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The Magic of Disney Media
Verrazano Capstone Honors Thesis­ Fall 2015
Dylan Figuly
Professor Jillian Baez
Department of Media Culture
College of Staten Island, CUNY

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Disney is a brand that most everyone knows. It has been engrained into the fabric of not
only American culture, but societies and cultures around the world. Chances are that whether a
person even realizes or not, they have engaged with something that was created by Disney or
Disney related at some point in their life. You make ask: “Why choose Disney as a focus of your
senior thesis?” For me, Disney embodies the power of the media. Very few corporations have
been able to achieve what Disney has. Very few companies have been able to have the societal
influence and contributions to culture that The Disney Company has achieved. There are fair
critiques that can be made against the company, some of which I will outline in this paper. Some
scholars argued that Disney’s media has had negative effects on children and that the company
masks its ruthless corporate actions, through carefully constructed narratives about
wholesomeness, fantasy, and magic. However, there are plenty of arguments that support this
good natured identity of the company, arguing that the company provides exactly what it
promises to the public. But whether you support Disney or are opposed to it, you can not argue
the influence that this company has had, and will continue to have for years to come.
In this thesis, I will start by examining the history of Walt Disney and the company he
created. Next, I will discuss the values and ideals that have been expressed by The Disney
Company and their media. Then, I will analyze how Disney uses these values and ideals, along
with their brand image, to connect with their audiences and drive their success as a corporation. I
will also, outline some of the critiques of their media. Finally, I will discuss the role that Disney
has played in my own personal life, in terms of my childhood and participating in the Disney
College Program at Walt Disney World. I feel that drawing from my personal experience will
serve as a layer of direct analysis from an actual Disney worker. Sharing my own experiences

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will help me add another dimension to this thesis, and will supplement for additional literature. I
have decided to use the book ​Understanding Disney ​by Janet Wasko, as the bulk of my research
for this thesis. In addition, I have conducted secondary research, including academic sources and
public sources (such as trade publications, news publications, etc), to supplement. There is
growing scholarship on Disney (i.e., ​Edgerton and Jackson, Moore, Stein, Bohas, Chytry, Kinni).
My objective for this thesis is to have the reader gain a better comprehension of the Disney
Company. I feel that by understanding Disney fully, we can gain insight into what constitutes a
successful media company.
To fully understand the Disney company, we must start by studying the life and career of
its founder, Walt Disney. A PBS documentary, ​American Experience: Walt Disney, ​directed by
Sarah Colt, follows W. Disney’s life and career. One commentator noted that when Walt entered
a room his “personal power walked right in with him” (Colt, ​American Experience: Walt
Disney​). He was seen as a visionary who “built a media/entertainment company” and “created a
cinematic art form” (Colt). One commentator said that regardless of whether you liked him or
not “you had to respect the energy of this guy” (Colt). W. Disney was born in Chicago, Illinois
on December 5, 1901 to Elias and Flora Disney. His childhood was not an ideal one. His father
was a stern man who had endured many personally and professional failures in his life. In 1909,
the family moved to a farm in Marceline, Missouri. Disney had a special place in his heart for
Marceline. To him it was this “seemingly idyllic place” (Colt). It was place where he could grow
creatively, roam free, and play with animals. W. Disney grew an adoration for nature and
animals in this time. A commentator in Colt’s documentary noted that “Marceline represents the
one moment in his [Walt’s] life where he was a child” and represented “the last breath of

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something that seems to resemble a traditional childhood” (​American Experience: Walt Disney​)
However, the family soon moved to Kansas City. To help with the family's financial woes, W.
Disney and his brother Roy were forced to work as children, delivering newspapers in their
town.
Walt had tried to find work in Chicago for a few years. W. Disney left Chicago in 1919
and returned to Kansas City. He has dreams of pursuing arts and animation, and began working
as a commercial artist for an advertising company. Soon W. Disney started making his own
animated short films. It was in these efforts that he came up with a revolutionary idea to make a
short that would combine real life and animation, in which a young girl finds herself in a cartoon.
These shorts were called “Alice in Cartoonland”. Despite his best efforts, W. Disney found little
success in his shorts, so he decided to move to Los Angeles. W. Disney was driven by his desire
to succeed and make a name for himself. “He believed in himself and he believed in what he
was trying to accomplish,” (Colt). When W. Disney arrived in L.A., he found a person to back
his “Alice in Cartoonland” films and they soon took off. He capitalized on his new success and
hired a staff of animators to work with him, included Ub Iwerks, who would work with W.
Disney to create a new character called Oswald the Lucky Rabbit. He named his new company
Laugh­O­Gram studio. W. Disney had very high standards for the people he worked
with.“Disney always wants to work with the best” (Colt). There were concerns among his staff,
that W. Disney was not crediting the animators as much as he should have. One commentator
states that “Disney believed that it was his vision of creativity and entertainment that was the
engine of this enterprise and that’s what was being sold” (Colt). A corporate incident with in his
company, that occurred in New York, caused some of W. Disney’s animators, including Ub, to

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abandon Laugh­O­Gram and take the rights they owned to Oswald. W. Disney had experienced
his first real failure.
Colt’s documentary shows W. Disney’s ambition to succeed and create as a foil to the
failure­induced, “quit” mentality of his father, Elias. As one commentator put it, “Where his dad
quits, Walt steps up. ‘You think Oswald is good, I can do so much better than that. I’ll show you
what I’m capable of” (Colt). Upon his return to Los Angeles, Ub and W. Disney reconciled their
difference and W. Disney began an overhaul on his company. W. Disney knew he needed a new
idea for a character, and quickly. He collaborated with Ub lwerks on a the new character. Cats
and rabbits were popular choices for main characters in the cartoons of that time, however W.
Disney wanted to distinguish himself. The new character crafted would be a mouse named
Mickey. Ub Iwerks designed Mickey’s look and W. Disney brought the character to life by
voicing it. “He wants to be a bigger voice than he is,” stated one commentator, “and it’s a perfect
metaphor of him being this small mouse” that wants to break into a big industry (Colt). Walt’s
new cartoons with Mickey, would incorporate innovative effects never seen before in animated
films, such as quality sound effects and music. The first Mickey Mouse short film, ​Steamboat
Willie​, premiered at the Colony Theatre in New York City on November 18th, 1928. The film
was a smash hit. Word spread like wildfire about the new film and its appealing protagonist; as
well as the man behind it. Seemingly overnight, “Mickey Mouse was the newest Hollywood
celebrity” (Colt). The appeal and massive success of Mickey Mouse, as the commentators of the
documentary argue, was that in a time of economic chaos, brought upon by the Great
Depression, Mickey stood as the “archetype of the American ‘can­do’ spirit” (Colt). He appealed

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to the trials and tribulations of the common man, and it was this sense of relatability that caused
so many to connect with him.
The success of ​Steamboat Willie​ (1928)​ ​and the Mickey Mouse shorts that followed
caused Walt Disney to soon become a ‘household name’. Soon, Mickey merchandise started
pouring out and “Mickey Mouse Clubs began sprouting up at local movie theaters”. W. Disney
would receive loads of mail each day from fans addressed to either him or Mickey. There was
this Walt­Mickey dynamic and association that spread across the nation and caused
“international stardom” on levels that had never been seen before. Not yet 30, W. Disney was a
huge celebrity around the world. Mickey Mouse had paved the way for him. Despite issues in his
personality life, such as tensions with married life, Walt would devote his time to his work to
ward off his problems. He began working on his ​Silly Symphonies ​(1929­1938) cartoons. These
new films innovated new uses of 3D visual depth, color, music, and enhanced sound. To W.
Disney, these new films were off a higher quality than his previous ones, and he created this idea
of “animation as art” (Colt). W. Disney, was known for his easygoing, “jovial and fun”
personality around the office; wanting to be called ‘Walt’ by his staff and not ‘Mr. Disney’
(Colt). However, he was focused on his visions and demanded perfection from his animators. He
would bring in art experts and academics to educate his staff. W. Disney and his staff were like a
family. Through his company, he was able to create his own community “marked Disney”
(Colt). Much like the Mickey cartoons, ​Silly Symphonies​ (1929­1938)​ ​struck a chord with
audiences everywhere. It created this “technicolor rainbow” in the midst of a gloomy
Depression­ridden America (Colt).

