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Watts - Walt Disney
Watts - Walt Disney
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StevenWatts
StevenWattsis a professorof historyat the Universityof Missouri,Columbia. He is the authorof The Magic
Kingdom:WaltDisneyandModernAmericanCulture,forthcoming fromBasicBooks,on whichthepresentarticle
draws.
I wouldliketo thankthefollowing peoplefortheirgenerosity in offering
comments on thisessay:JeanAgnew,
Ken Cmiel,RobertCollins,NoraleeFrankel, JacksonLears,GeorgeLipsitz,LaryMay,Dave Roediger, JoanShelley
Rubin,JonSperber,CeceliaTichi,RobertWestbrook, and Eli Zaretsky.
Myappreciation alsogoesto David Thelen,
SusanArmeny, and Patrick
Ettinger fortheirskillfuleditorialworkon thisessay,and to David R. Smith,Robert
Tieman,BeckyKlein,and ColletteEspinoat theWaltDisneyArchives in Burbank,California,fortheirgracious
and helpfulresponsesto myendlessrequestsforresearchmaterial.
The Sentimental
Modernist
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el ::c ' P.'g,Ic dir. Bert (Gi11ett(A"4It Dis'eyv Prod9u ions 1;; IkteBand Concert, dir. WilfredJackson
6 SteamboatWillie,dir.WaltDisney(WaltDisneyProductions, 1928);Mickey'sGarden,dir.WilfredJackson
(WaltDisneyProductions, 1935);Mickey's Amateurs,dirs.PintoColvig,WaltPfieffer,
and Ed Penner(WaltDisney
Productions,1937); Symphony Hour,dir.RileyThomson(WaltDisneyProductions, 1942).
7Flowers and Trees,dir.BertGillett(WaltDisneyProductions,1932);TheMad Doctor,dir.David Hand (Walt
DisneyProductions, 1933);Dumbo,dir.Ben Sharpsteen (WaltDisneyProductions, ofmany
1941).Fordescriptions
ofthesefilms,see ChristopherFinch,TheArtof Wlalt Disney:FromMickeyMouse to theMagicKingdom(New
York,1975); and LeonardMaltin,TheDisneyFilms(New York,1984).
1935).
Jackson(WaltDisneyProductions,
13 MusicLand, dir.Wilfred
dirs.SamuelArmstrong
14 Fantasia, et al. (WaltDisneyProductions,1940). Forinsighton themakingofthis
film,seeJohnCulhane,WaltDisney'sFantasia(New York,1983). On the tensionbetween"stupidrealism"and
advertising,
"magicrealism"in early-twentieth-century see JacksonLears,"UneasyCourtship:ModernArtand
ModernAdvertising," AmericanQuarterly,39 (Spring1987), 135-36.
15 WaltDisneyto Don Graham,memo,Dec. 23, 1935 (DisneyArchives).
Thefigures
inthismodelsheet
forFantasia(1940)reflect
thedark,
evenmenacing,
sideto
WaltDisney's
sentimental
modernism. ? TheW~altDisneyCompany.
The SentimentalPopulist
20
Schickel,Disney Version,157.
21 RichardHofstadter, TheAge ofReform:FromBryanto FD.R. (New York,1959), 11-12.Forsome of the
leadinginterpretationsof Populism,see ibid; LawrenceGoodwyn,DemocraticPromise:The PopulistMoment
inAmerica(NewYork,1976);and C. VannWoodward, TheBurdenofSouthernHistory (NewYork,1969),104-20.
On thehistoriography ofPopulism,seeJamesTurner, "UnderstandingthePopulists,"JournalofAmericanHistory,
ofPopulism,see Sean Wilentz,"PoxPopuli,"New
67 (Sept. 1980),354-73. On recentpoliticalmisappropriations
Republic,Aug. 9, 1993,pp. 29-35.
22
Susman,Cultureas History,150-210;ChristopherLasch,"Foreword,"in RichardHofstadter,TheAmerican
and theMen WhoMade It (New York,1973),vii-xxiv;Alan Brinkley,
PoliticalTradition VoicesofProtest:Huey
Long,FatherCoughlin,and the GreatDepression(NewYork,1982);ErikaLee Doss, "TheArtofCulturalPolitics:
FromRegionalism to AbstractExpressionism," America:Cultureand Politicsin theAge ofCold War,
in Recasting
ed. LaryMay(Chicago,1989), 195-213.
23 MovingDay, dir.Ben Sharpsteen(WaltDisneyProductions, 1936); The WormTurns,dir.Ben Sharpsteen
(WaltDisneyProductions, 1937);TheTortoiseand theHare,dir.WilfredJackson (WaltDisneyProductions,1935);
The UglyDuckling,dir.WilfredJackson(WaltDisneyProductions, 1931).
an influence.
