Why am I interested in Disney and Magic?
I wrote this paper to encourage critical interpretation and general skepticism towards the media which we are exposed to on a daily basis. Our children are subjected to powerful ideas that shape their outlook on life from a young age. By shedding light on the ways in which media seeks to exert control on its viewers, hopefully we can be more mindful of what we choose to consume.
The
Interaction between Science and Magic in Disney Productions
Introduction
How
do we distinguish the real from the imaginary in television programs? With
subjective reinterpretation and rhetoric in the mass media so prevalent, this
question becomes more difficult to answer. No corporation has been as
successful as Disney in blurring the lines between scientific concepts and
imagined magical themes[i].
Walt Disney was one of the first pioneers to push hard science in an
entertaining way to mass audiences[ii].
Science became more accepted through magic largely because of his innovative
efforts. This paper seeks to argue that magic can be a powerful tool to
demonstrate science for easy consumption and reinforcement and science can
formulate the basis for the use of magic. In definitive terms, magic is the manipulation of basic elements through animism for a
desired goal and is based on the supernatural while science can be defined by
its material constituent based on facts of nature rather than obscure concepts.
Walt Disney himself was known to have considered himself “an entertainer who
dealt with factual material”[iii].
The paper will specifically cover the interaction of science and magic by
Disney for the aim of mass control and reinforcement through exaggeration of
scientific themes, the mixing of the real the imaginary to achieve the desired
narrative and using rhetoric and popular media to strengthen scientific
concepts.
The History of Use of Magic in
Science
Before the Victorian Era, science was
confounded to scientists in laboratories and most people did not have readily
have access to this knowledge[iv].
It was also in the form of hard facts found in textbooks and science reviews
away from mainstream discourse and pop culture(Secord
2002, 1648-1649). However, soon enough a man named
John Henry Pepper began to reshape and redefine the way science was presented
through his showcase of live experiments on theatre[v].
He put on a combination of “laboratory science” and “theatrical spectacle” to
provide entertainment[vi].
The masses saw his rapid succession of experiments on stage similar to a way a
magician does his tricks(Secord
2002, 1648-1649). This demonstrates the fine line
that is often associated between magic and science. The presentation of novel
scientific concepts to the ignorant eye serves the same purpose as magic – seen
as almost supernatural due to the unexplained nature of its mechanisms. With
public interest growing, Pepper began to showcase a realistic ghost display
through optical projections used in the Christmas special “Charles Dickens
Haunted Man” and then later appropriated by Disney in the “Haunted Mansion”
ride(Secord
2002, 1648-1649). The famous “Ghost Show” by Pepper
was another attempt at exploiting the mass interest at the time for spirits
alchemy and magic for the benefit of science as a whole(Secord
2002, 1648-1649). While his intentions were to use
magic to benefit science, Disney’s vision was to use science to advance magic
and add more depth and dimension to the productions[vii].
The first sci-fi productions in the nineteen hundreds
like Captain Video (1949-55) and Space Patrol (1950-55) also drew upon
scientific themes. However, in contrast to Pepper’s work, they were designed
with a specific narrative and were based upon real world themes[viii].
The fear of increasing use of technology evoked a lack of sense of control in
the masses and by structuring these fears in these programs, the illusion of
control was heightened and people’s anxieties surrounding the future of
technology were slightly diminished(Izard
1967, 36-41). Disney relied on the help of
rocket and space scientists as consultants and commentators on Disneyland’s
Television series, “Man in Space”[ix].
Disney also sought to increase the control in this area and was able to infuse
science into its animations in a gradual fashion[x]. They
employed this same method for their nature series “True Life Adventure” and
were successfully able to gain credibility and trust of their viewers(Izard
1967, 36-41). Even provocative and avoidable
concepts such as death, which is a purely natural phenomenon that evokes anxieties
in many, were monopolized with the use of magic in the production of the famous
1929 “Skeleton Dance”[xi].
This short dance features spooky skeletons coming out of their graves at night
to do a silly dance[xii]. Disney was able to shape the discourse on death
in the public and to change the way death is perceived by manipulation of real
elements into unrealistic forms in order to create distance between the
audience and the anxiety provoking factor at hand[xiii].
However, with trust in mass productions comes a massive opportunity at control
and exhibiting power. From this power, the animations received wide approval
and quickly, Disney became the hub for limitless imagination.
“Disney understood that
there were no borders between the personal/ ideological and the
perceptual/political, and that all education was value- laden. For Disney,
image was substance, and whoever controlled that image wielded both the power
to affect views of the past and visions of the future.”[xiv]
Magic as Exaggeration on Science
One of the ways in which magic was able to
become popular in Disney was through exaggeration. By drawing influence from
the natural world, Disney was able to construct their own realities within
these boundaries and then later could begin to diminish these boundaries as
they wished. Disney began showing the “True Life Adventure” series which
highlighted footage of animals in their habitat under a narrative and a musical
script[xv].
This series was different than the regular wildlife series being shown at the
time in that it portrayed animals in a dramatic manner with the help of the
instrumentals and the narration described their behaviour from a humanistic
perspective[xvi].
So with science as the basis of their work, creativity and imagination was used
to provide more mass market appeal to this series. Disney was able to gain wide
success as a result and this was the first step in humanizing animals into
beings capable of “moral behaviour”[xvii].
Walt Disney states:
“Our intent is not formal education in the natural sciences. Our main
purpose always is to bring interesting and delightful entertainment into the theatre.
But here nature's wonderful house is entertainment-and this entertainment is
informative. .. . We can learn a lot from nature in action. Each creature must
earn his right to live and survive by his own efforts and the thing which in human
relations we call moral behaviour.”[xviii]
Disney claims not to be an educator but to
merely be a presenter of this new form of entertainment found in the natural
world which happens to be informative. However, he dismissed the fact that the
footage for the series took many edits and was manipulated into the intended
narrative for the audience, with the obvious exclusion of some aspects of
nature and science[xix].
Other forms of exaggeration of nature were seen in Disney
full length movies like “Bambi”. This was Disney’s first production to mimic wildlife
so intricately[xx].
The cartoonist who drew the characters in the film studied animal locomotion
from watching animals in the wild and drew scenery of actual reserves[xxi].
Bambi, the main character in the film, who is depicted as a helpless fawn that
is desperately trying to survive the threat of man, was drawn with features
similar to a human infant to evoke human sympathy[xxii].
This anthropomorphization of animals in this manner lead to the increase of
sympathetic attitudes towards wildlife[xxiii].
This exaggeration employed by the producers towards animal behaviour proved
quite effective in reinforcing the idea that nature is a place of peace and
harmony, and that the only conflict received in the wild is in the hands of
men, who hunt ferociously and coldly[xxiv].
Disney was thus able to use his own magic touch on nature to advance his own
agendas. This resulted in a powerful shift in discourse towards hunting and
animal treatment in general.[xxv]
Therefore, the power of exaggerating scientific content for the sake of
entertainment can prove to be quite effective in targeting mass audience and
promoting a specific agenda. It is a clear of example of how magic and science
are integrated in children’s programs and their interaction is proven
significant is creating a successful production.
“Imagineering” – Blurring the Line
between the Real and the Imaginary
Disney has become the space for imagination to thrive[xxvi].
The use of magic in Disney productions adds not only an entertainment factor,
but also contributes to ideas of escapism. The impact of its productions is not
only limited to viewing through television screens and theatre, but also
available for market consumption through merchandise and trips to Disney Land[xxvii].
Disney Land is a theme park where the public is invited to bring their fantasies
to life and it works to conjure up images of Disney characters, music and
pictures into the real world[xxviii].
People of all ages are invited to come to this place as a vacation and a break
for the imagination to thrive. This “pilgrimage” to Disney Land is meant to
revive one’s creativity and good memories, as though it is a ritual whereby returns
into the world much happier and more satisfied[xxix].