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Despite his tremendous success, W. Disney still had big dreams to do something
spectacular. In 1934, he gathered his animators at the Hyperion Soundstage in Burbank,
California, and acted out “the story of ​Snow White​,” (Colt). A feature length animated film had
never been attempted before. While the film was in production, many critics were skeptical of
the project, and felt that it was too ambitious to come to fruition; this earned the film the title
“Disney’s Folly” in the press. W. Disney knew that to have his film be successful, he would have
to not only implement a sense of realism, but that he would have to engage with people
emotionally like never before. W. Disney would combine humor, by means of the Dwarfs’
antics, and drama, with the apparent death of Snow White. “In the shorter cartoons you can make
people laugh”, W. Disney asked “Can you make people cry?”. W. Disney took big measures to
ensure that each aspect of the film was just right, having actors impersonate the characters in
front of the animators” and imploring his animators to experiment (Colt). As the premiere date of
Snow White ​(1937)​ ​drew closer, W. Disney himself began to have apprehension about how the
film would be received. When the film opened in theaters, the audience members were awed.
They laughed at the jokes and antics of the Dwarfs, and when the integral death scene occurred,
“the theater was hushed” with emotional distraught (Colt). W. Disney had succeeded at
entrenching the viewers into the story. “The audience had suspended its disbelief, and was
sucked into the realism of the film,” (Colt). Disney had shown that animated film could go
beyond the confines of its limits. Following it’s premiere, ​Snow White​ (1937) merchandise was
sold nationwide, and the film “grossed more money than any film that came before it” (Colt).
The success of ​Snow White​ (1937)​ ​catapulted Walt Disney into super stardom.

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W. Disney was praised for his innovative work, and was “celebrated as a true American
original” (Colt). He was welcomed and beloved in cities around the world,and had received
honorary degrees from both Yale and Harvard. With his new found recognition, W. Disney felt
unstoppable and was “released from hesitations” (Colt). W. Disney took sometime to look after
his family and spend time with his children, whom he adored. Despite its acclaim, when the
nominations for Best Picture were released at the 1938 Academy Awards, ​Snow White​ (1937)
was not included. Instead, W. Disney received an Honorary Oscar for the film (which would
amount to an honorable mention). W. Disney was devastated. Despite how sophisticated his film
was, animation was not seen as a serious art form. W. Disney was determined to keep his work
going. He came up with the idea creating films, using the model of ​Snow White ​(1937)​; ​in that
finding classic fairy tales, folktales, and novel and making modified film adaptations of those
stories. W. Disney started look into two classic folk tales for film adaptations, ​Pinocchio ​(1940)
and ​Bambi ​(1942)​. ​The challenged, according to W. Disney, was to figure out how to make the
protagonists not only likeable and relatable, but emotionally engaging. “We’re not making
cartoons” W. Disney once said, “Were making art. And art has a higher standard. The standard is
the emotional response you get from people” (Colt). Disney started implementing themes into his
work, that would resonate with audiences and be recurring. For example,​ Bambi​ (1942)​ ​tackles
the motifs of outsiders, redemption, survival, death, and coming of age; while ​Pinocchio​ (1940)
explores “what it means to be human” and that “you have to achieve humanity” (Colt). During
the production of both films, W. Disney’s mother passed away. W. Disney went straight back
into his work.“Cinema offered him a chance to emote” and get his feelings out (Colt). Despite,
his work being done on these two films, W. Disney was more focused on a new project,​ Fantasia

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(1940), that would try to evoke “emotion through abstraction” (Colt). ​Fantasia ​would be
different that it’s predecessors, in that it emphasized the visual beauty of animation, mixed with
classical music. W. Disney had high hopes that his viewers would be amazed by the stunning
mix of animation and sound. However, when the film opened in 1940, it received mixed reviews
from critics, who felt that W. Disney’s work was beginning to appear stale.
As the 1940’s continued, W. Disney’s staff began to grow despondent about the way they
were being treated. The man who had once considered his staff as family, was favoriting some of
the animators over others. People lower down on the ‘corporate food chain’ were being
mistreated, ignored, and were not getting credited or paid as well as the higher level animators.
Disney’s workers soon unionized and rallied strikes and riots against him and the company. W.
Disney was apathetic to the complaints of his workers, and refused to apologize and make
negotiations. At this time, there was a Red Scare spreading the nation regarding fears of
Communism. W. Disney saw this as a chance to justify his actions. “He needs to blame it all on a
villian,” stated one commentator, because he felt that he was being reasonable and his workers
were unjustly crucifying him (Colt). As some of his workers began to abandon him and his
company took a downward turn, W. Disney knew he “needed a box office hit soon” (Colt).
Feeling overwhelmed by the negative attention surrounding him, W. Disney fled to South
America, and let his brother Roy deal with the problems at home. Unlike in the States, W.
Disney was praised and warmly welcomed in each country he visited. During his trip, W. Disney
received news that his father Elias had passed away. Back home, Roy had settled things with the
workers and granted them everything they wanted. The ‘bad blood’ between W. Disney and his
workers left him with a distrust, following the strike. Despite reorganizing the company, “the

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studio would never again feel like family to Walt” (Colt). World War II served as a tough time
for the company, which managed to survive through federal funding for war­related films. “Walt
was counting on a big box office hit to revive his faltering studio. And he believed ​Bambi ​could
fill that bill” (Colt). When ​Bambi ​(1942)​ ​was released to the public, it was a success. Critics
praised the film was its use of naturalism, and its bravery when approaching big themes like
death. One critics called it “fearless filmmaking, absolute fearlessness” (Colt).
Despite the success of ​Bambi ​(1942), ​Dumbo ​(1941)​, ​and moderate success of ​Fantasia
(1940), the film were not as big as W. Disney had hoped, didn’t make their costs. Some were
beginning to say that W. Disney’s sense of experimentation was lacking, and his films depended
on a base formula. W. Disney decided to simplify. “The studio,” one commentator argued, “has
only one reliable and undiminished asset from its prewar glory days: his [W. Disney’s] instincts
about what story to tell and how to tell it” (Colt). W. Disney decided to make a film based on the
American folks tales of Uncle Remus. The film tackled the topic of slavery and ideas about race
relations. However, when the film, ​Song of the South ​(1946), came to theaters, it was boycotted
for promoting racist stereotypes of African Americans and “white washing” and rewriting
history. W. Disney soon set his sights on a film adaptation of ​Cinderella ​(1950)​, ​however W.
Disney felt that “I’m never going to make anything as good as Snow White” (Colt). While his
animators and studio worked on the film, W. Disney devoted his time to toy train hobby. Many
of his workers teased him for it, but in this childlike state of play W. Disney “was seeking an
idea” (Colt). W. Disney had been disgusted at the poor conditions of amusement parks and fairs
he had taken his children to, and wanted “a place where people can take their family and have a
good time” (Colt). He rented out acres of land in Anaheim, California under a pseudonym name

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WED Company. His brother Roy and his wife were skeptical of the idea, but W. Disney had big
dreams to bring his idea to life. It would be a revolutionary new theme park, called Disneyland.
To promote the planning and construction of the park, Walt began appearing on TV. He struck a
deal in 1953 with ABC, in which he would do a weekly show in exchange for money to fund
Disneyland. His Disneyland TV show made a “personal statement about who he was...and who
he thought America was” (Colt).
The Disneyland TV show would take viewers through four themed lands: Fantasyland,
Tomorrowland, Adventureland, and Frontierland. The show was used as a means to “created
anticipation for Disneyland” and showcase W. Disney as a “master of dreams and hopes” (Colt).
He had this way of engaging with the audiences at home and “he always talked to children as
peers, as equals” (Colt). Disneyland’s Frontierland programing was particularly popular, telling
the stories of Davy Crockett and Tom Sawyer. Disneyland was designed to be an environment in
which people could “enter a film” and W. Disney demanded perfection in detail, for the design to
match the films; going as far as to personally oversee the construction of the park. The
painstaking dedication to realism and detail raised concerns that the park would not open in time.
However, on July 17th, 1955, after $17 million worth of construction, Disneyland opened to the
masses. The press heavily covered the event, royalty and political leaders were coming to visit
the park. To tourists, Disneyland was seen as a chance to study American culture. This creation
of W. Disney strived to provide “a perfection you can’t find in real life” (Colt). The park was
praised for its cleanliness, fantasy, and childlike storytelling. Walt dedicated and modelled Main
Street USA after Marceline. Disney revelled in the joys of the park, reclaiming some of the
childhood fun that he was deprived of as a kid. In his later years W. Disney invested his time in

