Library Catalog
Amazon cover image
Image from Amazon.com

From Walt to Woodstock : How Disney Created the Counterculture / Douglas Brode.

By: Material type: TextTextPublisher: Austin : University of Texas Press, [2021]Copyright date: ©2004Description: 1 online resource (286 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780292798410
Subject(s): DDC classification:
  • 741.5/8/0973
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- Acknowledgments -- Introduction. Disney’s Version /Disney’s Vision: The World According to Walt -- 1. Sex, Drugs, and Rock ’n’ Roll: Disney and the Youth Culture -- 2. Little Boxes Made of Ticky-Tacky: Disney and the Culture of Conformity -- 3. The Man Who Says “No”: Disney and the Rebel Hero -- 4. Toward a New Politics: Disney and the Sixties Sensibility -- 5. My Sweet Lord: Romanticism and Religion in Disney -- 6. Gotta Get Back to the Garden: Disney and the Environmental Movement -- 7. “Hell, No! We Won’t Go!” Disney and the Radicalization of Youth -- 8. Providence in the Fall of a Sparrow: Disney and the Denial of Death WHAT A -- Conclusion. Popular Entertainment and Personal Art: Why Should We Take Disney Seriously? -- Notes -- Index
Summary: With his thumbprint on the most ubiquitous films of childhood, Walt Disney is widely considered to be the most conventional of all major American moviemakers. The adjective "Disneyfied" has become shorthand for a creative work that has abandoned any controversial or substantial content to find commercial success. But does Disney deserve that reputation? Douglas Brode overturns the idea of Disney as a middlebrow filmmaker by detailing how Disney movies played a key role in transforming children of the Eisenhower era into the radical youth of the Age of Aquarius. Using close readings of Disney projects, Brode shows that Disney's films were frequently ahead of their time thematically. Long before the cultural tumult of the sixties, Disney films preached pacifism, introduced a generation to the notion of feminism, offered the screen's first drug-trip imagery, encouraged young people to become runaways, insisted on the need for integration, advanced the notion of a sexual revolution, created the concept of multiculturalism, called for a return to nature, nourished the cult of the righteous outlaw, justified violent radicalism in defense of individual rights, argued in favor of communal living, and encouraged antiauthoritarian attitudes. Brode argues that Disney, more than any other influence in popular culture, should be considered the primary creator of the sixties counterculture—a reality that couldn't be further from his "conventional" reputation.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780292798410

Frontmatter -- Contents -- Acknowledgments -- Introduction. Disney’s Version /Disney’s Vision: The World According to Walt -- 1. Sex, Drugs, and Rock ’n’ Roll: Disney and the Youth Culture -- 2. Little Boxes Made of Ticky-Tacky: Disney and the Culture of Conformity -- 3. The Man Who Says “No”: Disney and the Rebel Hero -- 4. Toward a New Politics: Disney and the Sixties Sensibility -- 5. My Sweet Lord: Romanticism and Religion in Disney -- 6. Gotta Get Back to the Garden: Disney and the Environmental Movement -- 7. “Hell, No! We Won’t Go!” Disney and the Radicalization of Youth -- 8. Providence in the Fall of a Sparrow: Disney and the Denial of Death WHAT A -- Conclusion. Popular Entertainment and Personal Art: Why Should We Take Disney Seriously? -- Notes -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

With his thumbprint on the most ubiquitous films of childhood, Walt Disney is widely considered to be the most conventional of all major American moviemakers. The adjective "Disneyfied" has become shorthand for a creative work that has abandoned any controversial or substantial content to find commercial success. But does Disney deserve that reputation? Douglas Brode overturns the idea of Disney as a middlebrow filmmaker by detailing how Disney movies played a key role in transforming children of the Eisenhower era into the radical youth of the Age of Aquarius. Using close readings of Disney projects, Brode shows that Disney's films were frequently ahead of their time thematically. Long before the cultural tumult of the sixties, Disney films preached pacifism, introduced a generation to the notion of feminism, offered the screen's first drug-trip imagery, encouraged young people to become runaways, insisted on the need for integration, advanced the notion of a sexual revolution, created the concept of multiculturalism, called for a return to nature, nourished the cult of the righteous outlaw, justified violent radicalism in defense of individual rights, argued in favor of communal living, and encouraged antiauthoritarian attitudes. Brode argues that Disney, more than any other influence in popular culture, should be considered the primary creator of the sixties counterculture—a reality that couldn't be further from his "conventional" reputation.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)