How to Read Donald Duck is a book-length essay by Ariel Dorfman and Armand Mattelart .. Both the Spanish title Para Leer al Pato Donald and the literal English title How to Read Donald .. 41–45; ^ Jump up to: McClennen ( ), p. by Ariel Dorfman First published Sort by. title, original Para Leer al Pato Donald: Comunicación de Masas y Colonialismo (Paperback). Published Para acceder al conocimiento, que es una forma de poder, no podemos seguir suscribiendo con la vista y la lengua vendadas, los rituales de iniciación con que .
|Published (Last):||13 October 2016|
|PDF File Size:||1.49 Mb|
|ePub File Size:||15.41 Mb|
|Price:||Free* [*Free Regsitration Required]|
Editions of How to Read Donald Duck: Imperialist Ideology in the Disney Comic by Ariel Dorfman
How to Read Donald Duck was written in the context of Chile’s ongoing cultural revolution. It dorfmam primarily a meditation on the relationship between art and politics. According to Mattelart, How to Read Donald Duck decodes the ethnocentrism of media works produced by the United States, which he identifies as a “new imperial pole”.
Chilean television networks imported much of their content from the United States, with American television being popular in the country. According to John Tomlinson, How to Read Donald Duck is a “celebrated exemplar” of a genre of analyses, which focus on particular media texts with the aim to expose their imperialist nature. According to a interview with co-author with Armand Mattelarthe had been turned dohald research towards media issues since The Disney ducks were often dispatched in distant lands on apparent civilizing missions.
Para leer al Pato Donald
Both Dorfman and Dkrfman were pxra with the government of Salvador Allende, and were committed to its cause and its success. He did find the youthful rebellion to be inspiring, but he was critical of its apparent distance from the immediate struggles of the working class. The media of Chile were in many ways under American influence.
Further studies and published works have considered the relations between the Disney Company as a corporation, the world economythe imagination of children, consumer culture, and mass marketing.
According to McClennen, the book has had a “seminal impact” on theories of art and society within the region. It was part of a cultural counter-offensive, intended to free Chile from American cultural influence. They may cultivate these tendencies and reinforce social inequities, but they are not unique in this way.
He soon became actively involved in Chile’s national politics, and worked on the election campaign of Praa Allende. According to historian Jadwiga E.
His first published work, The Absurd within Four Walls: Tanner Mirrlees, a writer on the topics of cultural imperialism and cultural globalizationplaces How to Read Donald Duck within its historical context. The writers were using a reductionist Marxist model of culture, where any cultural superstructure reflects the economic base.
Donald Duck and his nephews Huey, Dewey, and Louie discover a fictional, isolated society in the Andes. The confusion over the characters’ origins, in their view, contributes to the sinister scheme of Disney.
The comics feature anti-communist and anti-revolutionary propaganda. Even writers from The Washington Post ap writing articles about the Disney company and its cultural products. The book was grounded in a specific historical reality, and was intended to arouse debate on a cultural issue which had been mostly ignored by left-wing forces.
It combines historical, theoretical, and political analysis with empirical data, which was itself a rarity in its historical era. It was a work of literary criticismexamining the theatrical works ppato Harold Pinter and focusing on the violence, conflicts, and lack of communication within them.
But he also considers culture to a source for resistance and community culture, and media culture projects as essential for inspiring revolutionary struggle. It also explored the political implications of the Theatre of the Absurd.
Blue-collar workers are not depicted. Andrae writes that it is not true that Disney controlled the work of every cartoonist, and that cartoonists had almost completely free hands unlike those who worked with animations. Its writers examined an entire “catalogue” of ideological themes present in the Disney comics. Neither Dorfman, nor Mattelart even once mention Barks. Disney’s major field of work was animationand animation was seen by film critics as the product of an assembly line.
Second, he assumed that myths can easily be shattered.
Para leer al pato Donald. Comunicación de masas y colonialismo
The comics constantly refer to exotic lands and depict the Third World as exotic. This page was last edited on 31 Lerat The writers argued that the narratives of the comics featured ideological support for businessfor individualismand consumer capitalism elements which were in opposition to the socialist values of egalitarianismdemocracyand collectivism.
His victory in the Chilean presidential election, was, however, only supported by a slim majority of voters. The book assumes that a change in government that has cultural support could result in a radical social transformation.
Para leer al Pato Donald – Ariel Dorfman, Armand Mattelart – Google Books
There is no real workforce. The writing style sl playful, fun, irreverent, wittyand concise, intentionally distancing itself from the dry language of academic discourse. In the view of Dorfman and Mattelart, Scrooge serves as a capitalist symbol. The work has been one of the most influential works in the field of cultural criticism, and has inspired many later works. The policies of Salvador Allende were “rapidly changing” the culture of Chile and the period was the heyday of social transformation in Latin America.
Andrae notes that the writers seem to have identified commodity fetishism in Barks’ works.