The Mouse that Roared: Disney and the End of InnocenceHenry Giroux shows how Disney atempts to hide befind a cloak of innocence and entertainment, while simultaneously exercising its influence as a major force on both global economics and cultural learning. |
Contents
DISNEY AND THE POLITICS OF PUBLIC CULTURE | 17 |
LEARNING WITH DISNEY | 60 |
CHILDRENS CULTURE AND DISNEYS ANIMATED FILMS | 80 |
MEMORY NATION AND FAMILY IN DISNEY FILMS | 120 |
TURNING AMERICA INTO A TOY STORE | 152 |
INDEX | 172 |
| 184 | |
Other editions - View all
The Mouse that Roared: Disney and the End of Innocence Henry A. Giroux,Grace Pollock Limited preview - 2010 |
The Mouse that Roared: Disney and the End of Innocence Henry A. Giroux,Grace Pollock Limited preview - 2010 |
Common terms and phrases
adults advertising Aladdin American appears audiences become cast members Celebration School cence challenge childhood children's culture cial citizenship commercial constructed consumer consumption context corporate culture corporate power critical critique Cronauer defining democracy discourse Disney corporation Disney culture Disney films Disney Store Disney World Disney's animated films Disney's theme parks Disneyland dominant employees entertainment family values fantasy Hollywood identity ideology inno innocence institutions issue Jon Wiener kids learning Lion King Little Mermaid Magic Kingdom Mark Crispin Miller meaning ment Michael Eisner Mickey Mouse middle-class million Mulan ney's offer pedagogical pleasure Pocahontas political popular culture Pretty Woman produced programs public culture public schools public spheres racial racist radio Radio Disney representations ride role Routledge shaping Smoodin social society suggests teaching television theme parks tion toys Tran ture University Press Vietnam Vietnamese Walt Disney Company York
Popular passages
Page 14 - So against the hegemonic force of the dominant classes, "the people" in fact represent the most creative energies and functions of critical reading. In the end they are not simply the cultural student's object of study, and his native informants. The people are also the textually delegated, allegorical emblem of the critic's own activity.
Page 14 - Said, The World, the Text, and the Critic (Cambridge: Harvard University Press, 1983), 46-47.