and ever present sense of terror and death were removed.
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16:48 - 16:50If we look at the Little Golden Book,
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16:50 - 16:53we see that safety is emphasized… “Then she
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16:53 - 16:57nudged her sleeping baby gently with her nose…she licked him reassuringly.
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16:57 - 17:01” There is an emphasis of friendship and fun,
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17:01 - 17:05not lurking threats, or constant struggle for survival and deception.
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17:05 - 17:07Many of the images are cleaned up.
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17:07 - 17:11Those tragic figures who are introduced and then dispatched in a horrific manner,
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17:11 - 17:13they stick around and live without a care.
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17:13 - 17:16Humans become the enemy, with their fire and guns,
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17:16 - 17:22and winter becomes hard. Even the death of the mother is handled out of sight,
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17:22 - 17:23in a very touching and endearing way,
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17:23 - 17:27lacking the brutality and abruptness of the original.
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17:27 - 17:30Bambi is able to escape and establish his own family,
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17:30 - 17:31in a fairy tale like fashion,
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17:31 - 17:34while in the original, he is aware that his time is short,
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17:34 - 17:37and he needs to both mentor and fight his competitors,
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17:37 - 17:40in addition to all of the threats that are out there.
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17:40 - 17:43The Disney method strips the originals of their
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17:43 - 17:46danger in order to make them safe for children.
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17:46 - 17:48Peter Pan - Pan, you may know,
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17:48 - 17:50is a God of chaos and sexuality,
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17:50 - 17:56so that Peter Pan exhibits and epitomizes those characteristics in the early play by J.M.
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17:56 - 17:59Barrie. It was with this concept in mind that he introduced
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17:59 - 18:04the character in the play Little White Bird in 1902,
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18:04 - 18:09where a man wants to steal a child away from their mother by making up the story of Peter Pan,
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18:09 - 18:14who in the story, is abandoned and replaced by his mother by another child.
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18:14 - 18:16“It was a scheme conceived of in a flash,
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18:16 - 18:21and ever since relentlessly pursued –to burrow under Mary’s influence with the boy,
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18:21 - 18:23expose her to him in all her vagaries,
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18:23 - 18:30taken him utterly from her…Mary remains ‘culpably obtuse to my sinister designs.
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18:30 - 18:36” The character returns again in the play Peter Pan in Kensington Gardens in 1904,
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18:36 - 18:40and that would eventually turn into the book Peter and Wendy in 1911,
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18:40 - 18:42Transferred Now to a Never Never Land.
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18:42 - 18:46Barrie, a celibate husband of Mary Amsel,
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18:46 - 18:48actress who he wrote plays for,
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18:48 - 18:51was infatuated with the young neighbor boys and
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18:51 - 18:55their family has led – which has led to speculations
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18:55 - 19:00that the book is based on his exploits and manipulation and abuse of that family.
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19:00 - 19:02The original title for Peter Pan,
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19:02 - 19:06or the Boy Who Wouldn’t Grow Up was originally called The Boy Who Hated Mothers.
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19:06 - 19:09There are several very disturbing moments in the book,
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19:09 - 19:11such as the psychopathic thinning out of the
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19:11 - 19:15Lost Boys whenever they seem to switch sides or allegiances away from Pan.
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19:15 - 19:20Pan is in his earliest iteration depicted as a demon child who steals children,
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19:20 - 19:24and Tinkerbell alludes to the possibility of fairy orgies.
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19:24 - 19:27Barrie’s own infatuation with the neighbor family
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19:27 - 19:31grows even more intense after their father dies and he befriends Sylvia,
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19:31 - 19:36the mother. His own wife eventually cheats on him after years of celibacy,
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19:36 - 19:41and he quickly moves on to act the part of the father to the young boys Peter,
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19:41 - 19:44John, Michael, Nicholas, and George Llewelyn Davies.
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19:44 - 19:45His notebooks even reveal a dark,
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19:45 - 19:48sinister plot hatching within Barrie’s writing,
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19:48 - 19:50To undermine the role that his ex-wife initially
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19:50 - 19:53had in being charged with the care of the neighbor’s boys.
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19:53 - 19:58He even went so far as to tell the boys that he and Sylvia were to be married,
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19:58 - 20:04and upon her passing, he forged her will that specifically asked that the boys go to live with their aunt,
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20:04 - 20:08and set himself up as their sole custodial guardians instead.
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20:08 - 20:11His overly affectionate letters became embarrassing to the boys,
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20:11 - 20:17and many of them had mentioned that they had destroyed these as they became older.
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20:17 - 20:19Each of the boys in his charge lived short,
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20:19 - 20:22tragic lives, including two suicides.
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20:22 - 20:25So, the world of Never Never Land is both nightmare and fantasy,
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20:25 - 20:29tragic and hopeful. It is often associated with the curse of J.M.