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his final film project, ​Mary Poppins ​(1964)​,​ which would combine music, animation, and
live­action like never before. When the film opened in 1964 it “became a box office smash”
(Colt). As one critic wrote: “You have made a great many pictures that have touched the hearts
of the world. But you’ve never made one so completely the fulfillment of everything a great
motion picture should be” (Colt). W. Disney knew his time was running out, and wanted
something to leave for the world that would outlast him. He began working on plans for an
Experimental Prototype City of Tomorrow or Epcot in 1965. Having smoked nearly all his life,
W. Disney was diagnosed with lung cancer. He died on December 14th, 1966 at a hospital in
Glendale, California.
W. Disney’s death shocked not only the nation, but the world. Many of the Imagineers
who had worked with Walt on Epcot and Walt Disney World felt that without their leaders help
the project could not be finished, however the company moved on. According to the Disney
History section of the company website, Walt Disney World opened “with the ​Magic Kingdom
and two hotels near Orlando, Florida” on October 1, 1971 (“Disney History”). In December of
1971, Roy Disney passed away. The company continued making films and expanded their parks
and television presence, opening EPCOT Center in 1982, and launching the Disney Channel in
1983. Michael Eisner joined the company in 1984, as part of the “Team Disney” expansion
period of the company. Later, in 1989, the third park at Walt Disney World, Disney­MGM
Studios, opens. In the late 1980’s to the late 1990’s Disney experienced their “renaissance”
period in which their films flourished. During this time Disney made many acquisitions and
expansions, such as acquiring Capital Cities/ABC, launching a video game division and an
online division, opening the broadway rendition of ​The Lion King ​(1994)​, ​launching ESPN,

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opening Animal Kingdom at Walt Disney World, etc. Today, Disney is a media powerhouse
with new acquisitions of Pixar, Marvel, and Lucasfilm. Some argue that Disney is currently in
the midst of a second “renaissance” with the success of franchises like ​Frozen ​(2013), ​Big Hero
6 ​(2014), ​Wreck­It­ Ralph ​(2012), etc. As Everett Rosenfeld quoted in an article for CNBC,
“Frozen is just one of Disney’s 11 franchises that drive more than $1 billion in annual sales”
(qtd. in “Why “Frozen” Exemplifies…”).
W. Disney left behind a legacy that will truly stand the test of time because of his
charismatic persona and the narrative proliferated about him. W. Disney realized that he was not
the man his image promoted him to be. “I am not Walt Disney’, W. Disney once said, ‘I do a lot
of things Walt Disney wouldn't do’” (Colt). W. Disney wanted to leave behind a legacy to be
proud, and wanted to be remembered as charismatic, loving guy, with his endearing “Uncle
Walt” persona. “Most successful people get a few things right,” one commentator remarked.
“However, Walt got many things right” (Colt). “That sense of happiness, that sense of American
identity. Those are things that you want to achieve and Disney offers that to you” (Colt). He was
a many of great ambition and passion for his work, with unrelented desire to achieve. He
“represented more than just a guy. He was an ethos, he was way of approaching life...and
whether you hated him or loved him, there was no one who could argue with his affect on 20th
century culture” (Colt). He appealed to dreams and fantasies of the masses because “he
understood the American psyche and anticipated the future of the American psyche” (Colt).
In order to truly understand why the Disney Company has been successful, we must start
by exploring the values that the company expresses through its media and as a corporation. In

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her book, ​Understanding Disney​, Janet Wasko explored the prevalent themes and values of the
expressed in the company’s media. “Although the Disney Company has produced a wide range
of entertainment products and even a variety of motion pictures,” Wasko argues, “the company is
still known for products based mostly on a specific formula that was established at the studio
while Walt Disney was in charge, and has changed little over the years” (110). What Wasko is
referring to, is something she calls ‘Classic Disney’. ‘Classic Disney’ refers to “the company’s
animated films, cartoons, and some live­action films, plus the stable of characters which emerge
from these productions, as well as the consistent set of themes and values that generally represent
‘Disney’ to the general public and critical analysts” (Wasko 110). In other words, it refers to
anything that Disney has produced that has not only been recurring, but have put forth certain
ideologies. This idea of ‘Classic Disney’ is something that has shaped the films and stories, in
terms of their style, formula of plot and characters, as well as themes, motifs, values, etc. This
concept was said to grow out of the ​Silly Symphonies​ films of the 1930’s. These shorts were
defined by their “light entertainment, punctuated with a good deal of music and humor, which
revolved mostly around physical gags and slapstick, relying heavily on anthropomorphized
(human­like), neotenized (child­like) animal characters,” (Wasko 111). Animators were
encouraged to exploit this innocent, likable style when creating characters and were told to “keep
it cute” (Wasko 111). The cute, childlike characters were not only likeable and relatable to the
audience, but they “helped sell merchandise, as well as films” (Wasko 111). These early
examples of “Classic Disney” could been seen in ​Silly Symphony ​films like ​Flowers and Trees
(1932) and ​The Three Little Pigs​ (1933). ​Flowers and Trees​ (1932) combined the beauty of
nature with a tale of morality and anthropomorphized characters. “The story involved a male and

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female tree falling in love, fighting the dark, evil tree (with the help of other forest friends), and
ultimately marrying” (Wasko 111). This film follows a classic formula of plot, in which the
narrative is centered around a love story, and there is struggle between clearly defined
protagonists and antagonists, incorporating ideals of friendship and teamwork, and ultimately,
ending happily. In the case of ​The Three Little Pigs​ (1933) the story provided moral support to
“a Depression­weary American public, encouraging citizens to work hard and maintain an
optimistic attitude” (Wasko 112).
There are certain characteristics that make up “Classic Disney”. As Wasko explains,
“Classic Disney developed as a specific type of story with a predictable plot featuring a
collection of formulaic characters. In addition, the themes emphasized in Disney productions
came to represent specific values and a fairly well­defined ideology. Wasko includes the
arguments made by Steven Watts, that “Disney drew from modernism modified by realism, or an
aesthetic hybrid he calls ‘sentimental modernism’,” (112). According to Watts there are four
layers to this ‘sentimental modernism’. First, ‘Classic Disney’ blended “the real and unreal,
naturalism and fantasy, and manipulated each in an attempt to illuminate the other” (qtd. in
Wasko 112). In other words, Disney’s blending of the natural, real world with the fantastical, is
done in a particular way to heighten the experience in the film. Secondly, according to Watts,
‘Classic Disney’ secures “nonlinear, irrational, quasi­abstract modernist explorations
comfortably on the cultural map by utilizing certain tropes from the Victorian past ­ an
exaggerated sentimentality, clearly defined moralism, disarming cuteness ­ as familiar artistic
signposts,” (qtd. in Wasko 113). Basically, Watts’ argument here, is that Disney’s uses of
cultural ideals (such as being sentimental, moral definitions of good and evil, innocence and

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endearment) as symbols that can be easily related to by any audience, regardless of their cultural
differences. In addition, these ideals offer a more simplified view of life. Third, Watts states how
‘Classic Disney’ “willingly dug down through layers of consciousness to engage the fluidity of
experience and action, but always returned to embrace rationality,” (qtd. in Wasko 113). Here
Watts explores how Disney reaches people through their use on fantasy and artistic expression,
but could still return to ideals of rational thinking. Fourth, Watts states how these old ‘Classic
Disney’ films “animated the world ­ literally­ by ascribing intention, consciousness, and emotion
to living and inanimate objects alike, but did so in such a way as to downplay the presence. of
evil and tragedy,” (qtd. in Wasko 113). What Watts is getting at here, is Disney’s creation of
anthropomorphic, good hearted, protagonists that can form engaging, emotional connections
with viewers. Finally, Watts talks about how these films “good­naturedly satirized the
pretensions of high culture and sought to invigorate it with the vitality of popular cultural
expression,” (qtd. in Wasko 113). In other words, Disney was tasteful in their use of satire and
pop cultural references.
“Classic Disney” is exemplified by the company’s use of reinventing classic folk stories
and fairy tales. “As many critics have noted,” Wasko explains, “stories and characters typically
go through a process of Disneyfication, which involves sanitization and Americanization,” (113).
Disney takes these stories and puts a spin on them, emphasizing certain characters and plot lines
over others, incorporating motifs and moral ideals, and packaging the final product as a desirable
narrative. Wasko cites an argument made by Bordwell, Stagier, and Thompson, in which Disney
follows a model of “Classic Hollywood Cinema” (113). There are seven aspects of this model.
First, although fantasies, memories, and dreams are used, ‘Classic Disney’ narratives are “mainly

