Inside The Mouse, Work And Play At Disney World, The Project On Disney, 1995 Duke University Press by MacLaren <-- Back

This is a good book, but... But what? Good question, I suppose. Iıll get to the book here in a minute, but first some words about the folks who put this thing together, ok? First of all, what the hell is "The Project On Disney?" Right there on the title page, instead of an authors name. Whatıs up with that? The book, surprisingly enough, has VERY little to say on that. On the back cover you get all there is to get when it comes to finding out just exactly what "The Project On Disney" might be. One lonely paragraph at the bottom of the cover which simply identifies "The Project" as three English Professors from Duke University, and a photographer who also teaches, at something or other called the "Creative Arts Workshop" in Connecticut. Pardon me while Iım suddenly underwhelmed at the scope and magnitude of this "Project." And it gets better. "The Project" is actually, I think, (the book remains steadfastly unclear on this kind of stuff) part of a larger deal that calls itself "Post-Contemporary Interventions" and is edited (whatever that might really mean) by a certain Stanley Fish, and Fredric Jameson, neither of whom are identified to the least little degree other than giving their names and affiliation with the aforesaid Interventions. Post-Contemporary Interventions? What the hell is THAT? Stop for a minute and take a look at that, ok? Does it make any sense at ALL? Since when did a book become an "Intervention?" How, exactly, does a book "Intervene?" And what the hells going on with "Post-Contemporary?" Go get the damned dictionary and look up contemporary and then come back and tell me what YOU think this crap means. The more I look at it, the less sense it makes. Little red flags are waving all over the place here, and its not for no reason. Especially the RED part. Turns out weıve got some by-golly commies writing for us and theyıre not the least little bit shy about using all the overblown phraseology and opaque lingo that only commies can come up with. Oh brother. Commies. Wonıt these wankers EVER get the message? Itıs OVER, dorks. DEAL with it. It was one of the all time worst crackpot ideas ever hatched and it collapsed under the weight of its own encrusted bullshit, and thereıs nothing any of you lingering pinko bastards can do about it. Give it a rest, already! A couple of quick examples of just how SILLY commie lingo can be, and then on to the book, ok? Page 45, Co-author, or whatever, Susan Willis, actually USES "pre-postmodern." No shit. Look at it again. Pre-postmodern! Whee! Ainıt this fun? Page 50-51, Same co-author uses (in the space of ONE page, which happens to span the pair referenced) "collective" once, "collectivities" twice, "collectivity" SEVEN times, and throws in a "concretizes" just for good measure. PhooWEE! Have you ever met ANYBODY in your life who ever used a goof-ass word like "collectivity" in an actual conversation even ONCE? Can you say, "full of hot gas?" I knew you could. Enough already. Now, where were we? Oh yeah, the book. Almost forgot the sucker. Despite the dogma and cant, this book takes a sharp knife to the Disney psyche and just DISSECTS it. Rip zip whip flip, and there it is, on the lab table, reeking to high heaven and looking perfectly evil. Along with exposing the stupefying extent of BULLSHIT that Disney entails, the throng that goes there like an endless swarm of lemmings comes in for some good whacks too. Gobs of interesting insights and revealing truths.Great stuff. Too fucking bad the idiot commies had to write it, though. Iım SURE somebody else could have done a much better job in about half the words. Read this thing anyhow. Its well worth your time.