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20:29 - 20:34Barrie. [Music.] With Disney’s version,
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20:34 - 20:39Peter and Wendy both look to be older and on the cusp of taking on adult responsibilities.
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20:39 - 20:41Peter is unable or unwilling to,
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20:41 - 20:47remain – and, he remains playful in the land of fantasy that he himself brings people to,
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20:47 - 20:49luring Wendy and her brothers.
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20:49 - 20:51Wendy is not Peter’s only love interest,
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20:51 - 20:56however. Tinkerbell and Tiger Lilly both vie for his affection.
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20:56 - 20:58He seems sort of like a delusional player,
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20:58 - 21:03who only has younger, more foolish people following him.
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21:03 - 21:05And, while it was interesting for a time,
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21:05 - 21:07Wendy then eventually leaves him behind.
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21:07 - 21:09And, just like the only true enemy,
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21:09 - 21:12the only adult, Captain Hook,
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21:12 - 21:14is haunted by the clicking of the clock,
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21:14 - 21:18or the ticking of the clock that represents aging,
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21:18 - 21:21and his brush with death in the form of the crocodile.
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21:21 - 21:25So, Peter Pan represents an attitude of many American
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21:25 - 21:28male dreamers who not only want to find a Wendy to take care of their progeny,
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21:28 - 21:31but also themselves, seeing her as an ersatz mother,
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21:31 - 21:34and we can see that she has to take care of the boys,
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21:34 - 21:39tuck them in, carry firewood in with the other women at the Indian encampment,
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21:39 - 21:41while he plays with his sidekick,
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21:41 - 21:43the jealous fairy, Tinkerbell,
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21:43 - 21:45who represents a lusty pin-up model.
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21:45 - 21:48The problem with Peter Pan and Pinocchio as popular
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21:48 - 21:52models of behavior for young boys is that their aspirations keep them childish,
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21:52 - 21:55never taking on adult responsibility.
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21:55 - 21:57Pinocchio’s wish is to be a real boy,
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21:57 - 22:02not to be a man, and Peter Pan desires to forever be a childlike boy.
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22:02 - 22:05So, these undercurrents damage the image of adulthood
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22:05 - 22:09as the goal of the maturation process and offer young men,
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22:09 - 22:12who before were turned into Jackasses in Pinocchio,
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22:12 - 22:17for spending too much time playing around,
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22:17 - 22:21it offers them a new vision of that same pleasure land or Toyland,
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22:21 - 22:23in the Never Neverland of Peter Pan,
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22:23 - 22:25where nothing will ever be required of them again.
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22:25 - 22:32Peter Pan, the pied piper of children calls them to live the same fantasy escapism at the theme park.
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22:32 - 22:36[Music.] So, in this lecture,
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22:36 - 22:38we looked at the development of mass media and
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22:38 - 22:41technology that provided Walt Disney his platform
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22:41 - 22:45and the consequences of becoming the predominant purveyor of fairy tales.
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22:45 - 22:48We also examined the transformation in his animated
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22:48 - 22:51tales from his early years to the golden era
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22:51 - 22:55with specific attention paid to the sanitizing of originals like Pinocchio,
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22:55 - 23:02Bambi, and Peter Pan. Disney has retooled tales of maturation into tales of endless childhood,
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23:02 - 23:07peddling the fantasy through total marketing and the realization of this Utopia,
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23:07 - 23:10his own Never Neverland, in Disneyland.
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23:10 - 23:12And, that’s it for today. We’ll take on,
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23:12 - 23:17then, the further history of Disney with the Renaissance
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23:17 - 23:20that happens in the ‘80s and ‘90s that really
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23:20 - 23:29catapults this brand into this megalithic – catapults
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23:29 - 23:32this brand into this monolith of the entertainment industry.
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23:32 - 23:44
And, that’s it for today and we’ll see you next time. [Music.]
- Title:
- Lecture Disneys Golden Era
- Description:
-
In this lecture, we’ll explore the biography and impact of Walt Disney. His transformation of the tale from the popularity of the Grimms and it’s furthering of the moralizing of the Perrault circle. Before Disney, we’ll examine the growing popularity of fairy tales as a form of mass entertainment and influence, then peer into the first animated tales and the innovative techniques Disney applied to overwhelm audiences. The form of the fairy tales that we know we own in large part to Walt Disney and their popularization, and in this way, they have become a basic common background upon which new values could be performed for audiences (first with the Grimms and then with Disney). We’ll track the transformation from socially responsible, communal tales to those that support authoritarian, patriarchal schemas and the growing manufacture of the cult of personality through its new medium: film.
- Video Language:
- English
- Duration:
- 23:57
sarathy.6 edited English subtitles for Lecture Disneys Golden Era | ||
kraemer.30 edited English subtitles for Lecture Disneys Golden Era |