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set in a present, external world” (qtd. in Wasko 114). Second,, the stories incorporate “individual
(not group) characters with clear motives” that “cause the narrative’s actions and consequences”
(qtd. in Wasko 114). Third, the main characters are goal­oriented and have purpose. Fourth, in
order to achieve their goal, the main characters have to overcome antagonists and various
hurdles. Fifth, “the main characters succeed in reaching the goal (happy endings), and the film
has closure, not unresolved plot lines,” (qtd. in Wasko 114). Sixth, “the emphasis is on clear
causes and effects of actions” (qtd. in Wasko 114). Finally, Disney makes good use of
“continuity editing and other filmmaking techniques” in order to assure that the story is being
told cleanly and the narrative has “clear, linear development,” (qtd. in Wasko 114). Wasko notes
that music also plays a big role in many of the films, and have incorporated love stories (often
the two are intertwined). This has made it easy for Disney franchises to be converted into
Broadway musicals. Wasko uses a quote from Hahn to express this: “Songs are important
because they express the major turning points in the story. In the development of an animated
film, the songwriters are an essential part of the storytelling team,” (qtd. in 115).
The use of the “Classic Disney” formula can be expressed by their uses of archetypal
characters. As Wasko points out, “the Disney animators followed careful formulas in creating
characters and stories, which typically revolve around heroes or heroines who are strikingly
handsome/beautiful, with an upper­class or aristocratic background” (115). Disney narratives are
known to use a standard set of character types. Wasko references a 1998 article by ​Entertainment
Weekly ​that lists these character types. First there is the hero/heroine who usually emote sex
appeal, are the musical protagonists of the films, and tend to leave their home to either answer a
call of duty or to escape their current life conditions (such as Ariel in ​The Little Mermaid

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(1989)). Next, there is the love interest, usually a female character, who is admired by the
antagonist of the film (such as Jane in ​Tarzan ​(1999)). They are either head strong and confident,
projecting individualism, or ‘damsels in distress’. Then, you have the sidekick, who “behaves
like hero/heroine’s naughty younger sibling….provide(s) comic relief,” (qtd. in Wasko 115) (An
example would be Cogsworth in ​Beauty and the Beast​ (1991))​. ​Next, there is the mentor, “who is
reluctantly pressed into service by hero/heroine’s worthiness” and can also provide be a source
of morality for the protagonist, as well as provide some comic relief (qtd. in Wasko 115) (For
example, the Genie in​ Aladdin ​(1992)). Next, there is the villain who serves as the main
antagonist, is usually power hungry, arrogant, and seeks to gain control (such as Scar in ​The Lion
King​). However, the villain always reaches his/her demise. Finally, there is the henchman, who
serves as a sidekick to the villain, usually bickers with the antagonist, but gets off scot­free at the
end (for example, Iago in ​Aladdin ​(1992))​. ​The way the characters are written, and how they act
tends to be consistent film to film. However, the predictability of these character roles have lead
to some criticism, claiming that Disney is narrow in their representations of issues like gender
roles, racial equality, social status, etc.
The themes and values of “Classic Disney” films, are argued to be representative of
“Walt Disney’s own Midwest conservatism” (Wasko 116). They are argued to have “evolved
from what Walt Disney and others at the studio perceived an audience would accept and enjoy,
or, in other words, how they could entertain and amuse audiences through their animated
productions,” (Wasko 117). Wasko continues, claiming that “the products manufactured by the
Disney company are laden with meaning and values, some deliberately encoded and others that
may not have been intended,” (117). One of the themes prevalent in many of the “Classic

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Disney” films is individualism and optimism. The films are said to promote an ‘American
agenda’ of “advancement through self­help, strict adherence to the work ethic, and the supreme
optimism in the possibility of the ultimate improvement of society through the progressive
movement in humankind,” (qtd. in Wasko 117). In other words, the films tap into a hopefulness
and desire to make a difference in the world, the key of which is hard work, positive thinking,
and self awareness. Escape, fantasy, magic, and imagination are also very important themes
throughout the films. “Many Disney plots,” Wasko argues, “revolve around characters wishing
to escape from their current setting or situation,” (117). These ideals are obvious when looking at
the titles of song in some of the Disney films, such as “I’m Wishing” in ​Snow White​ (1937)​, ​and
“When You Wish Upon a Star” in ​Pinocchio ​(1940). There is an ambition among the characters
for more, like Aladdin, who wants to become a prince in order to impress Jasmine, or Geppetto,
who yearns for Pinocchio to be a real boy. “And, of course, the wish is most often granted or
made possible by a fairy or magical being, not necessarily by the actions of the character,”
(Wasko 117­118). Innocence is another theme often used in Disney films. According to Wasko,
“the worlds created in Classic Disney represent a wholesomeness and innocence that somehow
seems foreign to the world in which we actually live in,” (118). This is a tactic used, as a way to
appeal to children and families. The films are seens as wholesome, safe, and enjoyable for all.
However, some experts argue that this sheltered view of the world is dangerous, in the sense that
it guards children from reality. As previously mentioned, romance and happiness are very
prevalent in Disney’s narratives. “Leading characters most often fall in love at first sight, and
stories revolve around their quest for love,” (Wasko 118). Despite the obstacles that the
characters face, there is an idea present that ‘love conquers all’ and that every story will end

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‘happily ever after’. Finally, morality is often expressed in all the films through the idea of good
triumphing over evil. As Wasko states, “the moralism is clear and overt. Good is rewarded, evil
is punished. Characters are clearly either good or evil, with little ambiguity or complexity. And
good always triumphs,” (119). It is clear to see that these ‘Classic Disney’ values, characters,
and themes are carefully implemented into the stories, with clear distinctions and
comprehension.
However, it is important to realize that it is not just these facets of ‘Classic Disney’, that
shape the identity of the brand. Disney works hard to maintain a good corporate image and
strong ideals. One big ideal that the Disney Company is associated with, is how they treat their
consumers, with a focus on providing great customer service. Disney is seen as a brand that
genuinely cares about their customers. This explored in Allen Adamson’s article for ​Forbes​,
entitled “Disney Knows It’s Not Just Magic That Keeps a Brand on Top”. Adamson argues that
to be a success company “you must do what it takes to keep your promise, keep it relevant, and
meet consumer expectations whenever they touch your brand,” (Forbes). Disney does this by
differentiating themselves as a ‘media king of customer service’. They also realize that they have
to adjust to the times they live in. As Adamson puts it. “​Consumers are interacting with brands in
myriad new ways, but brand organizations have to move much faster, with greater agility and
responsiveness to consumer actions and reactions, which can be at warp­speed in this rapidly
changing environment,” (Forbes). Adamson references Tom Boyles, Senior Vice President,
Global Customer Managed Relationships at Disney Parks and Resorts, who explained that there
are “11.2 billion possible combinations of how you can experience the product,” (qtd. in
Forbes). Disney stays ahead of its competition, according to Adamson, by not only being

21. 21
different, but by remaining true to its core promise to “create happiness through magical
experiences” (Forbes).
Boyles stated that the key is to understand a guest’s needs by listening to them. As
Disney has grown as an organization, they have made a conscious effort to switch from what is
commonly known as Customer Relationship Management, to Customer Managed
Relationships,” (Adamson). In other words, giving putting into place “initiatives that put the
guests in control of telling Disney what was important in a Disney experience,” (Adamson).
Adamson explores in the article how this has been implemented at the Walt Disney World Resort
in Orlando, Florida. The CMR system allows Disney to not only have a feedback loop with their
customers, but it always the guests to have agency, control, and the ability “to optimize their
personal Disney experience,” (Adamson). This system allows for guests to be serviced according
to their own time and place preferences. This shift not only provided satisfaction for the guests,
but “generated energy and enthusiasm with employees,” (Adamson). It allowed for cast members
to focus more on making ‘magical moments’ for the guests, and increased productivity.
Technology played a key role in this shift. Disney was focused on “innovative technology and a
maximum utilization of this technology to enhance the customer experience,” (Adamson). This
was done with the introductions of the MyMagic+ vacation planning service. Guests could now
be in charge of controlling every aspect of their vacation through the MyDisneyExperience app.
With this came MagicBands, which guests could use to book appointments and reservations,
hold their resort information and credit cards, hold entrance passes and Fast Passes to attractions,
etc. These innovations further ingrained the company’s reputation of being an innovative,

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tech­savvy, guest oriented corporation. As Tom Boyles put it, it was Disney’s way of ensuring
“that the most magical place on Earth, remains that way,” (qtd. in Adamson).
Disney’s success and corporate values are defined by their ability to promote their brand
and market themselves. This is explored in Rance Crain’s article for​ Advertising Age​, entitled
“Disney Magic Works Because of Discipline, Belief, and Leadership”. Crain argues that Disney
takes a “unique approach to marketing,” (Ad Age). In the article we get the insight of John
Skipper, president of ESPN and co­chairman of the Disney Media Networks. Skipper argues that
“There is nobody better at taking a spectacular piece of film, turning it into an enchanting piece
of magic for kids and families, and then making it a park ride, putting plush into stores, creating
walk­around characters for the Disney cruises, making books and clothes, and moving it around
internationally,” (qtd. in Crain). He goes on to say that “​when Disney thinks about ​Frozen ​or
Captain America, ​it's creating great content but also making sure that everybody is on board to
exploit that content across all its different platforms and media and create a central premise and
theme as well,” (qtd. in Crain). In other words, what Skipper is getting at, in the concept of a
well throughout multi­media, cross promotional approach that Disney takes to its advertising,
PR, and marketing; which also ties into “Classic Disney” themes. In order to achieve this, you
need a company that works well together and have faith and pride in the work they’re doing. To
achieved it takes “a lot of discipline, a lot of belief, and a lot of leadership,” (qtd. in Crain).
Much like in Adamson’s article, Skipper explains that Disney stays current and evolve by
not getting “caught in old attitudes,” (qtd. in Crain). Skipper uses an example of how​ Frozen
(2013) promotes a pro­feminist agenda, by expressing themes of female empowerment; in that it

