MEDIA EDUCATION
FOUNDATION
STUDY GUIDE
Mickey Mouse Monopoly
Disney, Childhood & Corporate Power
A video by Chyng Sun
Study Guide by
Robert B. Pettit, Ph.D.
Professor of Sociology
Manchester College
In collaboration with
The Media Education Foundation
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CONTENTS
Note to Educators 3
Program Overview 3
Pre-viewing Questions for Discussion & Writing 3
Key Points 4
Post-viewing Questions for Discussion & Writing 5
Assignments 6
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NOTE TO EDUCATORS
This study guide is designed to help you and your students engage and manage the information
presented in this video. Given that it can be difficult to teach visual content – and difficult for students to
recall detailed information from videos after viewing them – the intention here is to give you a tool to
help your students slow down and deepen their thinking about the specific issues this video addresses.
With this in mind, we’ve structured the guide so that you have the option of focusing in depth on one
section of the video at a time. We’ve also set it up to help you stay close to the video’s main line of
argument as it unfolds.
Key Points provide a concise and comprehensive summary of the video’s main points. They are
designed to make it easier for you and your students to recall the details of the video during class
discussions, and as a reference point for students as they work on assignments.
Questions for Discussion & Writing encourage students to reflect critically on the video during class
discussions, and serve as a guide for their written reactions before and after these discussions. These
questions can be used as guideposts for class discussion, as a framework for smaller group discussion
and presentations, or as self-standing, in-class writing assignments (i.e. as prompts for “free-writing” or
in-class reaction papers in which students are asked to write spontaneously and informally while the
video is fresh in their mind).
Assignments encourage students to engage the video in more depth – by conducting research, working
on individual and group projects, putting together presentations, and composing formal essays. These
assignments are designed to challenge students to show command of the material presented in the video,
to think critically and independently about this material from a number of different perspectives, and to
develop and defend their own point of view on the issues at stake.
PROGRAM OVERVIEW
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PRE-VIEWING QUESTIONS FOR DISCUSSION & WRITING
1. What are your impressions of Walt Disney films and characters and stories? Did you grow up
with them? What are your memories of Disney as a kid?
2. What sorts of values would you say Disney embodies? What kinds of messages does Disney
send kids?
3. Do you think the fact that Disney is a massive, profit-driven corporation has any effect on the
kinds of stories it tells? Why or why not, and in what ways, if any?
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FURTHER READING AND VIEWING
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Allan, Robin (1999). Walt Disney and Europe: European Influences on the Animated Feature Films of
Walt Disney. Bloomington, IN: Indiana University Press. Detailed scholarly study of the ways European
culture influenced Disney in the making of classic animated features.
Bell, Elizabeth, Lynda Haas, and Laura Sells (1995). From Mouse to Mermaid: The Politics of Film,
Gender, and Culture. Bloomington, IN: Indiana University Press. Essays addressing the Disney film
legacy from feminist, Marxist, and other critical perspectives. Special attention to issues of gender, race,
and class.
Bryman, Alan (1995). Disney and His Worlds. London: Routledge. The best single overview of the
scholarly literature on Disney, covering Disney the man, the company, the films, and the theme parks.
Addresses issues as diverse as the organizational structure of the corporation with and without Walt, and
the theme parks as sites of consumption, tourism, and postmodernism.
Byrne, Eleanor and Martin McQuillan (1999). Deconstructing Disney. London: Pluto Press. This
revisionist leftist book questions traditional exposés of Disney's racism, sexism, cultural imperialism,
etc. by arguing that the historical, social, and political context of Disney texts has so changed that so
must the task of deconstruction. In the words of the authors, " Quasimodo is not Pinocchio and
Pocahontas is not Snow White."
Dorfman, Ariel and A. Mattelart (1975). How to Read Donald Duck: Imperialist Ideology in the Disney
Comic. New York: International General. Chilean Marxist dissects the imperialist messages embedded
in Disney comics (P.S. They're not the same comics you and I were given to read in the U.S.).
Eliot, Marc (1993). Walt Disney: Hollywood's Dark Prince. New York: Birch Lane. A biographical
"exposé" of Walt Disney, summarizing a host of uncomplimentary facts and dubious rumors about
Uncle Walt—his psychosexual obsessions and neuroses, his anti-Semitism and anti-Communism, his
inadequacies as a family man, and his anti-labor management style.
Fjellman, Stephen M. (1992) Vinyl Leaves: Walt Disney World and America. Boulder, CO: Westview
Press. An anthropologist examines lands and attractions of Disney World in extensive detail, locating
them in a larger social-cultural context.
Flower, Joe (1991). Prince of the Magic Kingdom: Michael Eisner and the Re-Making of Disney. New
York: John Wiley. Business biography of Eisner.
Frantz, Douglas and Catherine Collins (1999). Celebration, U.S.A.: Living in Disney's Brave New
Town. New York: Henry Holt. A husband-and-wife team (he's a reporter for The New York Times, she's
a free-lance journalist and full-time mom) who, with their two school-age children, lived for two years
in Disney's bold experiment in community-building, its new town of Celebration.
Giroux, Henry (1999). The Mouse that Roared: Disney and the End of Innocence. Lanham, MD:
Rowman and Littlefield. Giroux (featured in Mickey Mouse Monopoly) attacks Disney for its attempts to
hide beneath a cloak of innocence and magic even as it teaches children deeply conservative values and
treats them primarily as consumers.
Griffin, Sean (2000). Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out.
New York: New York University Press. Although Disney has long been identified with conservative
family values, Griffin traces the contributions of gays within the corporation and their resulting
influence on mainstream American culture.
