Page 29 - The Disneyization of Society

THE DISNEYIZATION OF SOCIETY

they too are clothed in the appropriate uniform. Thus, Donald Duck has a rakish
beret when posing for photographs in ‘France’ in Epcot’s World Showcase.
20 The aim of such theming is described as follows in the share prospectus issued
in October 1989 for Euro Disneyland (now Disneyland Paris):

Rather than presenting a random collection of roller coasters, merry-go-rounds and Ferris wheels in a
carnival atmosphere, these parks are divided into distinct areas called ‘lands’ in which a selected theme
(such as exotic adventures, childhood fairy tales or the frontier life of the nineteenth century American
West) is presented through architecture, landscaping, costuming, music, live entertainment, attrac-
tions, merchandise and food and beverages. Within a particular land, intrusions and distractions from
the theme are minimised so that the visitor becomes immersed in its atmosphere. … Restaurants and
retail stores at Disney theme parks are designed to entertain guests and support the theme. 11

Distractions are further kept to a minimum in the Magic Kingdom theme parks
through a physical separation that is designed to ensure that, as far as possible,
thematic discontinuities are minimized by shielding the lands from each other.
This insistence seems to have been relaxed to a considerable extent in the other
Disney theme parks in that the different components are visible from each other.
Thus, for example, World Showcase in Epcot can be seen across the lake from
Future World and vice versa, and the different pavilions within each of these areas
are invariably visible from each other.
The third level of theming at the Disney theme parks is the Disney company
itself. Disney can call upon and deploy its reputation for providing magical expe-
riences, especially those that are aimed at children, and the well-known stable of
characters it has created and popularized throughout the globe. In a sense this is
a form of reflexive theming but it is a much richer one than most organizations
involved in such theming can enjoy, in that it extends beyond corporate logos
and stylized architecture. For Disney, this additional layer of theming can be
embodied in the costumed Mickeys, Snow Whites, and Buzz Lightyears that
populate the parks for photography and autograph sessions.
It is the second of the three senses of theming in the Disney theme parks that
is probably the most significant and is the most copied. The idea is to immerse
the visitor (or ‘guest’ in Disney language) in another world. One of the main rea-
sons for theming was that Walt felt that it would differentiate his theme park idea
from traditional amusement parks and as a consequence make it more attractive
to adults. Walt disliked traditional amusement parks because he felt that they
were often dirty, contained dull and unimaginative rides, and were seedy and
tawdry. The sense of seediness was particularly a result of the atmosphere in
which owners of rides or stalls would bark out loudly and often uncouthly to
passersby. He detested the atmosphere and often mentioned in his reflections
how uncomfortable he felt when he used to take his two daughters (Diane and
Sharon) to them. Another tale that is often told is that when he first mentioned
his intention to build an amusement park to his wife, Lillian, she proclaimed her
disappointment saying they were such horrible places. Walt is supposed to have