Nearby, a motley crew of space explorers takes a trip through the far reaches of the galaxy to full orchestral accompaniment (although there isn't actually an orchestra present on board the spaceship). It is in a minor key and features a repeated motive produced by an electric guitar against thickening orchestral textures as the suspense mounts. The band can no longer be heard instead, eerie music coming from an unseen source begins to gain prominence. They fill the elevator to begin a tour of the extravagant building, but things quickly begin to go wrong. A group of unknowing guests approaches the popular hotel. We are in 1940s Hollywood and the hotel band is playing from the garden on the other side of the grounds. While critical theory and structuralist hermeneutics might seem at first like strange bedfellows, analyses of both the narratives themselves and of their social effects can usefully reflect each other, together providing a more nuanced view of Walt Disney World's experiential texts than has been presented either in the academy or by Disney itself. Film-musicological models show that guests are encouraged to feel that they control the respective spaces, although filtering the model through critical theory will demonstrate that the spaces can actually be seen as controlling them. Disney's Imagineers draw on the language of film music to create a wide variety of narrative musical spaces that give guests the impression that they navigate through these carefully staged narratives as protagonists. This article explores how recorded music is used in the Disney theme parks to condition audience response, finding a middle ground between an ideological view, exploring the part music plays in social control, and a hermeneutic view, seeing how music functions in articulating and enhancing the experiences in which Disney's guests participate. Although such views are not easily denied, their strong ideology often hides how Disney texts actually operate and how their audiences interact with them. The academic assessment of the products of the Walt Disney Company is usually highly negative, drawing out their sexist, racist, and mercenary factors. The particularly sacred character of this civil religion lies in its efforts to ground that integrative function in a higher cosmological order, making us "one nation under God."" Like any good religious pageant, Disney parks educate (teach us what our heritage is), inspire (evoke within us an emotional response to it), and motivate (encourage us to preserve that heritage and act on its precepts). Inasmuch as the Disney parks clarify, reaffirm, and reinforce their audience's understandings of themselves as Americans, and brings them together in the process, it performs a religious function. The conception of religion implicit in this argument is a Durkheimian one, that is, that the way to understand a religion is by its functions, and that the primary function of religious beliefs and practices is to unite into one community all those who adhere to them. So, I hop you like our website."This essay is an inquiry into the elective affinities between the themes and symbols of America's civil religion and the Disney theme parks, investigating the thesis that these parks are in fact shrines of American civil religion. We are pramote this video only for entertainment and educational perpose only. and this vIdeo is uploaded by DLP Welcome at. Hellow guys, Welcome to my website, and you are watching Disney Illuminations - Disneyland Paris - 2021.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |