Imagineering and Technical Communication: A Match Made in Disneyland (original) (raw)
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2018
It might seem strange to propose an aesthetic consideration of the theme park, that artificial bloom in the garden of popular culture. The aesthetic is often considered a minority interest in the modern world, yet it offers a distinctive perspective, even on an activity that has mass appeal, and can provide insights that would otherwise remain undiscovered. Aesthetic description and interpretation can illuminate the theme park in many directions: as architecture, design, theater, landscape architecture, environment. I shall choose the last of these, environment.
Designing an Immersive World: Exploring Theme Parks through Hayao Miyazaki's Spirited Away
2018
Most theme parks today have a ride component, whether it is a themed roller coaster or water park, but the entertainment design industry has not focused as much on designing interactive experiences without the need for thrill. Experience design and themed entertainment design focus on how thematic elements create a somatic and immersive environment. Design, like entertainment, is constantly transforming to fit the needs of its visitors. The design of entertainment spaces needs to be considered through multiple lenses and this project seeks to understand design elements that are necessary for a successful immersive design. The film Spirited Away, by acclaimed director Hayao Miyazaki, is the ideal story and style to fit an alternative theme park design. The loose plot and detailed illustrations throughout the film provide rich visual experiences that can easily be translated into enticing three-dimensional spaces. This project focuses on the best tactics for developing immersive enter...
Enhancing Visitor Experience of Theme Park Attractions: Focusing on Animation and Narrative
Institute of Advanced Scientific Research, 2018
As the sophistication of consumers grows, the theme park industry is preparing to become more interactive with state-of-the-art technology and immersive storytelling. Visitors expect an outstanding experience in theme parks, and this can be delivered by attractions that have a strong media-driven narrative content. In this study, we analyzed theme park attractions that employ interactive animated narratives and which demonstrate the immersion and emotional connection that can be experienced by visitors. For the analysis, we used the actantial model and the semiotic square, both developed by A.J. Greimas. Through this we found that the animation characters took key roles that led the narrative in the attraction. Moreover, both the animation's content and attraction maximize fantasy and verisimilitude by making use of precise technologies to create a highly-regarded experience for visitors.
The Palgrave Handbook of Intermediality, 2023
This chapter provides readers with a broad overview of the various ways in which intermediality has been conceived in the interdisciplinary field of global theme park studies. Building up on established research strands, the discussion takes the form of a critical review of secondary literature from various disciplines and surveys three main areas: (1) The plurimediality of theme parks: in order to create multisensory, immersive experiences for visitors, theme parks have combined and fused individual art forms and media such as architecture, landscaping, music, etc. Within this plurimedial mix, however, critics have identified distinct roles for specific media such as film, performance, or language. (2) The transmediality of theme parks: from their beginnings, theme parks have been firmly integrated into chains of remediations. Research has particularly investigated how transmedia conglomerates have used theme parks as one among many platforms for the distribution of transmedia franchises, but has also become interested in the alternative strategies that smaller companies have developed in order to offer recognizable media content at their parks. (3) The paramediality of theme parks: guidebooks, maps, apps, and other media paratexts have been considered as medial interfaces that provide visitors with filters and guidelines on how to anticipate, experience, and remember the park landscape and thus script the theme park experience even beyond the theme park.
Advanced Methodologies and Technologies in Artificial Intelligence, Computer Simulation, and Human-Computer Interaction, 2019
This chapter argues that installation art is a powerful, but underused, method for presenting scientific knowledge and visions of technological innovation. It reviews Disney's extremely successful exhibits at the 64-65 fair as iconic examples of art installations designed to provide strong narrative experiences of technological innovation. Disney used different aspects of installation art to present powerful immersive installations as presentation of technological and scientific knowledge through multiple media. The goal is to identify general methods for conveying such knowledge to general, lay audiences in ways that might not only encourage greater understanding, but also inspire future generations toward scientific and technological discovery.
Journal of Research for Consumers, 2001
Disney and its spectacularly successful theme parks are analyzed through the lens of its consumers. We focus on how Disney manages the consumption experience and discuss Disney strategies from several perspectives. Disney provides a paradigm for contemporary consumption. A framework is presented to understand consumption in Disney and Disneyesque settings. Finally, we offer cautions and critiques regarding such strategies-a guide for the informed consumer.
Analyzing Disney's Early Exhibits as Installation Art Work
Handbook of Research on Maximizing Cognitive Learning through Knowledge Visualization
This chapter compares several Disney exhibits—particularly those narrativizing technological innovation—to immersive installation artwork in order to explore the importance of narrative and textual reference in creating powerful immersive installations as presentation of technological and scientific knowledge through multiple media. The narrative craft of exhibits such as the Ford Magic Skyway and GE Carousel of Progress, which Disney created for the 1964-65 World's Fair in New York, are compared to works within the genre of installation art, which has developed greatly since the 1960s. Similar to Disney, many artists have deployed immersive installation art exhibits to envelop audiences in a detailed aesthetic and conceptual narrative. Some educational institutions have also used experiential education installations, especially for teaching scientific concepts.
Journal of Science Communication, 2018
World’s Fairs and scientific-technological theme parks have been propitious places for the communication of science and technology through modernity. This work addresses the issue of the construction of public discourse about the future within these sites, as well as the changing role attributed to science and technology as mediators in the relationships between nature and society. In both fairs and parks, science and technology play a leading role in the construction of the discourse about the desirable and achievable future. The practices of science communication and technology have specific forms, strategies and objectives, depending on the purposes of the discourse enunciators at different historical moments. This is exemplified through two cases: the 1939 New York World’s Fair and the EPCOT center in the U.S.
Visualising an Amusement Park - A Case Study
2000
This paper presents a real-time visualisation of an early architectural design for an amusement park. This commercial project, aimed at generating political support and investor interest for the proposed development, was implemented to strict budgets and deadlines and provides the case study to analyse the limitations of current content creation tools and formulate requirements for further research and development. The