Imagineering is a term referred to the blending of the engineering and
imagination that Disney Land design and development arm is responsible for[xxx].
In order to produce a successful ride, the science which provides the
mechanisms of the project must be combined with a creative background, which
adds to the magical dimension of Disney’s work[xxxi].
Disney’s “World of Color and Mathmagicland” essentially
attempts to combine the same elements of real and imaginary as an entertainment
form. The series takes on a scientific or historic background by explaining the
history of color in Television in a dynamic way[xxxii].
Walt Disney himself is first seen explaining the facts while manipulating
objects around him in a magical way[xxxiii].
He then calls upon a cartoon character that plays a professor to continue
explaining the concept of color mixing[xxxiv].
However, this character is not just a cartoon animal that does what an animal does;
he is depicted as human like, at some points even eating steak with a fork and
knife[xxxv].
So although the series is based on science, it uses magic to make its content
easier to digest and to appeal to mass audiences, especially children. It mixes
elements of the real and the imaginary to educate and to ultimately create
almost a controlled new world with different laws of perception. Magic, in its
most basic definition, is the manipulation of basic elements for a desired
result and Disney certainly achieves this; all while keeping a firm grasp on
the material world which the audience relates to. Walt Disney’s perception on
life is a direct mirroring of what his productions try to achieve. He is known
to have stated: “many of the things that seem impossible now will become
reality tomorrow.”[xxxvi]
Influencing Mainstream Discourse of
Science
As Disney productions become more popular, they gain
increase credibility due to their multitude of years of experience producing
Television programs. This credibility and their background in scientific
education, however soft, have lead to the possession of a great amount of power
in influencing mainstream discourse and shaping thought.[xxxvii]
Disney has shown tremendous influence in ideas surrounding nature, history and
people.[xxxviii]
The movie “Bambi” has been able to generate mass disapproval for hunting
animals and has as a result, restricted the sport of animal hunting as a whole.[xxxix]
With regards to shaping history, many of the places recreated by Disney in
their works have become widely known.[xl]
The repeated presentation of these historical places through mediums which make
reinforcing information easy has given power to these historical places to
garner greater significance.[xli]
With mass media appeal, Disney has the power to influence the way the public perceives
certain destinations and how Americans, in particular, see themselves with
regards to these places.[xlii]
Main Street for example, was one of the place which after being highlighted
through Disney, has been now associated with the American identity.[xliii]
Also, it has attracted more tourists as a result and garnered more positive
attention as a whole.[xliv]
The interaction between magic and science is displayed in Disney’s ability to
obscure perception of places through the use of magic and as a result,
influencing history on the ground. Disney was also able to shape perception of
people abroad through appropriating their culture in ethnocentric ways.[xlv]
This offers a controlled view of the rest of the world and gives Disney the
ability to shape discourse and meaning of other cultures and places. For
example, the “It’s a Small World” ride at Disney Land, visitors have the
opportunity to watch simple prototyped robots dance to represent each country
around the world with music playing in the background.[xlvi]
The music played is based in American culture and the moving dolls are similar
is size and movement, giving the illusion of harmony and peace. This has the
power to influence the perception of the American child to believe that the
outside world is how Disney perceives it. Mass media outlets such as Disney can
have the power of formation of “closure and public consensus on scientific
controversies”.(Kirby
2003, 231-268) Therefore, blurring the line
between magic and science can prove to be effective in efforts of mass control
over public perception.
Conclusion
In conclusion, the influence of Disney on public
perception and discourse on science and fact is greater seen with the use of
magic. Magic can be at times used to demonstrate science and give illusions to
control to the audience and ultimately to the producers. Disney uses its
popularity, rhetoric and exaggeration of its messages to reach wide appeal and
relies on the interaction of magic and science to do so. Magic allows for
scientific fact to be easily consumed for the masses and yet is able to grant
its user the ability to literally trick the audiences into perceiving a
particular outcome, usually reinforced and motivated by some agenda at the
hands of manipulator.
