Is Disneyland a Non-Place?
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Is Disneyland a Non-Place?

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A brief analysis of Disneyland in relation to Marc Auge\'s theory of supermodernity and non-place.

A brief analysis of Disneyland in relation to Marc Auge\'s theory of supermodernity and non-place.

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Is Disneyland a Non-Place? Is Disneyland a Non-Place? Presentation Transcript

  • Is Disneyland a Non-Place? Marc Auge
  • How is Non-Place Defined?
    • Polar opposite of anthropological place
    • NOT historical
    • NOT relational
    • NOT concerned with identity
  • Is Disneyland Historical?
    • It does not integrate earlier places (the past)
    • --> was built from ‚scratch‘, created out of nowhere
    View slide
  • Is Disneyland Historical?
    • „ Anaheim California was the spot chosen to hold a mountain, rivers and the other various ideas Disneyland now contains.“ (disneydreamer.com)
    View slide
  • Is Disneyland Historical?
    • BUT: with time Disneyland has changed and evolved
    • So could it be that Disneyland started as a non-place and has evolved into a place?
  • Is Disneyland Relational?
    • Do we have relations with the people in Disneyland other than the group we arrive with?
  • Is Disneyland Relational?
    • THE CHARACTERS
    • What do our interactions and relationships with them look like?
    • --> 3.9.5:08
  • Is Disneyland Relational?
    • THE RIDES
    • Relationships to staff --> 1.1.2:28
    • they give row directions
    • welcome you as explorers
    • --> pure instructional and entertaining
    • --> there is no interaction between the visitor and the staff, since the staff‘s behavior is scripted and in most cases it is instructional rather than being an interaction
  • Is Disneyland Relational?
    • THE RIDES
    • Relationships to the rides themselves
      • most instructions are visual (boards, films) or auditory (loudspeaker announcement)
      • 2.13, 1.2.3:36, 1.29
  • Is Disneyland Relational?
      • we watch interactions of animatronics with other animatronics --> 1.18.19:08, 1.19.19:32, 1.25
  • Is Disneyland Relational?
      • we even engage in interactions with animatronics --> film astro blasters
  • Is Disneyland Relational?
    • We engage in behaviors that seem like interactions, but that really aren‘t interactions
    • --> Disneyland is not relational
  • Is Disneyland concerned with Identity?
    • Upon entering Disneyland, we all become visitors in the happiest place on earth
  • Is Disneyland Concerned with Identity?
    • As a visitor, we sign an invisible contract upon entering Disneyland
  • Is Disneyland Concerned with Identity?
    • People behave differently inside and outside the gates of Disneyland
    • we take pictures, look at characters, don‘t walk on benches, let our kids run around
  • Is Disneyland Concerned with Identity?
  • Is Disneyland Concerned with Identity?
    • We are visitors traveling through the lands of Disney, our main activities being moving about and taking everything in
    • Disneyland reflects back to us how the perfect traveler should feel and act
  • Is Disneyland Concerned with Identity?
  • Is Disneyland Concerned with Identity?
  • Is Disneyland Concerned with Identity?
  • Is Disneyland Concerned with Identity?
  • Is Disneyland Concerned with Identity?
    • We leave our identity at the gates and take up the new identity of being a Disneyland citizen for one day
    • --> So Disneyland is not concerned with individual identity, but very concerned with the Disney identity
  • Conclusions
    • Disneyland is not historical, not relational, and not concerned with identity
    • Disneyland was created as a non-place, to be specifically that: a place where you can strip off your identity and enjoy a carefree day
    • BUT: Is it still a non-place after existing for 55 years?
      • --> there are creation of places and meaningful interactions within this non-place, determined by the behavior and agency of the visitors
  • Thanks for Listening!
  • Bibliography
    • Marc Auge - „non-places - introduction to an anthropology of supermodernity“
    • Goffman - stage actor theory