23. 23
promotes ideals of independence from men, sexual freedom, self­reliance, etc. Also, much like in
Adamson’s article, Crain discusses how technological innovation has helped Disney grow its
marketing strategy. ​“Disney has also been adept at figuring out new ways to use marketing
across all media, including social,” (Crain). They have tapped into their audiences on Facebook,
Twitter and other social networking sites. It is argued that Disney’s massive size, and tons of
affiliations (in terms of companies owned and levels of production) mean that the company
“doesn't have to do "piecemeal" deals with other marketers” because they control “all the
platforms within the company,” (Crain). Skippers goes on to explain that “there's nothing better
than being your own partner so you can control the creativity and the marketing of the whole
process so that you maintain a level of quality, so the message feels consistent and reliable across
different platforms,” (qtd. in Crain). Disney has the power to not only control what they make
and how it is made, but also how it is promoted and distributed. Skipper uses the example of
ESPN, and how it is important that all the platforms are on the same page in terms of promoting
ESPN’s programming.
Disney’s corporate image and values are not just defined by how they market themselves
to their audience, or how they interact with their consumes, but how they giving back to society,
through good corporate practices and social responsibility. This is expressed in an article by
Business Review USA, entitled “The Walt Disney Company­ A Leader in Corporate Social
Responsibility”. The article states that “the Walt Disney Company is one of the largest and most
well­known corporations practicing Corporate Social Responsibility (CSR) all the way down the
line in their business model,” (Business Review USA). The Disney Company has been greatly
supported for many years by its loyal consumer fan base, and it “has a tremendous responsibility

24. 24
to give back to those who have helped it become the powerhouse that it is today,” (Business
Review USA). Disney showcases it CSR in a variety of different ways. The company “mainly
focuses on the environment, community, and labor standards while focusing heavily on
volunteerism,” (Business Review USA). These practices establish the company as being socially
conscious, and caring about the concerns of the people who support them, and the world they
live in. This helps to provide a positive brand image and corporate image of the company. For
example, the article talks about how Disney partakes in a lot of charity efforts and philanthropy,
particularly with national disaster relief efforts. In 2011, the company won an award for
Corporate Social Responsibility at the Jane Goodall Global Leadership Awards. According to the
article, “​this award honors a corporation or business that has taken significant steps to better our
world through responsible business practices,” (Business Review USA). It goes on to explain
that “volunteerism is a major focus for Disney, offering free tickets to a million people in
exchange for a day of volunteer service from an organization of their choice. This encouraged
over one million people in the United States to commit to service efforts to volunteer in their
communities,” (Business Review USA).
Disney focuses much of its volunteerism and philanthropic work on environmental
conservation efforts. “Their goal is to benefit their guests, employees and businesses, while
making the Company a desirable place to work through their consumer social responsibility
efforts,” (Business Review USA). W. Disney loved nature and was serious about protecting it, so
it is only natural that the company would take such efforts. They have taken measures for
environmental protection, often documenting nature and producing nature­centric films and
televisions shows that are meant to encourage “environmental education” (Business Review

25. 25
USA). An example of this are Disneynature films that not only “share compelling stories and
immerse audiences in the natural world”, but a portion of proceeds from these films go to
conservation efforts around the world (Business Review USA). To help with its efforts, in 1995,
Disney established The Disney Worldwide Conservation Fund which ​“supports efforts of local
and global non­profits who protect wildlife, ecosystems, and make a positive impact on the
community,” (Business Review USA). Disney also incorporates their environmental awareness
in their parks and resorts. They provide “​education programs at Disney’s Animal Kingdom,
Disney’s Animal Kingdom Lodge, The Seas with Nemo & Friends and The Tri­Circle D Ranch
at Walt Disney World Resort; Disney Cruise Line’s private island in The Bahamas Castaway
Cay; and Aulani, a Disney Resort & Spa, in Ko Olina, Hawaii,” (Business Review USA). In
addition, they offer tours of their zoological facilities at Disney’s Animal Kingdom. These
activities are used to “create magical memories for their guests, while also making a difference
for conservation around the world,” (Business Review USA). Finally, the company encourages
its cast members and employees to get involved in the community and perform “good deeds
through its Disney VoluntEARS program,” (Business Review USA). All of these efforts show
Disney ​“takes their corporate social responsibility seriously and with a great amount of pride,”
(Business Review USA).
Disney proliferation of its values, ideals, and stories have made them very successful.
However, it is important to understand that a lot of this success can not be credited to these
aspects alone. It is the combination of their corporate image, “Classic Disney” elements, and
their use of symbols, brands, logos and other tangible trademarks that have made them iconic. By
iconic, I mean recognizable, distinguishable, and more than just simply a media entity; but rather

26. 26
an integral part of American pop culture, and cultures in general. Think about how you can
immediately associate a symbol of Disney’s to its brand. For example, how a image of
Cinderella's Castle makes you think immediately of Walt Disney World, or how they famous
Mickey Mouse symbol (which on the surface in simply three circles enclosed together) has
grown to, at times, be the visual representation of the entire Disney brand. What has made the
Disney brand iconic? It can be a hard question to answer. The answer may lie in its most famous
creation: Mickey Mouse. Returning to the book ​Understanding Disney, ​Janet Wasko explores
why Mickey has become such an icon, quoting the famous line: “Remember, this all started with
a mouse,” (qtd. in 123). She continues saying that “Mickey Mouse has evolved to mean
something far beyond the role that an animated mouse plays in cartoons produced by the Walt
Disney Company. The Mouse is an immediately recognizable, and possibly the most widely
recognized, cultural icon in the world,” (Wasko 123). He has grown to be “a symbol of just about
everything American,” (Wasko 123). The design of Mickey has changed over time “from
definitely a rodent (long nose, small eyes, skinny limbs) to something more cuddly, with big eyes
and round features,” (Wasko 123). Mickey was designed with much of the other ideals of
child­like characteristic that shaped other Disney characters. He was given four fingers, instead
of five, which was supposed to “represent a state of constant youth and incomplete
development,” (Wasko 123). The creation of Mickey’s voice, originally done by W. Disney
himself, was to serve the character in straight man roles, being cunning yet playful, supportive of
his friends, and to amplify him as a corporate symbol of Disney. As Wasko explains, “his
primary role today is as the corporate logo of the company,” (125). Wasko sums up Mickey’s
appeal nicely by quoting something that Michael Eisner (the CEO at the time) said about the

27. 27
character in Disney’s 1993 Annual Report: “Mickey, like the rest of the classic Disney
characters, does not live in the temporal world of mortals. Instead, he and his Disney
counterparts live in the hearts, memories, and minds of people everywhere. He is renewed with
each generation, which means that Mickey at 65 … or 165 … will remain eternally young,
eternally optimistic, eternally plucky,” (qtd. in 125).
Now that we have established Disney’s core values, as well as the themes, ideals, and
icons they use, it is time to explore how Disney has been so successful as a company. In order to
do this, one must look into Disney’s corporate strategies and practices, how they are able to
manufacture magical experiences for their consumes (in terms of their parks and resorts), and
how Disney audiences are defined. In addition, in order to gain a rounded view, it is important to
understand the critiques that have been made about the company’s media and some of their
practices. As Wasko explains, in order “to understand Disney’s brand of fantasy, we must
understand how it is manufactured and marketed, and by whom,” (28). Wasko uses a quote from
the Disney University handbook to understanding the company’s corporate views: “Disney is a
business. As a business we are accountable to our stockholders to produce a profit. But in order
to make money, we have to get the public to consume our product,” (qtd. in 29). Following,
Walt’s death, the Disney Company had become “more oriented to recreation and real estate than
to entertainment, as exemplified by the theme park expansion,” (Wasko 30). During the 1970’s,
the company was having mediocre success in their film division. Wasko argues that one of the
reasons that the films fell short of Disney’s expectations for success, was due to “the attempt to
cling to the past, attempting to reproduce successful Disney films and avoid the changes being
adopted by the rest of the industry,” (30­31). In the early 1980’s, there was a conscious shift in

