“Juvenile literature is a father surrogate” (p. 114)
I found this quote by Ariel Dorfman to be fascinating. Dorfamn explains in his piece Instructions on How to Become a General in the Disneyland Club the troubled fact that children’s literature is produced by adults. While this idea seems like a no-brainer, Dorfman argues otherwise. To clarify, adults project themselves onto children through comics and other forms of media which conditions the real child to behave in the way that the figurative child is portrayed. Rather than having a literature of their own, the child is consumed by what the adult sees fit. Dorfman argues that this is a tactic that adults use to conceal their own guilt. The innocence and perfection of children literature protects the dream-image of youth that adults desire. Additionally, rather than being present and parenting their own children, adults can use media like Disney to brainwash the child into complying by the values that the media projects. In this way, juvenile literature is a father surrogate. If the literature is already the father’s projection, then he is free to be absent or maybe “the favorite uncle.”
“Disneyland tells us that technology can give us more reality than nature can” (p. 203)
I found these words by Umberto Eco to be troubling. Disney has replicated the wonders of our world and embellished them to the point where they can surpass the awe of the originals. This concept can be incredibly dangerous for children especially. Children need to explore the real world, they need to touch true nature. Disney is so fascinating to children that when they see its artificial lagoons and waterways for example, true nature looks bland. Real life adventures in nature can be thrilling and impactful, however, when they are competing with the technology of Disney, children will always choose the thrill of adventuring with robot dinosaurs.
Evie, I appreciate and value your insights regarding Dorfman and Eco. I did want to add on to your analysis of Eco's theory in particular, since I feel as though there is a great depth to what he is saying about Disneyland. After dissecting what he wrote, I too think his words are troubling. They indicate a growing concern in (American) society that has insidiously infiltrated our understanding of the notion of realism. I know that when I got older and matured, I was able to better observe the ideological undertones of the theme park and how its intricate technology distorts our perception of reality. Look at Tomorrowland (mainly in Disney World), for example. It clearly presents itself as the ideal futuristic society, yet it is heavily manipulated by said technology and operates just as robotically as the rest of the park. In fact, nothing about Disneyland strikes me as organic or natural, even the grass seems artificial, since everything maintains a sense of being manufactured, which further proves Eco's various points on the matter. There is a quote I found in the reading that I believe fits in very well with both of our commentaries on the material:
ReplyDelete"...all the buildings are more or less practical, and the shops are open, because Berry Farm, like Disneyland, blends the reality of trade with the play of fiction" (Eco, 1985, p. 201).
Therefore, my question here would be: Does Disneyland serve as humanity's turn away from nature as the purest reality? Moreover, does it display a (perfect) merge of transaction and fantasy?
Evie, I appreciate and value your insights regarding Dorfman and Eco. I did want to add on to your analysis of Eco's theory in particular, since I feel as though there is great depth to what he is saying about Disneyland. After dissecting what he wrote, I too think his words are troubling. They indicate a growing concern in (American) society that has insidiously infiltrated our understanding of the notion of realism. I know that when I got older and matured, I was able to better observe the ideological undertones of the theme park and how its intricate technology distorts our perception of reality. Look at Tomorrowland (mainly in Disney World), for example. It clearly presents itself as the ideal futuristic society, yet it is heavily manipulated by said technology and operates just as robotically as the rest of the park. In fact, nothing about Disneyland strikes me as organic or natural, even the grass seems artificial, since everything maintains a sense of being manufactured, which further proves Eco’s various points on the matter. There is a quote I found in the reading that I believe fits in very well with both of our commentaries on the material:
ReplyDelete“...all the buildings are more or less practical, and the shops are open, because Berry Farm, like Disneyland, blends the reality of trade with the play of fiction” (Eco, 1985, p. 201).
Therefore, my question here would be: Does Disneyland serve as humanity’s turn away from nature as the purest reality? Moreover, does it display a (perfect) merge of transaction and fantasy?
I currently work at Disney, and employees are the people who take the brunt of what it means to uphold the illusion. The entirety of the property is a stage, and the Disney Cast Members are meant to act out pleasantries in order for the customers to feel comfortable at all times. Unpleasant things like vomit or the restroom have codes so the customers are not exposed to indecent things like human body functions. When explaining inconveniences to customers, we place the blame on ourselves for it in a self-flagellating way.
ReplyDeleteThe requirement to smile and be pleasant at all times has resulted in Makoto Natsume, a professor at Osaka Shoin Women’s University, to propose a possible disorder that could arise from this. Dubbed “Smile Mask Syndrome,” Natsume theorizes that the depression comes from the stress of working in a high pressure environment, such as customer service, while also having to suppress their true feelings by appearing pleasant to customers. For example, students would speak to Natsume about stressful experiences they were having, all without realizing the smile they had on their faces. The problems caused by this syndrome are not only psychological, but physical as well. Repeated smiling can cause headaches, similar to repetitive strain injury.
While Smile Mask Syndrome is mainly used when talking about Japanese and Korean society, I believe the implications can be applied to service workers everywhere. They are required to present idealized versions of themselves to customers in order to preserve their comfort, regardless of their own. Ironically, this demand for smiling on the job is said to come from the introduction of Tokyo Disneyland, which started a wave of change in the Japanese workplace. Many theme park workers I’ve spoken to said working at one has ruined the experience of going to one for them, almost like a collective PTSD that comes from the job. For workers, their reality is anything but Disney, since they have to be able to present that Disneyfied version.