The Mouse Machine: Disney and Technology

The Mouse Machine: Disney and Technology

Throughout Disney's phenomenally successful run in the entertainment industry, the company has negotiated the use of cutting-edge film and media technologies that, J. P. Telotte argues, have proven fundamental to the company's identity. Disney's technological developments include the use of stereophonic surround sound for Fantasia, experimentation with wide-screen technology, inaugural adoption of three-strip Technicolor film, and early efforts at fostering depth in the animated image.  Telotte also chronicles Disney's partnership with television, development of the theme park, and depiction of technology in science fiction narratives. An in-depth discussion of Disney's shift into digital filmmaking with its Pixar partnership and an emphasis on digital special effects in live-action films, such as the Pirates of the Caribbean series, also highlight the studio's historical investment in technology. By exploring the technological context for Disney creations throughout its history, The Mouse Machine illuminates Disney's extraordinary growth into one of the largest and most influential media and entertainment companies in the world.   Hardback is unjacketed. 

Customer Review: More About Animation and Film Than Theme Parks
The Mouse Machine was a book that I was very excited to start reading. With a lot of books, you have a certain notion of what to expect between the covers; at first, this book disappointed the theme park fan inside me. When I really got my teeth into it, I realized that this is a work geared towards two types of people: Walt Disney (Company) enthusiasts and animation/film buffs. The theme parks are covered, but in the audio-animatronics area, mainly. Most of the work is dedicated to covering the advances that the House of Mouse created or stumbled upon during its sojourn into popular culture. Obviously, several high points in the Company's history take precedence: sound, color, multi-plane and special effects are all covered in great detail. The book takes a while to get going and I was tempted to put it away several times. I am glad that I continued. After the first several chapters, you get used to the academic style and start to enjoy and think about the concepts. Telotte's intent was to create a work that showed how the technological leaps were not only to heighten the art form, but also acted as a link to technology and popular culture. The aim of this book is to follow the company's lead in this regard, to offer a selective look at some of those, often-unseen--or unconsidered-- technological supports or developments that, in film, television, and the theme parks, have been crucial to the success of the Walt Disney Company and, at times, also a clue to its limitations. --pp. 2-3. Ub Iwerks and Walt garner special focus, but Telotte also looks at the other pioneers in the various film departments. A lot of time is spent in looking at the development of the animated shorts--how they changed the industry technologically and artistically. Telotte does seem to have a fondness, not only for technology, but for popular culture. The other major section of the book concerns the development of special effects for 20,000 Leagues Under the Sea. He also looks at the development and similarities between 20,000 Leagues and The Black Hole. He offer his thoughts on why the first was a success and the latter, a failure. When Telotte discusses the major technological advances of the company, he does hit all of the milestones of the animation and film development. In the chapter on the theme parks, the focus is on a few of the modern attractions, like: Dinosaur, Alien Encounter and the Indiana Jones Stunt Spectacular. Most of the seminal theme park attractions are mentioned in passing or as antecedents with nothing more notable than as technological steps. Telotte tries to show the reader how society accepts the technology of the theme park attractions as part of the show instead of just as technology. The chapter titles give a good impression of where the title takes us: Sound Fantasy Minor Hazards: Disney and the Color Adventure Three Dimensional Animation and the Illusion of Life A Monstrous Vision: Disney, Science Fiction, and CinemaScope Disney in Television Land The "Inhabitable Text" of the Parks Course Correction: Of Black Holes and Computer Games "Better than Real": Digital Disney, Pixar, and Beyond There is much more to the work than I could cover in a review. Telotte advances many thoughts and concepts that lead to more critical thought about the company. Comparing what Telotte has written to the majority of the Disney literature and you find a competent and exciting work--you just need to get used to the writing style. Most works cover just the people and the art, while we see another side of the company through The Mouse Machine. Bottom Line: This book is for the animation/film and Disney Company enthusiast. The tone is very heady and academic; most theme park-only fans will not find much of interest. Overall, Telotte adds a very solid work to the body of knowledge on the Walt Disney Company. I am glad I have the book and it adds new perspective to how we think about the monumental progress that the Walt Disney Company is known for.
Customer Review: boring,boring,boring
A complete waste of time - the inner workings of a lavatory seat would read easier


Radio Disney Jams Vol. 2
If you've never tuned in to Radio Disney, you're probably living with yaks someplace on a mountainside. The kids' radio station grownups love to dislike, even while allowing it to play in the car and house (and inside their minds), relies heavily on an extremely tight play list. It's not true that Britney Spears, the Backstreet Boys, and Christina Aguilera secretly own the station; it just seems that they do, given all the spins they get. Radio Disney Jams, Vol. 2 picks up where last hour's programming left off, with some modified lyrics from Lou Bega on "Disney Mambo No. 5," substituting the name of leading Disney cartoon characters for the women he fancies in his original mambo superhit. Of course, there's Weird Al Yankovic spoofing Star Wars and "American Pie" (not the Madonna version) with "The Saga Begins." Queen's "We Will Rock You" and "We Are the Champions" are two eminently familiar anthems, thanks in part to their crossing over into every imaginable sport from hockey to bowling. Will Smith, Stevie Wonder, and 98 Degrees are all here. And those disco diehards, the Village People and Sister Sledge, will remind older parents how long ago the '70s really were. New artists, including Steps, Jason Raize, and Aaron Carter also fill out this 18-track tribute to the power of Disney brandcasting. --Martin Keller
Customer Review: love it
My two daughters love this music and gets them dancing around. It is appropriate language for children and not annoying to adults.
Customer Review: Disney is the bomb!!!!!
I can't believe that Radio disney likes Kids that much! here's a review of the songs: Mambo#5-Disney Puts the 5 In carater! 5/5 I'll Never Break Your heart-Backstreet Boys Are Cool!-3/3 Soda Pop-!Britney Spears,Is a TeAm MoDeL!-5/5 Saga Begins,The-Al Yankvoic Really Is Weird!-1/0 Boogie shoes-thums way down!!!!!!!!!!!!!!-0/0 I'll Be your Everything-Don't Care!!!-1/0 We Will Rock You-A Jam That Everyone Knows!-100/100 We Are The Champions-Baseball Games Rock!-8/8 Reflction-Girls Tune!!!!!!!!!-0/0 True To your Heart -Another Girls Tune Just The Two Of us-UHHH!!!GIRLSTUNE!-0000000000/0000000000 We Are Family-Sisters Sledge Is Always Upbeat!!!-7/8 Y.M.C.A.-Village People Are The Best!!!-1,000/1,000 Boom DE boom_weird! [...]


Walt Disney Presents the Story and Songs of THE JUNGLE BOOK, lp record with book
1967 GATELEG Album has storybook inside.