EDUCATION AND CINEMA: CRITICISM OF THE DOMESTICATION OF MEMORY IN ANIMATION FILMS BY DISNEY STUDIOS
The article is the result of doctoral research which aims to understand, from the appeal to happiness, how animated films by Disney studios develop a language that sediments the assumptions of the hegemonic cultural industry. In dialogue with the critical theory of society by Theodor Adorno and Walt...
| Autores: | , |
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Recursos: | Universidade Federal de Goiás (UFG) |
| Repositorio: | Inter-ação (Goiânia. Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.revistas.ufg.br:article/76099 |
| Acesso em linha: | https://revistas.ufg.br/interacao/article/view/76099 |
| Access Level: | acceso abierto |
| Palavra-chave: | Educación; Disney; Memoria; Cine. Education; Disney; Memory; Cinema. Educação; Disney; Memória; Cinema; Teoria Crítica. |
| Resumo: | The article is the result of doctoral research which aims to understand, from the appeal to happiness, how animated films by Disney studios develop a language that sediments the assumptions of the hegemonic cultural industry. In dialogue with the critical theory of society by Theodor Adorno and Walter Benjamin, three animations are analyzed – The Lion King (1994), Frozen (2013) and Zootopia (2016) – and defends the thesis that happiness sold by Disney, in addition to blindfolding the spectators' senses, makes it difficult for the public to perceive the tricks of the cultural policy of domestication of memory, whose tendency is to anesthetize sensitivity and reproduce the sensation of a continuum of history linked to an attempt at social asepsis that impoverishes and empties the critical-emancipatory potential of cinematographic language. |
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