Ever since the premiere for the first Mickey Mouse cartoon in 1928, Disney has played a central role in American popular culture, which has progressively expanded to include a global market. The company positioned itself to be a central role in family entertainment, and many of its offerings – from films to consumable products – have deeply embedded themselves into not only the imaginations of children and adults, but also into the threads of one’s life experience. It is difficult to go through life without encountering one Disney product. Because of this, fans of Disney build connections with their favourite characters and franchises, some of which are fuelled further by Disney’s own marketing practices.

Similarly, Disney responds to the cultural values of the era through its films and other media offerings. In this volume, scholars from varying backgrounds take a close look at facets of the Disney canon as more than agents of entertainment or consumption, and into underlying messages at the very heart of the Disney phenomenon: the cultural response that drives the corporation’s massive production and marketing machine. The relationship between Disney and its fans is one of loyalty and love, shaping cultural behaviours and values through the brand and its products. Disney responds in kind with a synergistic approach that makes it possible to experience Disney in any format at any given time.

Primary readership will be academics, researchers, educators, scholars and students working in the fields of media and cultural studies, especially those interested in marketing and branding, and in the Disney Company in general. The accessible writing style and the range of topics covered make it suitable for postgraduate students and academics working in these fields, as well as third-year undergraduate students.

The book will also appeal to academics working in the related fields of tourism studies, film and television studies and, given the focus of some of the chapters, in gender studies.

Although academic in focus, the accessible writing style does mean that it may also have appeal to the non-academic reader and fans of Disney.

Ever since the premiere for the first Mickey Mouse cartoon in 1928, Disney has played a central role in American popular culture, which has progressively expanded to include a global market. The company positioned itself to be a central role in family entertainment, and many of its offerings – from films to consumable products – have deeply embedded themselves into not only the imaginations of children and adults, but also into the threads of one’s life experience. It is difficult to go through life without encountering one Disney product. Because of this, fans of Disney build connections with their favourite characters and franchises, some of which are fuelled further by Disney’s own marketing practices.

Similarly, Disney responds to the cultural values of the era through its films and other media offerings. In this volume, scholars from varying backgrounds take a close look at facets of the Disney canon as more than agents of entertainment or consumption, and into underlying messages at the very heart of the Disney phenomenon: the cultural response that drives the corporation’s massive production and marketing machine. The relationship between Disney and its fans is one of loyalty and love, shaping cultural behaviours and values through the brand and its products. Disney responds in kind with a synergistic approach that makes it possible to experience Disney in any format at any given time.

Primary readership will be academics, researchers, educators, scholars and students working in the fields of media and cultural studies, especially those interested in marketing and branding, and in the Disney Company in general. The accessible writing style and the range of topics covered make it suitable for postgraduate students and academics working in these fields, as well as third-year undergraduate students.

The book will also appeal to academics working in the related fields of tourism studies, film and television studies and, given the focus of some of the chapters, in gender studies.

Although academic in focus, the accessible writing style does mean that it may also have appeal to the non-academic reader and fans of Disney.

Ever since the premiere for the first Mickey Mouse cartoon in 1928, Disney has played a central role in American popular culture, which has progressively expanded to include a global market. The company positioned itself to be a central role in family entertainment, and many of its offerings – from films to consumable products – have deeply embedded themselves into not only the imaginations of children and adults, but also into the threads of one’s life experience. It is difficult to go through life without encountering one Disney product. Because of this, fans of Disney build connections with their favourite characters and franchises, some of which are fuelled further by Disney’s own marketing practices.

Similarly, Disney responds to the cultural values of the era through its films and other media offerings. In this volume, scholars from varying backgrounds take a close look at facets of the Disney canon as more than agents of entertainment or consumption, and into underlying messages at the very heart of the Disney phenomenon: the cultural response that drives the corporation’s massive production and marketing machine. The relationship between Disney and its fans is one of loyalty and love, shaping cultural behaviours and values through the brand and its products. Disney responds in kind with a synergistic approach that makes it possible to experience Disney in any format at any given time.

Primary readership will be academics, researchers, educators, scholars and students working in the fields of media and cultural studies, especially those interested in marketing and branding, and in the Disney Company in general. The accessible writing style and the range of topics covered make it suitable for postgraduate students and academics working in these fields, as well as third-year undergraduate students.

The book will also appeal to academics working in the related fields of tourism studies, film and television studies and, given the focus of some of the chapters, in gender studies.

Although academic in focus, the accessible writing style does mean that it may also have appeal to the non-academic reader and fans of Disney.