Who S Afraid Of The Song Of The South

Brer Rabbit. Uncle Remus. Song of the South. Racist? Disney thinks so. And that's why it has forbidden the theatrical re-release of its classic film Song of the South since 1986. But is the film racist? Are its themes, its characters, even its music so abominable that Disney has done us a favor by burying the movie in its infamous Vault, where the Company claims it will remain for all time? Disney historian Jim Korkis does not think so. In his newest book, Who's Afraid of the Song of the South?, Korkis examines the film from concept to controversy, and reveals the politics that nearly scuttled the project. Through interviews with many of the artists and animators who created Song of the South, and through his own extensive research, Korkis delivers both the definitive behind-the-scenes history of the film and a balanced analysis of its cultural impact. What else would Disney prefer you did not know? Plenty. Korkis also pulls back the curtain on such dubious chapters in Disney history as: Disney's cinematic attack on venereal disease Ward Kimball's obsession with UFOs Tim Burton's depressed stint at the Disney Studios Walt Disney's nightmares about his stomping an owl to death Wally Wood's Disneyland Memorial Orgy poster J. Edgar Hoover's hefty FBI file on Walt Disney Little Black Sunflower's animated extinction Plus 10 more forbidden tales that Disney wishes would go away. Whether you're a film buff, an armchair academic, or a Disney fan eager to peek behind Disney's magical (and tightly controlled) curtain, you'll discover lots you never knew about Disney. With a foreword by Disney Legend Floyd Norman, Who's Afraid of the Song of the South? is both authoritative and entertaining. Jim Korkis is the best-selling author of Vault of Walt, and has been researching and writing about Disney for over three decades. The Disney Company itself uses his expertise for special projects. Korkis resides in Orlando, Florida.

Looks at the racial issues surrounding Disney's Song of the South, as well as how the public's reception of the film has changed over the years, and why, while not releasing the film in its entirety in nearly two decades, Disney has chosen to continue to repackage and repurpose bits and pieces of the film.

Has Fear Got the Best of You? Everyone who has ever lived has known the torment of fear. Like all of us, you experience fear almost every time you move toward a closer relationship with God. Fear will try to push you back and is always ready to attack you through your thoughts. But you can live free from it! God's promise is that you will be able to overcome this powerful emotion. In this book, Joyce Meyer shows that even though fear will surely challenge you, the Holy Spirit can still help you walk in faith. Find out: -How to keep fear from controlling your life -How to move forward in spite of your fears -How God stays faithful regardless of what you're feeling -The one basic fear underneath all fears. You can act on God's Word and defeat this enemy. Now is the time to seize victory by stepping out to do it afraid!

This book addresses Disney parks using performance theory. Few to no scholars have done this to date—an enormous oversight given the Disney parks’ similarities to immersive theatre, interpolation of guests, and dramaturgical construction of attractions. Most scholars and critics deny agency to the tourist in their engagement with the Disney theme park experience. The vast body of research and journalism on the Disney “Imagineers”—the designers and storytellers who construct the park experience—leads to the misconception that these exceptional artists puppeteer every aspect of the guest’s experience. Contrary to this assumption, Disney park guests find a range of possible reading strategies when they enter the space. Certainly Disney presents a primary reading, but generations of critical theory have established the variety of reading strategies that interpreters can employ to read against the text. This volume of twelve essays re-centers the park experience around its protagonist: the tourist.

The Disney Musical: Critical Approaches on Stage and Screen is the first critical treatment of the corporation's hugely successful musicals both on screen and on the stage. Its 13 articles open up a new territory in the critical discussion of the Disney mega-musical, its gender, sexual and racial politics, outreach work and impact of stage, film and television adaptations. Covering early 20th century works such as the first full-length feature film Snow White and the Seven Dwarfs (1937), to The Lion King - Broadway's highest grossing production in history, and Frozen (2013), this edited collection offers a diverse range of theoretical engagements that will appeal to readers of film and media studies, musical theatre, cultural studies, and theatre and performance. The volume is divided into three sections to provide a contextual analysis of Disney's most famous musicals: · DISNEY MUSICALS: ON FILM · DISNEY ADAPTATIONS: ON STAGE AND BEYOND · DISNEY MUSICALS: GENDER AND RACE The first section employs film theory, semiotics and film music analysis to explore the animated works and their links to the musical theatre genre. The second section addresses various stage versions and considers Disney's outreach activities, cultural value and productions outside the Broadway theatrical arena. The final section focuses on issues of gender and race portraying representations of race, hetero-normativity, masculinity and femininity in Newsies, Frozen, High School Musical, Aladdin and The Jungle Book. The various chapters address these three aspects of the Disney Musical and offer new critical readings of a vast range of important works from the Disney musical cannon including Enchanted, Mary Poppins, Hunchback of Notre Dame, The Lion King and versions of musicals for television in the early 1990s and 2000s. The critical readings are detailed, open-minded and come to surprising conclusions about the nature of the Disney Musical and its impact.

In this wide-ranging volume, eminent historians John David Smith and Raymond Arsenault assemble a distinguished group of scholars to build on the growing body of work on the "Long Civil War" and break new ground. They cover a variety of related subjects, including antebellum missionary activity and colonialism in Africa, the home front, the experiences of disabled veterans in the US Army Veteran Reserve Corps, and Dwight D. Eisenhower's personal struggles with the war's legacy amid the growing civil rights movement. The contributors offer fresh interpretations and challenging analyses of topics such as ritualistic suicide among former Confederates after the war and whitewashing in Walt Disney Studios' historical Cold War–era movies. Featuring many leading figures in the field, The Long Civil War meaningfully expands the focus of mid-nineteenth-century history as it was understood by previous generations of historians.

A timely exploration of Oscar-nominated Black actors and the complicated legacy of the Academy Awards. In Black Oscars: From Mammy to Minny, What the Academy Awards Tell Us about African Americans, Frederick W. Gooding Jr. draws on American, African American, and film history to reflect on how the Oscars have recognized Black actors from the award’s inception to the present. Starting in the 1920s, the chapters provide a thorough overview and analysis of Black actors nominated for their Hollywood roles during each decade, with special attention paid to the winners. Historical patterns are scrutinized to reveal racial trends and open the question of whether race relations have truly changed substantively or only superficially over time. Given the Oscars’ presence and popularity, it begs the question of what these awards reflect and reinforce about larger society. In the meticulously-researched Black Oscars, we see how the Academy Awards are an indispensable guide to understanding race in mainstream Hollywood and beyond.

 The minstrel show occupies a complex and controversial space in the history of American popular culture. Today considered a shameful relic of America's racist past, it nonetheless offered many black performers of the 19th and early 20th centuries their only opportunity to succeed in a white-dominated entertainment world, where white performers in blackface had by the 1830s established minstrelsy as an enduringly popular national art form. This book traces the often overlooked history of the "modern" minstrel show through the advent of 20th century mass media--when stars like Al Jolson, Bing Crosby and Mickey Rooney continued a long tradition of affecting black music, dance and theatrical styles for mainly white audiences--to its abrupt end in the 1950s. A companion two-CD reissue of recordings discussed in the book is available from Archeophone Records at www.archeophone.com.