28. 28
the film industry towards cable and home video, as well as new investment opportunities.
Although Disney made a few attempts to get with these trends, with the launch of the Disney
Channel and Touchstone, “most analysts agreed that the company’s management was basically
‘sitting on its assets,’ trying to ‘do what Walt would have done’ and not doing a very good job of
it,” (Wasko 31). Disney knew that, for it to survive, it would need to radically reinvent itself.
Soon, “a new management team was installed by the new owners, who looked to experienced
players in the entertainment business to help turn the company around,” (Wasko 32). In the mid
1980, Michael Eisner, who was the president and CEO of Paramount Pictures, became the new
CEO of the Walt Disney Company. Some were skeptical of Eisner being chosen, however “one
writer observed that he was ‘more Walt than Walt Disney” due to his charisma and strong family
values (Wasko, 32). Along with Eisner, the rest of the management team was called “Team
Disney”, referring to the fact that they were going to revolutionize the company by reforming it.
Part of their business strategies for the company, was to fire a certain amount of employees (who
were striking at the time), and finding ways to cut costs, increase stock value, and increase
productivity.
By the mid 1980’s, the efforts of “Team Disney” provided radical financial success for
the company. As Wasko explains, “from 1983 to 1987, annual revenues more than doubled,
profits nearly quintupled, and the values of Disney’s stock increased from $2 billion to $10
billion; by 1994, it was worth $28 billion,” (33). One could argue that Eisner had the business
and financial expertise that W. Disney lacked. “Since the new ownership/management team took
over in 1984, the Disney empire had extended its tentacles more widely and tenaciously than
ever before,” (Wasko 34). As the 1980’s turned into the 1990’s, the company was focused on

29. 29
massive expansion. Rather than focusing primarily on their films, new business strategies and
activities were put into place “in which the new management team aggressively exploited the
Disney brand name, as well as diversifying outside the traditional Disney label,” (Wasko 34).
Wasko references Knowlton, in terms of the ways in which “Team Disney rejuvenated the
sagging corporation through a variety of new policies,” (34). First, they revived their ‘traditional
Disney’ media, “by repackaging existing products and creating new animated features,” (qtd. in
Wasko 34). Next, in order to keep with the changing times, the company began “modernizing
some Disney characters” by way of design and personality (qtd. in Wasko 34). Next, they
focused on diversifying their company with new product lines that appealed adults and teenagers.
They started severely cutting costs. The company introduced dramatic price increases at the
theme parks” to increases profitability (qtd. in Wasko 34). Finally, they began “employing new
technological developments”, like computer animation, and teamed up with the animation studio
Pixar to work on films implementing this new technology (such as Toy Story, A Bug’s Life, etc.)
(qtd. in Wasko 34).
While these changes were important, there were four key strategies that also played a big
role in the development of the company. The first is corporate partnerships. The company began
aligning with certain brands and corporations, through partnerships and sponsorship, especially
in their parks and resorts. “As more theme parks and diverse activities were added, more
partnerships emerged,” (Wasko 34). For example, big companies like AT&T, Exxon, and GM
began to sponsored exhibits and attractions at EPCOT. Part of these partnerships dealt with
gaining “revenues from licensing their characters to other companies,” (Wasko 34). As Wasko
explains, “Team Disney milked these partnerships even further, rearranging EPCOT license to

30. 30
add further benefits for the Disney company and moving to more advantageous partnerships
when possible,” (34). The company would incorporate ties with McDonald’s, who would sell
Disney themed toys in their Happy Meals, in exchange for having their restaurants added to the
theme parks. “Meanwhile, Delta Airlines represents the ‘official airline of Disney World,’ while
National Car Rental is Disney’s official car rental company,” (Wasko 35). Another strategy that
the company implemented was limiting exposure. Disney’s corporate partnerships served “as a
way of limiting investments in some projects,” while giving them the ability to pursue “other
sources of funding,” (Wasko 35). For example, they had contracts with the US government to
make films during WWII. The goal for Team Disney was to “use other people’s money and to
limit the company’s exposure,” (Wasko 35). For example, they would receive assistance from
foreign governments when pursuing projects abroad. The next strategy that the company used
was diversified expansion. This included “diversifying its business activities” and taking
advantage “of new and emerging technologies,” (Wasko 35). For example, the company
expanded into television markets, film distribution markets, and publishing markets, and began
investing more time and money into the growing markets of video gaming and the Internet.
Finally, the company focused on maintaining corporate synergy. As Wasko puts it, “not only has
Disney added this wide range of corporate activities, but the company has linked these different
business endeavors under the Disney brand,” (36). The main goal was to “exploit the most
profitable niches and synergies in the franchise,” (qtd. in Wasko 36).
The “Team Disney” management found great success with the company in the 1990’s.
With the acquisitions like Capital Cities/ABC, and expansions to Walt Disney World, with more
resorts, amenities, and the addition a new park called Disney’s Animal Kingdom, the company

31. 31
was well on its way to being corporate powerhouse. Following the takeover of Capital
Cities/ABC, one financial analyst noted: “Disney is the benchmark that all other entertainment
companies are going to have to value themselves off,” (qtd. in Wasko 37). The company began
hitting on all cylinders, expanding across of their media platforms. For example, in terms of the
their film sector, “the company has continued to periodically reissue classic Disney films … in
theatrical releases” as well was reinvigorating its “its animated business” by “adding stories and
characters to the Disney stable,” (Wasko 43). Their successful films have spawned off sequels,
spin­offs,“home videos, television series, merchandise, and Broadway productions,” (Wasko,
43). In addition, there has been a strong effort towards extending “the Disney film empire even
further into markets for adult and foreign films, again providing diversification beyond the
family­oriented market,” (Wasko 43). The television market continued to grow with “new
animated television programming … such as ​Ducktales, Mighty Ducks, Quack Pack, ​etc.” due to
its “takeover of ABC,” (Wasko 46). ABC diversified programing, offering sitcoms, talk shows,
educational programs, and of course Disney­related programs. For example, the show
Mouseworks​, which featured “Mickey, Minnie, Donald, Pluto, and Goofy ­ made it’s debut in
May 1999 on ABC, of course, ‘bringing Disney’s classic characters to a whole new generation’,”
(Wasko 47). Disney heavily continued its proliferation of Disney merchandise, charging royalty
fees for retailers and wholesalers that wanted to sell their product. This is related to milking the
Disney franchises and providing synergy. As Wasko explains, “when Team Disney took over,
they emphasized the exploitation of the stable of ‘standard’ characters, such as Mickey, Donald,
and Winnie the Pooh, as well as the development of new properties. Not only does Disney

32. 32
continually create new characters for its stable, but the company is able to reinforce these efforts
through its extensive business empire,” (50).
A concepted mentioned before, synergy, is one that is important to focus on when
considering Disney’s success as a corporate entity. According to Webster’s Ninth New
Collegiate Dictionary, synergy is “combined action or operation”, and synergism is “working
together ; the cooperative action of discrete agencies such that the total effect is greater than the
sum of the two or more effects independently,” (qtd. in Wasko 70). In other words it deals with
exploiting a franchise or brand across a variety of outlets, in terms of cross­promotional
activities, and cross­creation and distribution of products, etc. Doing this, Wasko argues, creates
“a synergy between individual units” and produces “immediately recognizable brands,” (71). An
early example of this is how Disneyland, and the sections within the park were promoted via
television (with the ​Disneyland ​television show). The way one executive explained it: “It’s a
unique attribute of the Disney company, the ability to create synergy between divisions, whether
it’s interactive games, Buena Vista television, or the Disney Channel. We all work together and
we do it on a year­round basis and we do it aggressively,” (qtd. in Wasko 71­72). As Wasko
explains in an article she wrote called “The Magical­Market World of Disney”, synergy allows
for children's culture to be commodified, because the young viewers are receiving media
messages that are consistent across all platforms. “Disney is about creating entertainment
commodities that penetrate into homes everywhere through the manipulation of innocence and
dreams, manufacture of fantasy for profit,” (Wasko, “The Magical­Market World of Disney”).
This idea of synergy was well implemented during the promotion of the film ​Hercules​ in
1997. Even though the film wasn’t set to be released into theaters in the US until June 27, 1997,

