The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series)

Stealing Innocence

---

Free download. Book file PDF easily for everyone and every device. You can download and read online The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series) book. Happy reading The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series) Bookeveryone. Download file Free Book PDF The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series) Pocket Guide.

During this same decade proponents of Sesame Street —with private funding, along with extensive testing mechanisms by consultants—argued that the television could reach more children, therefore be more cost effective. This paper investigates how surplus populations became determined and demarcated, as early as three years old. Volume 46 , Issue 1. The full text of this article hosted at iucr.

If you do not receive an email within 10 minutes, your email address may not be registered, and you may need to create a new Wiley Online Library account. If the address matches an existing account you will receive an email with instructions to retrieve your username.

Top Authors

Paul S. Jackson Corresponding Author E-mail address: paul. Tools Request permission Export citation Add to favorites Track citation. Share Give access Share full text access. Share full text access. Please review our Terms and Conditions of Use and check box below to share full-text version of article. Get access to the full version of this article. View access options below.

Resistance and Cognitive Dissonance

You previously purchased this article through ReadCube. Institutional Login. Log in to Wiley Online Library.

Purchase Instant Access. View Preview. Learn more Check out. Abstract In the early s, the US federal government deemed poverty to be a national crisis, and actively intervened to solve this problem. Citing Literature. Volume 46 , Issue 1 January Pages Related Information.

Featured channels

It's a set of sheets and an emblem on a backpack. It's Halloween costumes and candy wrappers. It's sand buckets and sunglasses and ball-caps and T-shirts and dinnerware and lunch boxes and book covers and billboards on the buses and the walls of the schools. It is their America. When kids raised on Disney are asked to define "democracy," Giroux reports, they tell the pollsters that democracy means the freedom to buy whatever I want. For those kids who do not look like Tom Cruise, who do not live in a split-level in the suburbs and ride around in a minivan, who do not have a mid-Western accent, the only way to join "American culture" is to buy the product.

It has no language for community outside of consuming communities. In corporate culture, the bottom line is what matters. Fantasy is a marketing device. Citizenship, Giroux writes, "is portrayed as an utterly privatized affair whose aim is to produce competitive self-interested individuals vying for their own material and ideological gain. The one with the most toys wins. Some 20 million American children are growing up poor. They can't afford an Aladdin doll or a Lion King lunchbox. At the same time, corporate culture "makes a constant spectacle of children's bodies.

Slick, high-end fashion magazines offer up Lolita-like year-olds as the newest super-models and sex symbols. And most American adults think nothing of it. Instead, at beauty pageants across America, children like the late JonBenet Ramsey learn "about pleasure, desire, and the roles they might assume in an adult society," Giroux writes.

Upon the child's tragic death, "Night after night the major television networks aired videotapes of little JonBenet Ramsey in a tight, off-the-shoulder dress, bright red lipstick, and teased, bleached blond hair pulling a feathered Mardi Gras mask coyly across her eyes as she sashayed down a runway.

Playing the role of an alluring sex kitten, JonBenet seemed to belie the assumption that the voyeuristic fascination with the sexualized child was confined to the margins of society, inhabited largely by freaks and psychopaths. Beauty pageants are a billion-dollar-a-year industry, Giroux reports, with sponsors like Procter and Gamble, Black Velvet, and Hawaiian Tropics. Yet, notes Giroux, "Self-esteem in this context means embracing rather than critically challenging a gender code that rewards little girls for their looks, submissiveness, and sex appeal.

But there have always been beauty pageants, you may say. Look again.

Times have changed. Viewing a Sixty Minutes program contrasting clips from a pageant and one today was "both obscene and informative," Giroux writes. Not so with the more recent pageant shots. The contestants did not look like little girls but rather like coquettish young women whose talents were reduced to an ability to move suggestively across the stage. And what will these sexualized children grow into? Today's role models are the "sticklike, expressionless, and blank-eyed" fashion models currently selling cologne by baring their belly buttons.

Or the teens seen in popular films like River's Edge, My Own Private Idaho, and Natural Born Killers , in which, Giroux writes, "white youth are framed and presented through the degrading textural registers of pathological vio-lence, a deadening moral vacuum, and a paralyzing indifference to the present and the future. From beauty pageants to perfume ads to cinema, such images "purge desire of its constitutive possibilities desire as more than pathology and as an enabling force for love, solidarity, and community ," Giroux writes, and "celebrate an excessive hedonism that rejects personal and social responsibility.

Fugitive Cultures: Race, Violence, and Youth, "whereas self-promotion and violent action remain two of the few options for exercising human agency. Again, you protest, there have always been bloody films. Think of Clint Eastwood. Yet in his Unforgiven , like in Schindler's List , the violence is "symbolic," Giroux explains.

It "probes the complex contradictions that shape human agency, the limits of rationality, and the existential issues that tie us to other human beings and a broader social world. Pulp Fiction , on the other hand, presents "an endless stream of characters who thrive in a moral limbo and define themselves by embracing senseless acts of violence as a defining principle of life legitimated by a hard dose of cruelty and cynicism. The form and content of the new hyper-real films go beyond emptying representations of violence of any ethical content; they also legitimate rather than contest, by virtue of their documentary appeal to what is, the spreading acts of symbolic and real violence rooted in and shaped by a larger racist culture.

Take the characters Marcellus, the black drug czar played by Ving Rhames, and Butch, the white boxer played by Bruce Willis. Could those roles have been reversed?

Could the white character have been the one tortured and degraded and the black one the hero? Tarantino has said, Violence in real life is one of the worst aspects of America. It's a false assumption, Giroux argues, that violence can be distanced from reality. It's what he calls "cinematic amoralism. They are "teaching machines.

Michael Eisner, the president of Walt Disney, for instance, has suggested that "American entertainment" was responsible for the fall of communism in Eastern Europe. Wrote Eisner: But it may not be such an exaggeration to appreciate the role of the American entertainment industry in helping to change history. The Berlin Wall was destroyed not by the force of Western arms but by the force of Western ideas. And what was the delivery system for those ideas? It has to be admitted that to an important degree it was by American entertainment. In the same way, Giroux argues, violent and racist entertainment like Tarantino's Pulp Fiction "offers viewers brutal and grotesque images that articulate with broader public discourses regarding how children and adults relate, care, and respond to others.

Yet as a teacher of artists, Giroux does have sympathy for the filmmaker himself. For Tarantino, too, is a product of his culture. As Giroux told me in an interview, "Many artists are trapped. They're trapped in the tradition of the genius. They look at their work in the tradition of 'freedom of expression.

• The structure of lexical meaning: Why semantics really matters
• A History of Natural Philosophy: From the Ancient World to the Nineteenth Century
• Panniculitis, An Issue of Dermatologic Clinics
• The Reform of Public Services under New Labour: Narratives of Consumerism
• 101 Ways You Can Help: How to Offer Comfort and Support to Those Who Are Grieving
• Building Web Applications with Flask
• The Auschwitz Volunteer: Beyond Bravery