By Henry A. Giroux
This present day, cultural practices and associations form approximately each element of our lives. Giroux takes up this factor by means of taking a look at the world's so much influential company. He explores the varied ways that the Disney company has turn into a political strength in shaping photos of public reminiscence, generating young children as eating topics, and legitimating ideological positions that represent a deeply conservative and aggravating view of the jobs imparted to childrens and adults alike. Giroux exhibits how Disney makes an attempt to conceal in the back of a cloak of innocence and leisure, whereas at the same time exercise its impact as an immense strength on either international economics and cultural studying. Disney is between numerous agencies that not just preside over foreign media, but in addition outstrip the conventional practices of education in shaping the needs, wishes, and futures of today's young children. Written by way of one of many nation's top cultural critics, this booklet is critical studying for someone drawn to schooling, society, and political tradition.
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Additional resources for The Mouse that Roared: Disney and the End of Innocence (Culture and Education Series)
13 Corporate interest in the family also suggests the increasing recognition that youth hold the key to huge markets and profits as we move into the new millennium and that such markets can be harnessed only if the identities and desires of children can be mobilized within the vastly influential educational spheres of both popular culture and public education. I4 One of the most visible examples of such growth can be seen in the expanding role that the Walt Disney Company plays in shaping popular culture and daily life in the United States and abroad.
But Disney's emergence as part of a new entertainment monopoly also points to the ways in which corporate culture uses its power as an educational force to re- 20 CHAPTER I define the relationship between childhood and innocence, citizenship and consumption, civic values and commercial values. How children learn and what they learn, in a society in which power is increasingly held by megacorporations, raises serious concerns about what noncommodified public spheres exist to safeguard children from the ravages of a market logic that provides neither a context for moral considerations nor a language for defending vital social institutions and policies as a public good.
Second, he admits, though indirectly, that popular culture functions as an educational force in mobilizing our interests and desires. And third, his comments imply that culture is about both ideology and power. How else could one understand or explain the conditions through which specific messages are produced, circulated, and distributed to diverse populations in vastly different parts of the globe? After recognizing that entertainment is always an educa- DISNEY A N D THE POLITICS OF PUBLIC CULTURE 29 tional force, the question still remains: What is being taught?