- also exerted
politics- EliasDisneyhad been an unabashedsocialist
Walt grewup making sketches,in his words,of "the big, fatcapitalist . . . withhis
footon theneckofthelaboringman,"an imageinspiredbythesocialistnewspaper
Appeal to Reason. ManyyearslaterDisneyspokeof his "dad's socialisticideas,"
recallingthatEliaswas"a greatfriendoftheworking man.... He wasverymuch
for'em. I grewup believinga lotofthat."Thusthecartoonist carriedwithhiminto
his adult careermuchof the baggageof midwestern politicalradicalism.25
A lifelongdislikefor bankers,for example,may have stemmedfromthis
influence. Ben Sharpsteen,one ofDisney'sseniorstudioexecutivesand a friendfor
severaldecades,notedthatwhilehis boss realizedbankersmade motionpictures
possible,he "neverhad anyreverence forthem."Disneylikedto playthenaive"boy
fromthe country" whenfinanciers put pressureon him. He wouldinquireif the
studiowaspayingitsinterest; whenassuredthatit was,he wouldask innocently
if thatwasn'thow banksstayedin business.In 1928,Disneyhad his firstcontact
withNew Yorkbusinessculturewhenhe wastrying deal
to workout a distribution
forhisnewsoundcartoons.A longseriesofletters homerevealedhisprofounddis-
taste.Struggling he assuredhis brother
to negotiatea contract, Roythat"noneof
ourprofits [are]goingto someleechsittingat a bigmahogany desktellingus what
to do."A shorttimelater,Waltdenouncedthewholefinance"game"as "thedamn-
dest mixed-upaffairI have everheard of" and offereda blunt evaluationof
businessmen: "Theyare all a bunchof schemers and justfullof tricksthatwould
fool a greenhorn.... [I feel] like a sheep amongst a pack of wolves."26
permeatedmuchofDisney'spersonallife.Throughout
A populistsensibility the
1930s,forexample,he supportedFranklin D. Roosevelt, in
and laterdecades he cul-
tivateda self-consciously
folksyimageamongtheHollywoodelite,appearingatpar-
tiesin hishomedressedin denimoverallsand plaid flannelshirts.In thewordsof
animatorand closefriendWardKimball,"he tooka delightin lettingthemknow
thathe wasa commonman."Thisfamousproduceralsohabitually praisedmanual
craftsmanship "he was reallyquite humble about it," one of his cartoonists
recalled- and oftentoldassociatesofhisenormousrespectforthestudiocarpenters
and cabinetmakers. Disney'spublic pronouncements consistently polished this
populistimage. As earlyas 1930 he promotedMickeyMouse as a heroic"little
fellow"who,likeall suchtypes,arousedsympathy becauseeveryone pickedon him.
"So whenhe finallytriumphs overthebiggercharacters," he concluded,"thepublic
rejoiceswith"him. ThreeLittlePzgsappealedto averageAmericans sufferingunder
the depression,Disney asserted a few yearslater,because of its simple moral:
"wisdomand courageis enoughto defeatbig,bad wolvesofeverydescription, and
sendthemslinkingaway."Ateveryopportunity, thestudiochiefreaffirmed hisalle-
byBob Thomas,April19,1973,transcript,
25 LillianDisneyinterview WaltDisneyinter-
p. 1 (DisneyArchives);
viewbyPete Martinand Diane DisneyMiller,1956 (reel 11,pp. 9-10; reel 12, pp. 26, 28), ibid.WaltDisney's
massiveinterview withMartinand Millerwasrecordedon twelvereel-to-reel ofitisindexed
tapes,and thetranscript
at the DisneyArchivesaccordingto reelnumberand page number.
26 Ben Sharpsteen interview p. 14,ibid.;WaltDisneyto RoyDisney,Sept.
byHubler,Oct. 29, 1968,transcript,
25, 1928,ibid.;WaltDisneyto LillianDisney,Oct. 20, 1928,ibid
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of life, Main Street U.S.A. at Disneyland in. .on h or
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Marceline.Used bypermission
from The WaltDisney Company.
Mediationand HistoricalChange
description
39 ForDisney's as "Mr.Average
ofhimself American'" byHubler,March
seeKen Andersoninterview
p. 2 (DisneyArchives).
26, 1968,transcript, "MickeyMouse
ForthequotationfromDisney,see FrankDaugherty,
Comesof Age,"ChristianScienceMonitor,Feb. 2, 1938,p. 9.
... thatfine,clean,unspoiled
everybody oneofus that
spotdowndeepinevery
maybetheworldhasmadeusforget canhelprecall.40
andthatmaybeourpicture
Working hismediatingmagicin theartand politicsofa rapidlytransforming
age,
thissentimentalmodernistand sentimentalpopulistdrewupon thepastto make
In suchfashion,WaltDisneybecame
thepresentpalatableand thefutureinviting.
moretypically, Americanthanevenhe everknew.
fantastically