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In the case of Disney, the expansion of the cultural industry market has created a diversified competitive landscape, followed by a methodology for production companies to achieve commercial success.
Hollywood, for example, goes beyond mere commercial logic and uses political and social relations to present specific ideologies in its works that can serve the best interests of the race.
Mythology is one of these structures that can effectively convey collective ideology. Over time, myths handed down by the public will screen out some strategies to satisfy the group.
Campbell derives these strategies as stereotypical structures of primitive myths and points out what kind of relationship myths establish with existing races from which ideology emerges.
Production companies carry ideology by incorporating their own specific ways of thinking into the structure of primordial mythology, especially in the Disney animated film system, from the initial unconscious to the subjective use of perceived utility.
When Baudrillard proposed the mimetic view, he used Disney as an example to explain, he believed that Disney animation created a "new world", using animation to render a fantasy, uncontrolled by reason similar to a utopian system, creating the "Disney myth" of the new century.
Just as science fiction is one of the movie genres for people to better understand their unconscious, what attracts people to yearn for is that in this world system, people can freely imagine and get rid of all constraints.
No matter what tribulations people face in survival, he can freely look for feasible solutions in the fantasy world, but most of the time in the world life, he is intoxicated with fantasy and irrationality, and his mind is full of mystery and imagination.
This is one of the important reasons why the audience is unconsciously manipulated to yearn for the dream world.
The creation of "New Myth" contains the collective appearance of a new era and race influenced by external experience in the process of evolution, that is, the collective appearance reflected by the film system of different groups is also presented by the moral logic of each group.
We can identify the psychological characteristics of different groups and races in different eras through the audience's different reactions to the film.
The explicit or underlying mechanisms in human consciousness lead humans to exhibit specific patterns of thought, emotion, or behavior.
110 is a fantasy-filled dream park created by Disney's animated film system, which is a symbolic epitome of the unconscious reflection of the concept of real racial thinking.
Disney's animation system defines the form of "symbolism" Disney was founded in the 20s of the 20th century and gradually gained worldwide fame in the 30s.
Since this time, Disney animation's mandatory provisions for happy endings, especially at the level of moral claims, have become a perfect interpretation of the Hayes censorship code, forming the fundamentalism of American cinema,
For example, "The Little Mermaid" director Ron Clemonz greatly changed the original because of the ending of the Little Mermaid in the original Hans Christian Andersen's fairy tale The Little Mermaid will eventually die.
Known Disney animation is in a broad sense "an American animated film represented by Disney that has a relatively fixed Disney narrative mode in form and content." ”
Animated films with the same mode still make the audience happy to buy it, which involves the role of "tilt screen".
Fantasy art becomes a form of expression of the body's memory—a memory that is transmitted through the superego in society, and then this is distorted into real information into the unconscious.
The mechanism by which this information is released unconsciously before the subject itself is hypothesized to be a "tilted screen".
Meneghetti explains it as "a mechanism by which the tilted screen is a symbiosis of the subject's mental activity, a program that gradually accumulates in the brain, acting through speculative intervention." ”
This mechanism precedes the subject's consciousness to modulate its own behavior, and the process of this gradual accumulation is catered to the context of the times.
Therefore, due to the influence of the tilt screen, the audience's unconscious choice to obtain image perception will show the logical and moral standards that conform to the context at that time.
A film is never presendant or provocative, it reveals something that already exists beneath human reason.
It is known that the Disney animation system has been built since the 60s of the 20th century, and has increasingly lost the rave reviews of the 20s.
And the world's criticism of "Disneylandization" has intensified, and Mary Lei-Holybeck and others have bluntly stated that "adults who try to repair their childhood imaginations use the name of dreams to treat myths into pedantic stories and extravagant exaggerations."
This ideological change combined with the background of the situation at that time can be found that the United States in the 20s continued to improve its international status after World War I, accompanied by rapid economic development and continuous improvement of living standards.
Even leapt to the top of the world economy, forming the seven-year-long "Coolidge Boom", drastic social changes have rapidly disintegrated the original moral norms, people's values have undergone a huge change, and consumerist morality and hedonistic lifestyles have become the mainstream of society.
The "fantastic new world" presented in Disney's animated film fits the logic of the audience's "tilt screen" mechanism at that time. In the 60s, American society was turbulent, and domestic anti-war sentiment was high.
Under the trend of multipolarization in the world in Western Europe and Japan that has successively demanded to get rid of control and the hegemony of American capitalism has been attacked, radical people have become more and more suspicious of the existing system and living conditions, and resistance to mainstream culture has become their goal.
Correspondingly, the "new Hollywood movies" with "counter-culture" colors began to rise, which means that the traditional Disney narrative mode of American films gradually no longer conforms to the highest values embodied by the human beings embodied in the tilted screen at that time.
The American ideal "New World" symbolized by Disney diverged from the basic demands and aspirations of the collective unconscious at this time, and rightly suffered from group resistance.
Audiences often project their unconscious underlying thoughts onto the images they see, and those images and symbols need to conform to the logic they often experience in their daily lives in order to be recognized by the subconscious.
The fantasy world created by Disney has always been based on movies, and the main content is to project the desirable and beautiful virtual world into the audience's unconscious plot, so as to achieve the true purpose of spreading the positive image of the United States and covering up its hegemonism.
