Page 28 - The Disneyization of Society

THEMING

Bryman refer to such theming as reflexive theming, whereby the theme and the brand
and its expression become coterminous. With reflexive theming, the organization
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does not draw upon external devices for its narratives; instead, the thematic elements
are internally generated and then continuously reproduced. With such theming, the
‘themed setting refers reflexively to itself and to the population of clones which
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reflect it and are reflected by it’. Schmitt and Simonson also recognize that corpo-
rate brands and logos can act as themes when they write: ‘Themes refer to the con-
tent, the meaning, the projected image of an identity. Corporate and brand themes
are cultural signs and symbols created … to express corporate and brand characteris-
tics’. 10 Such theming is essentially self-referential and refers to those relatively rare
instances in which a brand provides its own theme.
These 12 sources of theming are meant to form a backdrop to the analysis that
follows. Moreover, the different sources or types of theme frequently overlap. A
theme may, for example, combine a sense of both place and time for its inspira-
tion. Thus, contemporary merchants and corporations have a rich repository of
ideas to draw upon in veiling commerce in themes, as did Walt Disney when he
began his plans for Disneyland.

Theming in Disney Theme Parks

It could be argued that theming in the Disney theme parks operates at several
levels. First, each theme park is itself themed in the sense of having an overarching
narrative unity. Disneyland was given the overall theme of celebrating America
and its achievements and also as a magical place in which people can leave the
harsh realities of the outside world behind them.
Second, each Disney theme park is divided into ‘lands’ which are themed and
have their own thematic coherence and integrity. The Magic Kingdoms are divided
into the following main lands each with its own theme: Adventureland;
Frontierland; Tomorrowland (or Discoveryland); and Fantasyland. Each of the
Magic Kingdoms also has other lands or regions (like New Orleans Square and
Mickey’s Toontime in Disneyland), as well as Main Street USA, the main thorough-
fare from which the lands can be reached. However, these four lands are common
to all the Magic Kingdoms. The theme of each land or region is expressed in archi-
tecture, decoration, ambience, clothing of cast members (employees), sound, and
food and goods for sale. The attractions – the rides and shows – are similarly tailored
to the land in which they are located. Thus, Big Thunder Mountain Railroad (basi-
cally a runaway mine train) in Frontierland, is themed through: its name; the garb
of the cast members; the music (country and western); posters; wood cabin struc-
tures; lots of red rock and cacti; audioanimatronic figures that speak in western
drawl and are dressed in cowboy outfits; and so on. It is unmistakably the Wild West.
When Mickey or any of the other Disney characters appear as costumed cast members,