33. 33
“a wide array of promotional activities and the sale of merchandise started long before that date,”
(Wasko 72). The main idea, was an article from Children’s Business put it, was that “for the
folks at Disney, the philosophy was simple: The movie is the primary product and serves as the
inspiration for the merchandise that flows from it,” (qtd. in Wasko 72). Wasko quotes a Disney
executive who said: “It’s important to us that the entertainment comes first. First, the kids will
see the movie and fall in love with the characters; then they’ll want to bring home a piece of that
movie,” (qtd. in Wasko 72). ​Hercules​ (1997)​ ​was different in that it started promoting the film a
year before the release date. According to Wasko, “during the 1996 Christmas season, four
minute trailers for ​Hercules ​were shown before each theatrical screening of ​101 Dalmatians,​”
(72). Stage shows to promote the film were taken to malls across the country, along with
interactive play areas and video demonstrating how the characters in the film were animated. In
additions to promotional activities and tie­ins, merchandise was released before the film came
out. Much of these items were targeted directly to kids, such as comics books, backpacks, toys,
etc. The promotional marketing efforts, as well was selling of merchandise created a huge
amount of buzz around the film. Even though the film itself was not as well received as
previously hoped when it was released, it received big numbers at box office, due to the hype
that surrounded the film. It serves a prime example of Disney’s ability to sell a media product
through smart marketing and promotional tactics.
A big reason for Disney’s success has been the company’s ability to “control its
properties, through copyright, labor relations, and tough tactics,” (Wasko 83). Copyrights are
used for protecting the artistic works on a company, while trademarks product names, catch
phrases, symbols, and logos that are attached to certain brands or products. As Wasko explains,

34. 34
“the enforcement of intellectual property rights has become a vital issue for media and
entertainment companies, especially in light of the proliferation of branded products, as well as
the increased global marketing of products,” (83). Disney takes tough action against pirates of
their content and products, especially in regards to their characters. As Paul Pressler, the VP of
Disney merchandise licensing put it: “Our characters are the foundation of our business and
project the image of our company, so it’s imperative that we control who uses them and how
they are used,” (qtd. in Wasko 84). Disney has sued various companies when their characters
have been used without their permission; even refusing to allow them to be on U.S. postage
stamps. Disney went as far as to, in 1998, lead “a successful lobbying campaign to convince
Congress to pass legislation extending copyrights, representing a classic example of how Holly
clout can influence the legislative process,” (Wasko 85). The legislation, known as the Copyright
Extension Act, extended the amount of years in which a company could have “exclusive rights
over their copyrighted properties,” (Wasko 85). Now not only could Disney control and protect
their properties better, but for a longer period of time.
Disney has been known for its ability to control the labor forces. Disney can do this
because of how powerful and influential the company is. As Wasko explains, “the Disney name
is an attraction for potential employees, who may have dreamed all their lives about working at
the studio or one of the theme parks,” (89). Disney keeps control by having enjoyable positive
work environments, and giving their employees incentives and chances to advance
professionally. Many “employees feel that working for Disney is a boost to their career, and that
the perks offered them”, such as free admission to the theme parks and discounts, “are seldom
matched by other companies,” (Wasko 89). However, the company expects a lot from their

35. 35
employees and a high level of work ethic and productivity is expected. Disney is able to keep
their employees’ loyalty by promoting the company as a “‘community’, in which employees
share in decision making, and promotions are made from within the company,” (Wasko 89­90).
In other words, Disney works hard to make their employees feel like they are important and
valuable to the corporation. Disney is able to control their labor, in the studios and animation
departments, by incorporating a fair mix of domestic and offshore workers. The cast members at
the Disney parks and resorts are expected to be “happy and helpful employees,” (91). The secret
to having their employees maintain this emotional and mental state, is not so much to do with
how ‘magic’ the park is itself, but achieved by Disney’s exploitation of their narrative to
hopefuls who have dreamed of working for them. Often, recruiting college students through the
Disney College Program, the company is able to shape proper cast members, by orienting the
new recruits to Disney’s culture as a corporation and instilling their values in them; all of which
is referenced back to Walt Disney himself. In their parks and resorts, Disney expects their cast
members to be proactive workers, who actively “seek out guests,” (Wasko, 92). “Employees are
required to smile, to make eye contact, to display appropriate language” as a means to
“expressing socially desired emotions during service transactions,” (qtd. in Wasko 92). However,
besides being encouraged to be active and engaging, cast members must “never embarrass a
guest, never be out of character, never improvise with scripts, never fraternize with other
workers, never wear costumes anywhere but in the assigned area, etc.” (Wasko 93). Not only are
right and wrong behaviors clearly defined by Disney here, but those who act right, “learn well
and exhibit exemplary service” received recognition through “Guest Service Fanatics,” (Wasko

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93). The company offers a lot of perks to their employees, as well as financial incentives and
benefits; which keep the employees motivated.
Now that we know about the corporate practices and strategies of Disney, let's take a look
at how Disney is able to put their strategies and ideas into practice, by exploring how they
manufacture magical experiences for guests at their parks. As Wasko points out, the idea of the
parks was to immerse guests in a world that they can be actively engaged in. The Disney parks
have been seen as American icons. As Wasko quotes Wilson, “Among his many contributions to
American popular culture, his theme parks call for special attention, because they form the
landscape against which Disney’s visions met the historical and political realities of America,”
(qtd. in Wasko 153). The park, as Wasko explains, “is a value­laden environment, which extends
and expands Classic Disney into a material or physical existence, as well as providing a strong
dose of all­American ideology,” (153). The parks are seen by Wasko as worlds in which guest
interaction and submerging the guests into ‘the story’ is key. Disneyland, in particular offers
several ‘stories’ for their guests, from Frontierland, inspired by the Wild West and the historical
contexts of America’s frontierism during the late 1800’s, to Tomorrowland, which incorporates
themes of futuristic exploration and innovation. The story of “Disneyland’s conception is part of
the constructed Disney history and connected closely with the image of Walt Disney as a
creative genius, as well as a loving and devoted parent,” (Wasko 154). The main concept was for
“a clean and safe amusement park that adults also would enjoy,” (Wasko 155). This balance of
having an amusement park that could appeal to people of all ages, and yet still keep the childlike
charm and fantasy that Disney is used to, is a big reason why the their parks have had such
appeal over the years. In Disneyland, Walt “recognized a novel opportunity to create not just a

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profitable enterprise but an heroic agency to promote US values far beyond the limitations
inherent in the movies,” and well as a desire to re­establish “popular faith in both the
individualist myths of the past and the technological possibilities of the future,” (qtd. in Wasko
155). As Wasko explains, the parks “gave Disney the opportunity to expand upon Classic Disney
themes” by recycling “existing Disney stories and characters in another commodified form,”
(155). Now Disney fans and consumers could engage in interactive experiences that allow them
to revisit their favorite Disney stories, interact with characters, and treat themselves to all the
Disney themed food and merchandise the parks have to offer; all while having their loyalty to the
Disney brand reinforced. Wasko mentions the work of Julian Halevy, who claims that
Disneyland offered “cheap formulas packaged to sell,” (qtd. in 156).
Wasko states that “the theme parks represent a profitable and lucrative business for the
Disney company, as well as supporting conservative, corporate, and consumerist ideologies,”
(157). So now that we understand the appeal of the parks, and why they were constructed, we
should ask ‘What themes and practices are used that allow the guests to have magical
experiences at the parks?” One, which has be previously noted as a tactic used by the company,
is synergy. Synergy, in terms of the parks, was put into practice originally “in the mid 1950’s”
with “the combination of Disneyland­the theme park and ​Disneyland​­the television program” for
cross promotion (Wasko 157). In the 1990’s, Disney decided to take full advantage of their
synergy efforts, “bringing together media products and merchandising at one site,” (Wasko 158).
Their ability to cross promote existing media franchises with rides and products caused the
themes parks to be “major vehicles for merchandising,” (Wasko 158). For example, the Pirates
of the Caribbean ride at Walt Disney World incorporates characters and themes from the film

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adaptations, along with merchandise at the ride’s gift shop, which sell merchandise related to
both the film series and ride itself. The associations made between the company’s popular
franchises and its parks and resorts (due to carefully orchestrated promotional efforts) have made
it “difficult to think about the Disney brand without reference to the theme parks,” (158). Besides
synergy, the Disney parks have implemented “a careful integration of entertainment and fun with
commodification and consumption,” (Wasko 158). This is where the idea of magic experiences
for guests really comes into play, as being beneficial to both the company and the guests
themselves. As Wasko quotes Fjellman, “The Company … produces, packages, and sells
experiences and memories as commodities,” (qtd. in Wasko 158). If a guest enjoys their time
spent at one of Disney’s parks, they may talk a great deal of it, which promotes Disney’s good
image.
Disney ties in the ability of making memories and having great experiences to
consumption. First, by the amount they make on revenues from entrance fees. Disney encourages
visitors “to stay longer at the parks because of entrance fee pricing, thus boosting revenues from
hotel and other resort activities, as well as from additional food and merchandise purchases,”
(Wasko 158). Disney promotes the idea that a full Disney vacation is one in which you stay to
experience ‘everything they have to offer’. They link the buying of merchandise as a way for
guests to ‘bring home a piece of the magic’ and design the parks “to constantly lead visitors to
gift shops and kiosks featuring a wide range of appropriately themed Disney merchandise,”
(Wasko 158). As Schickel puts it “the layout encourages a sense of discovery that … encourages
impulse buying,” (qtd. in Wasko 159). Disney realizes that in order to keep guests interested in
the parks and willing to buy, they need to continually update things. With their in­park stores

