The Mouse that Roared: Disney and the End of Innocence

Once I read my daughter a book. At age 3, she turned to me and said "buy me the movie of that." There was no movie of that book, but at age three, my child had already learned that a book means a movie, slippers, pajamas, and action figures. Instead of asking me about the book, or commenting upon the character, the only way she expressed her pleasure was in thinking about what we would buy as a result. Say what you want about leftism and ivory tower this and that. Then look in your childrens' room, and their mountain of toys, and try to pick out which ones emphasize creative activity, and which are needlessly emblazoned with Disney and other characters. Buying is replacing creativity, in all of us. My child has learned this despite my best efforts. This book confirms what I didn't want to know.

The negative reviews of this book here have been fairly typical: It's apparently enough to call Giroux "leftist" and to point out his concern with class, race, and gender inequality. That alone completely impugns his work for many people. If you are one of those people, don't pick up this book. But if you're not, you've got to read this. The book is academic, and is written that way: Giroux packs the ideas in, especially in the beginning. But it is also the best piece of cultural criticism I've yet read. Contrary to what people have been saying here, Giroux does not simply scream "race class gender inequality" over and over again. In fact I was impressed by how seldom he did make direct appeal to those issues. Instead, he focuses largely on the "public pedagogy" (I love that phrase) at work behind a company like Disney (if in fact there is any other company like Disney). Giroux's central idea is that we need an intelligent, critical populace in order to have a true democracy, and his central claim is that Disney actively works against both intelligence and critical thinking in the populace at large. His claim is well argued, and well substantiated. The consistent move towards "security" in our society is a troubling symptom of the kind of worldview that Giroux ascribes to Disney. And if he's right, it is imperative that we all start to think a lot more critically about Disney and other, similar societal influences.

Just recently, the only living relative of Walt Disney remaining in the Disney company exited in a rather loud and public way, after finally having had enough of the crooked ways of CEO Michael Eisner. The problem, of course, is that Michael Eisner was doing just what `Uncle Walt' wanted --- picking money out of the pockets of the middle and lower classes, making people feel that they are somehow secure in a dangerous world, and promoting racism and sexism. Henry A. Giroux, the Waterbury Chair Professor of Education at Pennsylvania State University, a world renowned writer on education and cultural issues, has written a very readable book about one of the most abusive companies in North American history. Giroux's The Mouse That Roared convinces us that Disney has become a force that must be criticized and feared. He also explains why the Disney Empire feels they must have absolute control over their employees, their town and their movies. Giroux tackles Disney's legacy of eroding democracy and endangering the nation's youth. Disney whitewashes history and shows, in its theme parks, the history of slaves in a nauseatingly nostalgic light. While Disney conjures up ideas, and promotes ideals, of innocence, and creates childish fantasies, it also encourages, and maybe even coerces, massive spending, especially by those that can least afford it. Disney even has its own private town, Celebration, and its handling of its employees borders on the criminal. In addition, Giroux argues, Disney movies promote sexism and racism. Having read the book, I am convinced that we, as teachers, parents, and concerned citizens, ought to become more aware of what Disney is doing. Giroux's book effectively shows that prevailing conceptions of this company do not reflect the truth behind this not so `Mickey Mouse' company. Sometimes the truth isn't pretty, but it must be spoken. It appears that Giroux has spoken truth.

In this collection of essays, Giroux provides readers a good introduction to Disney Studies. Essentially, Giroux's concerns focus on Disney's power to shape the public's understanding of itself, children , and American culture. His main point is that the public altogether too willingly accepts Disney as purveyor and protector of innocence. People allow themselves to be lulled to sleep by a hypnotic Disney whose products are, underneath it all, as dangerous as Malicient and her spinning wheel. Giroux's primarily explores the connection between Disney and families, especially children. He also considers Disney's representations of gender, race, sexuality, and so forth (fairly standard fair for academic critique). His book is supposed to be an activist statement--it offers readers ways with which to think about Disney critically. For those unfamiliar with his work or those just being exposed to Disney criticism, this book is a good and lively introduction. Giroux's examples are brief but numerous and he provides just enough scholarly material to ground his book. In many ways, it provides a representative perspective on most academics' view on Disney, a sort of mini-history of the discipline.However, the book is is flawed in at least two areas. First, those familiar with Giroux's work will find nothing new here. Much of the material seems rather hastily compiled and updated for a book publication. I much prefer his individual essays on the subject. Second, and this is at the heart of many critiques, I question whether Giroux's portrayal of the public. He claims that the public is an active audience, one which is capable of producing several "readings" that complicate issues of Disney's reception. While Giroux proposes individuals may be (or become) thoughtful/resistant consumers, how they do so is less clear. In many sections Giroux contradicts his stated interest in people--he spends more time bemoaning Disney's power and then mostly theorizes on how people can resist Disney. Giroux does not seem quite convinced that most individuals are not passive consumers. While Giroux is interested in inspiring the public to become critical citizens, even he seems unable to get beyond Disney as pervasive cultural force. As a book wich encourages individuals to think seriously about Disney, this book works rather well. As a book that provides ways to work with this this new knowledge--or as one that recognizes that working against Disney's ideological grain is even possible--the book is less successful. It is a solid starting point for serious discussions about Disney, but only a starting point.

Giroux has written another ground-breaking book on the political and educational significance of mass marketed media products. Anyone concerned with education, culture and democracy should read this extensively researched and clearly written book.