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Walt Disney architectural works and designs influenced not only the architecture of most cities in the worlds but also cultivated a good culture of families and the public as a whole. Part of Disney’s newfound celebrity involved his image as a family man and patriot. Watts says that he took on qualities associated with his role as a culture and architecture impresario (pg.392)1. This was because he appeared kin the public eye as a kind of beloved magician who amazed, amused, inspired and reassured the millions of fellow citizens with his architectural design and creations (Watts pg. 392)2. Besides the above arguments by id 1950s new stories showed Walt Disney as a creative figure due to his innovative ideas of design and changing the picture of architecture and design.

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Through his Disneyland Walt Disney, it was a wonder o postwar America. Watts continues to say that this was because of “its powerful cultural brew family virtue and which was considered to a cultural brew a smooth bend of sentimental modernism, populism, nostalgia, consumerism, family virtue and corporate abundance” (pg. 396)3. His architecture in Disneyland allowed visitors to revel in the fantasy life of their culture during the halcyon days of the American century and ritually reaffirm and idealistic view of themselves (Watts pg. 396)4. By realizing Walt Disney’s greatest postwar dream the magic kingdom in this context took its personal image already towering to the point of apotheosis.    

Disneyland represents a paradigmatic extreme of the themes and branding of leisure spaces hence as a European visitor to the American Disneyland it is said that he provided a faked reality which corresponds more lucidly with our daydream demands (Julier, pg.153)5. American sociologist Sharon Zukin takes a broader overview of Disney world and illustrates how its size and functional interdependent made it viable representation of a real city built for people from the middle classes that had escaped from cities to the suburbs and exurbs. Julier (2007) also says that it offers a gated source environment where the unwanted underclass could not gain admittance because of the idealization of urban space autonomously governed and controlled by corporate management (pg. 153)6.

Julier therefore said that the notion of Disney simulation of an ideal stems from Walt Disney’s enthusiasm to materialize his utopia dream for America. Also Julier noted that the project on Disney skillfully illuminates how its public relation mechanisms worked well, its well set layout and detailing and the training of its staff was tightly assembled in order to maintain an unbroken surface so as to ensure that the visitors may never get dragged behind the scenes so to speak and experience anything of it as a producing system (pg. 153)7.

Disneyland was packaged for visual consumption. According to Julier its early critics argued that it propose too few rides and too much open space (pg. 153)8.  It was noted that in the process of constructing the first Disneyland in Orange County Southern California which opened in 1955, Walt Disney rejected the schemes of two architects. As a result Julier says that Disneyland was more acutely inscribed with the narratives and visuality of Disney of cartoon fame.

In addition, McConachie says that “taking advantage of the nearly perpetual good weather of Southern California, Disneyland allowed for a flow between the natural and the architectural that average suburbanites could only dream about” (p. 176)9. By the virtue of universalizing suburbia Walt Disney effectively whitened his utopia, signs of African American culture, if not of black Americans were as invisible in Disneyland as in other areas of the United States beyond the inner cities. McConachie continues to say that it was noted that “once inside this suburban ideal park goers were treated just like family and in sharp contrast to the old amusement parks the ambience of Disneyland was wholesome and restrained, no candy butchers, freak-show talkers and ticket sellers to excite and cheat visors” (p. 176)10.

In the general public Disney eliminates aspects of racism. McConachie notes that many of the rides in Disneyland extended the kind of empathetic projection that spectators experienced at a musical drama (pg. 176)11. McConachie also mentioned that in addition to offering the kinesthetic delights of all amusement park rides, Disney typically invited a willing suspension of disbelief from his participants in which they cold temporarily share in the adventures of a star character from one of his films (pg. 176)12. Besides these arguments says that the liberal, utilitarian mortality found in most family centered were anchored on the Disney Doctrine. This was because Disney reassured white nuclear families that they were the source of emphatic feelings and thus the potential saviors of uncivilized humanity.

According to McConachie (pg. 177)13 in relations to the bunkered family Disney taught that empathetic parenting ensured psychological independence, social responsibility and democratic citizenship. Also studies show that Disneyland contained the threat of the performative by wrapping it in a sentimental notion of childhood fantasy.  By joining commercial profit and white suburbia to the rhetoric of mothering, Disneyland became a kind of utilitarian utopia; which was considered as the amusement which seemed for many to provide the greatest happiness for the greatest number of American families.

  Goodman found out that upon closer investigation Disney as a popular culture has been successful with the masses in spite of negative media reports and the loud lambastes from Frances intellectual elite over the last few years (pg. 245)14. Goodman thus says that while cultural, historical and geographical change, global uncertainty and market chaos impacted Disney’s viability. Goodman continues to say that “Disney has influenced the theme park industry throughout Europe because in his opinion it appeared that the theme parks are throwbacks to the early fairs and carnivals from which they emanated” (pg. 245)15. He continues to indicate that theme park attendees across Europe and the world at large are seen as enamored of this form of leisure as their America counterparts.

Disney explored the issue of land use from both environmental and philosophical perspectives as it related to the permanency of theme parks structures. Goodman  comments that globally, the trend in theme park development has been towards bigger and at the same time the physical space theme parks occupy and utilize have expanded dramatically and are accompanied by the mounting pollution and other related problems (pg. 245)16. Another concern according to Goodman is that theme parks are situated on vast expanses of land which is massively developed and then re naturalized. Goodman further says that “Disney worlds are simulations o creations of idealized urban space that are created on large tracts of rural land and articulate sensory, cognitive and spatial positioning activities” (p. 246)17

Walt Disney theme park was worthy to be explored. This was due to the Disney’s motifs which worked to convince people that the safeness, the innocence, the carefree visits and happy endings found within its expanding parameters paralleled American society at large (Caputi, pg. 115)18. For example by the virtue of seeing Disney’s family appeal with its ride, story book characters, its gifts shops and souvenirs was to be presented with the veneer of a social totality a society in which there was no missing substrate because no antecedent was ever lost. Caputi therefore says that in this way “Disneyland allowed for psychic redemption because its art and architecture fused postwar enthusiasms for imagination, horror, and hallucination and magic with deep felt desires for safety, security and direction to the society” (p. 155)19.     

Watts says that “Disneyland was a place where customers from step one found them immersed in a fantasy world where unique images and experiences evoked laughter, wonder, curiosity and emotional warmth” (p. 389)20. This was because of the deeper level of mélange of fun and fantasy was enhanced by the profoundly optimistic psychology of the park. Watts also says that a shrewd architecture design scheme manipulated both the movements and emotions of the huge crowds (pg. 389)21. An important principle which was put into much consideration by Walt Disney were the large visual attractions in each land which caught the eye and drew people along preordained routes so that crowds flowed smoothly.

As a result of his clever architectural design Walt Disney muted the frustration of people for waiting in long lines for the parks attractions. Watts thus says that Disney planners came up with a unique system which first was a snakelike pattern masked the length of a line by running it back and forth in parallel lines (pg. 389)22. This was then followed by cleverly engineered schedule which kept visitors steadily embarking on the ride so the line would always appear to be moving forward (Watts pg. 389)23.

Besides this Disney cartoons took a brand of sentimental modernism, which were developed over the years and expanded it in a more sophisticated form. Watts also “mentions that his cartoons illustrated traditional juxtaposition of imagination and reality, free flowing fantasy and technology” (pg. 390)24. Therefore we can say that Walt Disney’s cartoon world materializes bigger than life and twice as real. In this context Watts says that Disney theme parks optimistic, sentimental, fantasy-infused psychology depended on two additional elements. Disney insisted on a genuine commitment to quality.

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