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they do this by selling “merchandise based on continuing and new characters and stories” as well
as “T­shirts, hats, and publications, identified with specific areas of the park or the park as a
whole,” (Wasko 159). Some parts of the parks, such as World Showcase in Epcot, which features
international cuisines, clothing, and merchandise, relate the activity of consumption in each
country, as a means of gaining the full experience. Wasko quotes Bryman who explains that
“consumption is presented as an aspect of the fun and fantasy. To become a full participant, the
visitor needs to consume,” (qtd. in 159).
The Disney parks gained influence and got involved with several corporate partners over
the years. These partners provided sponsorships and funding for some attractions and shows.
“The involvement of outside companies,” Wasko explains, “lessons the risk for the Disney
company and also promotes and reinforces corporate ideals and values,” (160). This idea of
corporate partnership is one that is quite prevalent at Epcot, where many of the rides are
sponsored by notable corporations. These partnerships are used to promote “corporate ideals and
values” and present Epcot as “a community of ideas and nations and a testing ground where free
enterprise can explore and demonstrate and showcase new ideas that relate to man’s hopes and
dreams,” (qtd. in Wasko). These main concepts of the park play on appealing to people’s desires
of innovation and progress through advancements in science and technology; that they can
achieve their dreams by being innovative and explorative. The sponsorships bring a sort of
‘expertise’ seal of approval to an attraction or show. A perfect example of this, that Wasko
mentions, is General Electric’s sponsorship or the Carousel of Progress. An attraction that
originated at the 1964 New York World’s Fair, portrays the “improvements in American life that
have resulted from the use of electricity” over a span of time periods (qtd. in Wasko 160). The

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attraction eventually found a permanent home in both Disneyland and in Magic Kingdom at Walt
Disney World. The ride has been popular among guests, not just because of its timelessness, but
because of its optimistic look at future advancement; bring guests into the attraction with the
upbeat song “There’s a Great Big Beautiful Tomorrow”. EPCOT’s attraction and the Carousel of
Progress not only present this idea of progression and an optimistic future, but they also ingrain
corporate ideals and the concept of capitalism being a good thing, in the minds of the guests.
You have to understand what makes the Disney parks special and different to understand
why they have been consistently the top tourist destination in not only the United States, but the
whole world. Luckily, Disneyland came at a time, following WWII, where there was not only a
boom of children being born, but you have middle class families emerging with disposable
income. When “Team Disney” came into power in the 1980’s, they expanded the demographic
of the parks and resorts by adding “features specifically aimed at adults” such as “Pleasure
Island, a profusion of recreational and spectator sports activities, and the Disney Institute
(offering educational workshops for elderly tourists). As the years progressed, the parks were
criticized by some due to their lack of appeal to teenagers and young adults. With the opening of
competitors like Universal and Seaworld, Disney knew it would have to step up. Disney was able
to capture the teenage and young adult audience by adding more thrill rides to their parks, such
as The Twilight Zone: Tower of Terror and Rockin Roller Coaster Starring Aerosmith in
Disney­MGM Studios and Test Track in Epcot. However, despite their multilayered appeal, “the
Disney parks still revolve around the theme of families,” (Wasko 162). Families are often used in
their advertising and promotion of the parks, as well as the idea that the park is not only for kids
but ‘kids at heart’. Eventually, visiting the parks became not only a privilege for wealthy

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families, but a seemingly ‘coming of age’ right passage for the children. Fjellman describes Walt
Disney World in particular as “the major middle­class pilgrimage center in the United States,”
(qtd. in Wasko). According to Wasko, “the parks have become ‘sacred centers’ that people feel
compelled to visit”, as well as “rituals in which pilgrims encounter liminal states in unfamiliar
and unstructured settings,” (163). Guests are immersed in the experience of the parks due to what
Wasko calls ‘backstage magic’. She argues that the designs of the park, and also the “cleanliness,
efficiency, and organization” of the parks are carefully executed so that giveaways are hidden,
and guests really do believe that it is all ‘magic’. An example of this, is the Magic Kingdom’s
Utilidor that “includes a mile of tunnels, which provide easy access for employees, as well as
concealing the ‘non­magical’ aspects of the park, including garbage collection, wiring, utilities,
vents, fiber­optic lines, and computer operations,” (Wasko 164). The company takes this level of
efficiency seriously. As one Disney representative noted, “The cleanliness of the park, the safety
of the park is far more a search for excellence and quality on our part in entertaining people than
some ivory­tower, ideological exercise,” (qtd. in Wasko 164). The quality of service and fun that
Disney promotes in its parks, means that their visitors come with high expectations. As Wasko
puts it, “the design and organization of the parks have led to a kind of predictability that people
have come to expect, based on the company’s promotion, visitor’s previous experiences, and the
reputation that the parks have built over the years,” (165). Disney is pressured into providing the
best, because their guests expect the best from them. “Visitors come to expect that they will have
a happy time in this magical place, that all of the ‘cast members’ will be courteous and polite,
that the streets will be clean and unlittered, that the themes and fantasies will be complete and
consistent,” (Wasko 165).

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How does Disney fulfill these expectations of their parks? By using measures of control.
As Wasko explains, “the predictability of a Disney park visit is possible because of the vigorous
control exercised in managing the parks,” (166). Wasko covers six types of control used. The
first is control of the theme park experience. Wasko states that “the parks’ layouts, as well as
most rides and exhibits are designed to control the visitors’ activities and experiences,” (166).
Each themed area of the parks offers “appropriate sound effects, music, and even aromas” to
fully envelop the guests (Wasko 166). The rides themselves are consistent with their themes,
offering interactive, engaging ride queues and pre­shows that make the guests feel like they are
actually part of the story. The guests experiences are controlled in that “everyone will see the
same as everyone else” and the experience is “standardized” (qtd. in Wasko 166). Next, there is
the control over imagination. As Eco states “Disneyland is place of total passivity. Its visitors
must agree to behave like its robots,” (qtd. in Wasko 166). What Eco is getting at, it that the
attractions, shows, and other aspects of the park are not open to interpretations by the guests. As
Tom Carson, of ​LA Weekly,​ argues, “Disneyland is unilateral, literally a control freak’s paradise.
It can’t be experienced in any way, or yield any meanings, other than those Walt meant it to,”
(qtd. in Wasko 167). Others argue that we, as guests, “are reduced to the ‘ideal’ child­like
condition of being acted upon, rather than acting,” (qtd. in 167). The chances, for kids especially,
to expand their imaginations through play are not provided into an open, ‘sandboxed’
environment. Rather “forms of play are … inseparably combined, served up prepackaged, timed,
priced, and valued,” (qtd. in Wasko 167). Thirdly, Wasko presents control as a motif. I
previously mentioned the idea of control briefly before in this thesis. In this context, control is a
theme that is promoted through the park's attractions. For example, the attraction Living with the

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Land, takes guests on “a boat ride through display that demonstrate how difficult nature can be
unless tamed by technology and science,” and that “the land is to be manipulated tricked and
beaten into submission, told what to be, and certainly not listened to,” (qtd. in Wasko 167­168).
Such a strong message of control is overshadowed by the ride's promotion of being
environmentally educational. Even the sections of the parks, like Frontierland and Adventureland
promote an underlying idea of control “by the taming of the American West … and the
subjugation of the rest of the world,” (qtd. in Wasko). Main ideas of man gaining power through
control, are promoted.
The next type of control Wasko discusses is control over the behavior of employees.
Disney park ‘cast members’ are not only supposed to act a certain way, they must look a certain
way as well. Hiassen comically refers to Disney’s standard of appearance as “Aryan­android
dress code,” (qtd. in Wasko 168). Disney’s standard of appearance, which is called the Disney
Look, requires all cast members to appear clean cut, well groomed, and professionally dressed.
Strict rules are enforced, regarding tattoos, piercings, jewelry, hair length, facial hair length, etc.
Wasko argues that “the Disney Look and Disney Behavior contribute to the predictability that
visitors expect, as well as reinforcing the all­American theme of the parks,” (168). There have
been legal proceedings in which Disney has reinforced their commitment to the strict dress code.
Employees are taught to adhere to standards of conduct, even being trained on how to properly
react to emergency situations.
Next, there is control over the immediate environment. This refers to “the company’s
ability to control the land by ‘creating fantasy worlds out of orange groves or swamp lands’”,
(qtd. in Wasko). Wasko explains that “the construction of impossible or unnatural landscapes is a