The reason why it can achieve its goal, if it is cut from the perspective of reflecting the real society, the film can even change the facts through editing technology, "because of the continuity and coherence of the film lens, the director can highlight some things and discard others;
Because he is not only telling us the story, but also conveying to us the meaning he wants to express in the film, "This means that the film has a certain degree of manipulation of consciousness."
For example, during the war, in order to incite anti-Semitic sentiment, Germany made the film "Seuss the Jew", which was not directly related to the war.
But it can elicit negative reactions in an unprepared audience and make them resent Jews.
Because of all this, the film has become a means of influencing collective behavior. What Disney wanted to do at the beginning was to combine imagination and real photography to construct a strange visual world, that is, poetic reality and concrete imagination.
By chance or deliberately, he chose "the only art born in the capitalist period" and implemented this idea as a "film" of the seventh art.
It has to be said that in the 20s, when capitalist consumer culture swept through, the spiritual world was extremely empty, and faith and religion were declining, negative factors appeared in the people's emotions and psychological cognition.
The growth of modern rationality has made the people who survive gradually forget the true state of life, and the emergence of Disney animated films has become the idealistic "pure white" façade that the United States needs most to condense and place group consciousness.
Whether it is public themes such as "Snow White" and "Cinderella", or adventures such as "The Wizard of Oz" and "Tarzan" as the main line, or animal anthropomorphic perspective series such as "Mickey Mouse" and "The Lion King",
The early animated film system to be built was almost all set against the backdrop of a more primitive form far from modern life;
They all seem to cater to the utopian ideals of ethnic groups that want to return to the primitive spirit.
At the same time, it is also a necessary content carrier to present the metaphysical thinking of consciousness, history, and synchronic thinking in the United States.
The unconscious projection of animated film live-action and American plot Disney spreads stereotypical culture and American ideological views through animated films, and in the process constantly strengthens and repeatedly depicts the utopian world of freedom, equality, innocence and dreaminess.
With this "virtual world" projected on the audience's vision, the idea that this world is equivalent to the United States is unconsciously solidified.
Conversely, when the word "America" is mentioned, the intervention mechanism is the first to reflect the shape of the world Disney has created, rather than something real or negative.
For the establishment of the image of the United States in the corresponding period, Disney was successful.
"It allows Americans to escape reality through fantasy worlds, which allows them to have a concentrated experience of the real America that everyone knows about it."
And this experience has nothing to do with the reality of America, it creates another image of America in people's minds and thus controls the mind, an image that is always associated with faith: the subject conceives the contours of a fantasy and then associates it with one's own beliefs.
This belief is not the intentional motive force of consciousness, because the willpower of consciousness is always weak;
The potential of the entire subconscious mind is needed to mobilize the ability to act in this reality. The United States, on the other hand, ostensibly defends human rights, but in fact has ambitions to control the center of the world.
Then the surface motive of these products as a real-life expression of these products in a specific historical period and the return of retro feelings remains to be examined.
At the end of the twentieth century, the "New Age Movement", also known as New Mythology, set off a wave of fantasy themes and gradually became a mainstream trend. It has driven the trade-off of the interests of all parties in the film business world, such as the strong rise of series such as "The Lord of the Rings" and "Resident Evil", and Marvel Studios is on the verge of bankruptcy and can also take advantage of this trend to come back to life.
Disney's film coverage has led to the popularity of sequel films in Hollywood, monetization and cross-platform revenue, allowing Disney to gradually switch to a new strategy:
Remaking and remaking classic animated films into live-action became the company's main strategy, which seems to be modeled on the Harry Potter series and the Hobbit series.
"Alice in Wonderland", "Beauty and the Beast" and so on will be released every once in a while, which proves Disney's implementation of the layout of this plan.
Of course, there is a commercial element to this, and Gedos explained in an interview: "Adapting a fairy tale is a perfect choice for Hollywood, because there is no copyright owner to deal with, and these stories are not copyrighted." ”
But from this obvious change of behavior, it can be seen that the ideology under the torrent of the times has changed.
Just as early American films featured white Anglo-Saxon Protestants (WASP) as their core values, racism in Disney animation is particularly evident when the United States is in a "one superpower" world situation.
The mandatory change of the plot or ending of the original fairy tale symbolizes the confidence of the United States in its absolute power at that time, and Disney animated film directors in this period can be recognized for their ability to reflect the psychological complex of the collective unconscious in an unconscious state.
Looking back at the current live-action reboots of animated films, Disney began to add themes brought by the new era, such as "Snow White and the Hunter" transforming a delicate princess into a brave warrior, "The Sleeping Curse" retelling different Sleeping Beauty stories from different perspectives, and the black heroine selected by "The Little Mermaid" are all incorporating feminism.
Combined with the situation that the United States is facing in the world situation today, the positive image of purity and beauty is gradually crumbling, and the true face hidden under it is at risk of being completely exposed at any time.
Disney's animated film system, once its most successful façade, condensed one of the most common episodes in the popular psyche and had a hallucinogenic effect, and the United States hoped that this hallucinogenic ability would be applied to the world again to fill the gap in the shattered image.
"Cinema reflects the mind, psychology or, more appropriately, unconscious of the people of a country at a given time." So this also projects America's unconscious eagerness to return to its former place in the world.
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