Animatronics, Theme Parks, & Race - The History (Pt. 2)
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- Опубліковано 22 лип 2024
- 00:00 - From Wax Figures to Animatronics
13:58 - Case Study: Africa
26:59 - Case Study: North American Indians
Please use my Amazon Associates link to order Theme Park Design by David Younger: amzn.to/44ltVr1
I will receive a small commission and you will be supporting the channel to help me continue what I'm doing. This book is a great resource for all theme park fans!
Footage of Disneyland's Indian Village was supplied and donated from The Mackenzie Rough channel.
Embark on a captivating journey through the intricate history of animatronics, theme parks, and racial representation, employing a meticulous historical methodological approach in this thought-provoking video. Join us as we delve into the convergence of culture, technology, and societal dynamics within the realm of theme parks.
Drawing inspiration from recent refurbishments made by entertainment corporations, such as Disney's transformative changes to The Jungle Cruise, we examine the ongoing debates surrounding cultural representations in theme parks. Witness how these actions reflect an industry's response to growing concerns over unfair racial portrayals and strive for inclusivity.
By skillfully weaving together historical research and analysis, this project aims to achieve multiple objectives. Firstly, we highlight the cross-cultural depictions, perceptions, and receptions within the themed entertainment industry, tracing their roots back to the historiography of World's Fairs. Secondly, we extend the study of wax figure technology into the emergence of animatronics, uncovering the profound implications of these advancements during the latter half of the twentieth century.
Recognizing animatronics and their immersive environments as invaluable primary sources, we critically explore how themed entertainment corporations sought to replicate the human form through animatronic technology. However, we acknowledge the persistent dehumanization of non-White and non-Western bodies, which serves as a continuation of Western representations found in public World's Fairs and carried over into the private theme park industry.
To effectively navigate this multifaceted exploration, this video is organized into distinct parts. We commence with an exploration of historiography and methods, solidifying the significance of theme park attractions as accessible and informative primary sources. Next, we investigate the evolving contexts of wax and animatronic exhibitions, tracing their transition from diplomatic World's Fairs to corporate theme parks.
Continuing our journey, we delve into a comprehensive history of wax figures, extending our analysis into the era of animatronics. These insights lay the groundwork for four captivating case studies: Indigenous North America, Africa, the Middle East, and Alien "Others" inspired by the movie Avatar. Through these case studies, we unravel how the theme park industry constructs and reflects racial representation for Western consumption.
In conclusion, this video offers an in-depth exploration of theme parks and the artificial bodies that inhabit them, employing a historical methodology rooted in meticulous research and analysis. We illuminate the challenges posed by dehumanizing colonial and racial processes, hindering the efficacy of humanizing animatronic creations. Furthermore, we emphasize the importance of future comprehensive studies, including the examination of whiteness in American and European theme parks.
Join us on this enthralling journey where we bridge the gap between wax figures and robotics, unearthing new insights through the fusion of digital research methods and traditional historical approaches. Together, we unravel the intricate relationship between animatronics, theme parks, and the intricate tapestry of human difference.
Attractions Studied:
Disney's Animal Kingdom: Orlando, Florida - "Africa" themed land, "Kilimanjaro Safari," "Festival of the Lion King," "Animal Kingdom Lodge"
Disney Parks: Global - "The Jungle Cruise"
Phantasialand: Brühl, Germany - "Deep in Africa Adventure Trail"
Busch Gardens Africa/The Dark Continent/Tampa: Tampa, Florida - "Ubanga-banga Bumper Cars," Stanleyville Park area, "Pirates of the Caribbean," "Akbar's Adventure Tours"
Great Adventure/Six Flags Great Adventure and Safari: Jackson, New Jersey - "Congo Rapids," "Skull Mountain"
De Efteling: Kaatsheuvel, Netherlands - "Monsieur Cannibale,"
#History
#themeparks
#animatronics
#Animatronics
#CulturalRepresentation
#Inclusivity
#Technology
#Entertainment
#Research #WorldFairs
#Colonialism
#RacialEquality
#CrossCultural
#HistoricalContext
#CulturalDiversity
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PART ONE HERE -----> ua-cam.com/video/Jh6N_jLm2JY/v-deo.html
Please use my Amazon Associates link to order Theme Park Design by David Younger: amzn.to/44ltVr1
I will receive a small commission and you will be supporting the channel to help me continue what I'm doing. This book is a great resource for all theme park fans!
--
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What would you propose as a solution? It seems to me it is unfair to bash any THEME park for not depicting a real place! Tony Baxter once said about EPCOT that they want to show solutions for problems of todays world, for example fighting famines. However, as visitors pay to be entertained, they wouldn't want to see an african village with malnourished children. Though, what Disney can do for example, is build a ride like "Living with the Land" which shows in an entertaining way how produce can be farmed with minimal water usage.
Also, Fantasyland is just a romanticized depiction of an an Old World environment, I don't think any European visitor would be offended by that. Or Mediterranean Harbor and American Waterfront at Tokyo DisneySea depict a fictional place that could be an Italian Town or a New York that somehow seems familiar from Movies but never existed like that. I surely can enjoy such depictions and would not feel offended by them. Another example would be the New York Street backlot set at Universal Studios Florida, showing a dirty and eery alley.
The solution looks less like a place and more like a process: hire and consult people who are from the places where they are representing. Disney does this better than the rest (budget reasons). Representation is a process rather than a finished product. This is a fair criticism that you bring up
Edit: this also makes me think of the histories of human zoos, and I read an article about a Habitat for Humanity themed park that simulated slum housing.
I hope this video comes more across as historical thinking rather than bashing
The habitat for humanity article:
SANYAL, ROMOLA. “Poverty as a ‘Theme Park’: Christian Norms and Philanthropic Forms of Habitat for Humanity.” Traditional Dwellings and Settlements Review 15, no. 2 (2004): 19-31. www.jstor.org/stable/41758041.