From the very beginning Disney made its legacy with a mouse which became an iconic piece of the company’s history. This one symbol reflects an entire history, culture and dream – symbols that bind together the moralities and intellectual archetypes that create a value system for each and every Disney consumer (Ward, p. 129). There is not one Disney consumer that wouldn’t recognise the harmonious lyrics ‘When you wish upon a star, Your dreams come true’, a melody that we all understand and share like church hymns and prayer; this is the Walt Disney equivalent of hope and faith – a desire for Disney lovers to share and interpret the values together.
What was once about a shared identity has become an identity of the individual through consumerism. We don’t share a wish upon a star, we seek the individual meanings and create ourselves. However within the Disney animations there are references to religion, as Pinsky states
“Providence will show up in the form of a fairy, wizard, talking willow tree, or some other folktale device to snatch victory from the jaws of defeat and ensure that American values never go unrewarded” (Pinsky, p. 10).
Children who consume in the Disney products know what they see; whether they have seen it or not, it isn’t the stories or the films that draws their attention most, it is the merchandise and promotion that they become aware of (Miller, p. 5). It is through the “use of narrative to sell merchandise” that Disney has acquired its greatest cultural influence compared to other producers of popular culture (Miller, p. 5).
Disney has played a big part in the childhood lives of people all around the world of all ages; we grew up with The Little Mermaid (1989), Tarzan (1999) and Beauty and the Beast (1991) and it is these kinds of films that we have great childhood memories we can connect with and therefore have personal value to. With this great emphasis behind them, Disney Corporation has imprinted its name in history as a traditional dream world.
Commercialisation is a target towards identity, as mentioned in an earlier entry, consuming within a culture can be used to create an identity – likewise it is “a shared world of experience for children today to play and associate with” (Stoklund, p. 6). As Hulan (p. 31) suggests it becomes necessary for a need to socially belong (Hulan, p. 31), and through consuming individuals can find that security. The innocent values held by Disney targeted at youth however do not seem so innocent anymore, because if we consider this is how people engage with Disney and its counter associates on a regular basis, it becomes an issue that stockholders and media structures hold the power to create and shape identities. This was not Disney’s original purpose. Instead it was for consumers to share the value of Disney, as the lyrics suggest, “Your dreams come true”.
“It is said of the Disney empire that, It all started with a mouse. “ That’s not true. It all started with Walt’s dream of a mouse – a mouse that his belief, daring, and spirit of can-do brought to glorious and hugely profitable life” (Capodagli and Jackson, p. XV).
References:
Capodagli, Bill and Jackson, Lynn. The Disney Way: Harnessing the Management Secrets of Disney in Your Company. New York: McGraw-Hill Professional. 2001.
Hulan, Danielle. ‘Mistaking Brands for Tween Identity’. The McMaster Journal of Communication. Vol 4 issue 1. 2007. 31-36.
Miller, Vincent.J. Consuming Religion: Christian Faith and Practice in a Consumer Culture. London: Continuum International Publishing Group: 2005
Pinsky, Mark.I. The Gospel According to Disney: Faith, Trust, and Pixie Dust. Kentucky: Westminister John Knox Press. 2004.
Stoklund, Bjarne. Enthologia Europaea: Journal of European Ethnology, vol 27. Copenhagen: Museum Tusculanum Press. 1997.
Ward, Annalee.R. Mouse Morality: The Rhetoric of Disney Animated Film. Texas: University of Texas Press. 2002.
Image: 'Beauty and the Beast' copyrighted Disney Enterprises Inc.
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