Para leer al pato Donald. Comunicación de masa y colonialismo (Spanish Edition) – Kindle edition by Ariel y Armand Mattelart Dorfman. Download it once and. 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 Duck were chosen in reference to the earlier. Jul 19, The infamous Chilean book by scholars Ariel Dorfman and Armand Mattelart, Para leer al Pato Donald (How to Read Donald Duck), was.
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This non-parental reality creates horizontal levels in society, where there is no hierarchic order, except the one given by the amount of money and wealth possessed by each, and where there is almost no solidarity among those of the same payo, creating a situation where the only thing left is crude competition.
How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney
Andrae acknowledges a primary flaw in the thinking of How to Read Donald Duck and its textual analyses. While How to Read Donald Duck criticized the gender roles and depictions of women in Disney comics, Mooney argues that the new icons of the revolutionary culture also tended to either depict women as passive and domestic or to completely ignore them.
But they do not depict the effort needed for their production. Animated short films were seemingly out of their scope, and often unavailable for study. It tends to alienate, to infantilize, and to colonize its audience. America is presented in the book as a class enemy. The symbol is directed at children, in order to cultivate their raw and self-indulgent egoism. Later hearings by the United States Senate revealed that these press campaigns were often financed by the intelligence agencies of the United States.
Mattelart acknowledges that How to Read Donald Duck has become a classic work in the fields dojald cultural studies and media studies. The depictions of the characters are, in their view, both sexist and emasculating. Ariel Dorfman was primarily a scholar of literature and a creative writer in his own right. Neither Dorfman, nor Mattelart even once mention Barks.
La Firmein particular, often featured female characters who were unable to perceive the “proper revolutionary path” ppato were contrasted to male revolutionaries. But it was also written as a manifesto. McClennen considers How to Read Donald Duck to have served as qriel sociological critique of media culture. As acknowledged by translator David Kunzle, the stories created by Carl Barks were not as innocent or as sugarcoated as other Disney products.
The notion is that the value of products is displaced from the labor that produces them and misconceived as emanating from the products itself. According to a interview with co-author with Armand Mattelarthe had been turned his research towards media issues since Chilean television networks imported much of their content from the United States, with American television being popular in the country.
It had been influenced by the wider field of cultural studies and emphasized the relationship of cinema to other disciplines, particularly from the social sciences. They also reveal much about Dorfman’s creative projects and their diversity. In the view of Dorfman and Mattelart, the character Donald Duck is a pathological rogue.
Tanner Mirrlees, a writer on the topics of cultural imperialism and cultural globalizationplaces How to Read Donald Duck within its historical context.
Retrieved from ” https: He decided to serve the cause by becoming one of its writers and culture donal. American media culture continued to be exported to Chile. An estimated 1 million readers per week purchased Disney comics.
Armand Mattelart had a background in the social sciences and communication studies. It also explored the political implications of the Theatre of the Absurd. They may cultivate these tendencies and reinforce social inequities, but donalv are not unique in this way. The narratives of the Disney comics were found to resemble colonial discourses from Europe. Ariwl considers the book to have been the first lengthy, post-colonial Marxist critique of American imperialist ideology and its presence within the global entertainment media.
How to Read Donald Duck – Wikipedia
It excites the imagination of the readers, convincing them that there is an international conspiracy aimed at subjugating them. These stories tend to be among the tamer ones in leerr canon of works.
The style of the writing in How to Read Donald Duck was itself innovative. Donald’s antics are depicted as innocent fun. Disney’s major field of work was animationadiel animation was seen by film critics as the product of an assembly line. Dorfman still argues that mass-media culture has negative effects.
“Para leer al pato Donald” Ariel Dorfman, Armand Mattelart. by marco muñoz dromundo on Prezi
Even writers from The Washington Post were writing articles about the Disney company and its cultural products. John Berger would later define the work as a handbook for decolonization. Women are depicted in stereotypical subordinate terms.
In the original English American version of the text, the nephews have the idea to teach them square dancing. In fact there is no distinction in the work dorvman the works of Barks and those of other Disney artists. Dorfjan to Read Donald Duck has inspired a critical tradition in Latin America, dedicated to the study of the relationship between culture and dependency. While Dorfman has revised several leed his early ideas since the time How to Read Donald Duck was written, McClennen notes that there have been two constants in all his non-fiction works on similar topics.
All characters apparently work in the service sector of the economy. The confusion over the characters’ origins, in their dorfma, contributes to the sinister scheme of Disney.
The writers of How to Read Donald Duck explored the exploitative conditions of comic-book production from the animation factory of The Walt Disney Company.