1.
Ralph S. Izard, "Walt Disney:
Master of Laughter and Learning," Peabody Journal of Education 45,
no. 1 (Jul., 1967): 36-41, http://www.jstor.org.myaccess.library.utoronto.ca/stable/1491447.; Ralph H. Lutts, "The Trouble
with Bambi: Walt Disney's Bambi and the American Vision of Nature," Forest
& Conservation History 36, no. 4 (Oct., 1992): 160-171, http://www.jstor.org.myaccess.library.utoronto.ca/stable/3983677.
4.
J. A. Secord, "Quick and
Magical Shaper of Science," Science 297, no. 5587 (Sep. 6, 2002):
1648-1649, http://www.jstor.org.myaccess.library.utoronto.ca/stable/3832306.
11.
J. P. Telotte, "Animating
Space: Disney, Science, and Empowerment," Science Fiction Studies
35, no. 1 (Mar., 2008): 48-59, http://www.jstor.org.myaccess.library.utoronto.ca/stable/25475105.
17.
Gary Laderman, "The Disney Way
of Death," Journal of the American Academy of Religion 68, no. 1
(Mar., 2000): 27-46, http://www.jstor.org.myaccess.library.utoronto.ca/stable/1465709.
[xx].
Richard Francaviglia, "History
After Disney: The Significance of "Imagineered" Historical
Places," The Public Historian 17, no. 4 (Autumn, 1995): 69-74, http://www.jstor.org.myaccess.library.utoronto.ca/stable/3378386.
32.
Francaviglia, History After
Disney: The Significance of "Imagineered" Historical Places,
69-74.; Alexander Moore, "Walt Disney World: Bounded Ritual Space and the
Playful Pilgrimage Center," Anthropological Quarterly 53, no. 4
(Oct., 1980): 207-218, http://www.jstor.org.myaccess.library.utoronto.ca/stable/3318104.
43.
David A. Kirby, "Science
Consultants, Fictional Films, and Scientific Practice," Social Studies
of Science 33, no. 2 (Apr., 2003): 231-268, http://www.jstor.org.myaccess.library.utoronto.ca/stable/3183078.
44.
Laderman, The Disney Way of Death,
27-46.; Lutts, The Trouble with Bambi: Walt Disney's Bambi and the American
Vision of Nature, 160-171.; Francaviglia, History After Disney: The
Significance of "Imagineered" Historical Places, 69-74.; Telotte,
Animating Space: Disney, Science, and Empowerment, 48-59.
Bibliography
Francaviglia, Richard.
"History After Disney: The Significance of "Imagineered"
Historical Places." The Public Historian 17, no. 4 (Autumn, 1995):
69-74.
Izard, Ralph S. "Walt
Disney: Master of Laughter and Learning." Peabody Journal of Education
45, no. 1 (Jul., 1967): 36-41.
Kirby, David A. "Science
Consultants, Fictional Films, and Scientific Practice." Social Studies
of Science 33, no. 2 (Apr., 2003): 231-268.
Laderman, Gary. "The
Disney Way of Death." Journal of the American Academy of Religion
68, no. 1 (Mar., 2000): 27-46.
Lutts, Ralph H. "The
Trouble with Bambi: Walt Disney's Bambi and the American Vision of
Nature." Forest & Conservation History 36, no. 4 (Oct., 1992):
160-171.
Moore, Alexander. "Walt
Disney World: Bounded Ritual Space and the Playful Pilgrimage Center." Anthropological
Quarterly 53, no. 4 (Oct., 1980): 207-218.
Secord, J. A. "Quick and
Magical Shaper of Science." Science 297, no. 5587 (Sep. 6, 2002):
1648-1649.
Telotte, J. P.
"Animating Space: Disney, Science, and Empowerment." Science
Fiction Studies 35, no. 1 (Mar., 2008): 48-59.
wow you sound like a very intelligent person! I'm impressed.
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