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Grover, Ron (1991). The Disney Touch: How a Daring Management Team Revived an Entertainment
Empire. Homewood, IL: Irwin. Business Week journalist Grover examines the rescue of the Disney
corporation by the Eisner/Wells/Katzenberg management team.
Hiaasen, Carl (1998). Team Rodent: How Disney Devours the World. New York: Ballantine. Amusing
muckraking monograph by journalist who is a lifelong Florida resident and now disgruntled Disney
neighbor. Writes Hiaasen, "Disney is so good at being good that it manifests an evil: so uniformly
efficient and courteous, so dependably clean and conscientious, so unfailingly entertaining that it's
unreal, and its therefore an agent of pure wickedness."
Lainsbury, Andrew (2000). Once Upon an American Dream: The Story of Euro Disneyland. Lawrence,
KS: University Press of Kansas. Lainsbury, who holds a Ph.D. in American studies and once worked at
Euro Disney, examines Europe's love/hate relationship with Euro Disney within the context of cultural
imperialism and global corporatism.
Maltin, Leonard (2000). The Disney Films (4th ed.). New York: Hyperion. The definitive
comprehensive guide to all Disney films, both animated and live-action, both features and shorts.
Included are plot summaries, production credits, and critical commentaries, as well as interviews with
Disney staff members.
Maltin, Leonard (1990). Of Mice and Magic: A History of American Animated Cartoons (rev. ed.). New
York: New American Library. Like the subtitle says, a comprehensive history of animated cartoons in
America. Useful in locating Disney within the context of other studios and their products.
McChesney, Robert W. (1999). Rich Media, Poor Democracy: Communication Politics in Dubious
Times. Urbana, IL: University of Illinois Press. Media historian McChesney examines the growing
corporate control of media and how it contributes to the decline of democratic participation. While not
about Disney alone, this book traces the developments that have characterized The Walt Disney
Company as well as other global media conglomerates.
Mickey Mouse Goes to Haiti: Walt Disney and the Science of Exploitation (1996). 17 min. National
Labor Committee, 275 7th Ave., 15th Floor, NY, NY 10001. www.nlcnet.org. 212-242- 3002.
Interviews with Haitian workers who sew Disney children's clothing for sale in the U.S. describe their
starvation wages and oppressive factory working conditions.
Project on Disney, The (1995). Inside the Mouse: Work and Play at Disney World. Durham, NC: Duke
University Press. Blending personal meditations, interviews, photographs, and cultural analysis, the
authors offer an alternative take on why Disney World embodies the American leisure experience. Best
chapter: "Working at the Rat," drawn from interviews with Disney World cast members.
Raz, Aviad E. (1999). Riding the Black Ship: Japan and Tokyo Disneyland. Cambridge, MA: Harvard
University Asia Center and Harvard University Press. Sociologist Raz looks at how
Tokyo Disneyland is experienced by its employees, management, and visitors, providing an
ethnographic account from the Japanese point of view. Contrary to previous critiques characterizing
Tokyo Disneyland as an outpost of American cultural imperialism, Raz argues that its success has been
due to its becoming Japanese while marketing itself as foreign.
Ross, Andrew (1999). The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Value in
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Disney's New Town. New York: Ballantine. Based on his living in Celebration for a year and his
interviews with fellow residents, employees, and Osceola County locals, Ross asks: What does
Celebration reveal about contemporary culture? Is this model town a cause for celebration or alarm? Can
we entrust the public interest to giant beneficiaries of the marketplace like Disney?
Schickel, Richard (1997). The Disney Version: The Life, Times, Art and Commerce of Walt Disney
(3rd edition). Chicago: Ivan R. Dee. One of the best critical biographies of Walt Disney—his life, his
work, and his influence on American popular culture, by Time magazine film critic.
Schweizer, Peter and Rochelle Schweizer (1998). Disney: The Mouse Betrayed: Greed, Corruption, and
Children at Risk. Washington, DC: Regnery. Detailed right-wing hatchet job on Disney, implicating it in
pornography, pedophilia, Satanism, pandering to Chinese Communism, and promoting "the gay
agenda." How they missed Disney's sordid roles in the heartbreak of psoriasis and the assassination of
the Kennedys, I just don't know.
Smoodin, Eric, ed. (1994). Disney Discourse: Producing the Magic Kingdom. New York: Routledge. An
American Film Institute reader. Includes essays from humanities and social- scientific perspectives that
both celebrate and critically examine the contributions and global impact of Disney.
Steinberg, Shirley R. and Joe L. Kincheloe, eds. (1997). Kinderculture: The Corporate Construction of
Childhood. Boulder, CO: Westview Press. Essays examining the corporate construction and
manipulation of childhood culture in pursuit of corporate profit. Includes a chapter by Henry A. Giroux,
"Are Disney Movies Good for Your Kids?"
Thomas, Bob (1976). Walt Disney: An American Original. New York: Simon & Schuster. The
authorized biography of Walt Disney, by an Associated Press entertainment reporter, presenting the
"official" version of Disney as the Disney Company likes to portray him. Full of hagiographic
anecdotes.
Wallace, Mike (1996). Mickey Mouse History and Other Essays on American Memory. Philadelphia:
Temple University Press. A historian looks at the Disneyfication of American history. The two relevant
chapters are " Mickey Mouse History: Portraying the Past at Disney World" (pp. 133-157) and "Disney's
America" (pp. 159-174).
Watts, Steven (1997). The Magic Kingdom : Walt Disney and the American Way of Life. New York:
Houghton Mifflin. Undoubtedly the most comprehensive, thoughtful, and balanced biography of Walt
Disney, by a respected historian of American culture.
