The transmediation involved in recent Walt Disney Company productions including A Wrinkle in Time, Black Panther, Thor: Ragnarok, Coco, and Moana engage with a process of visualizing the nonvisual in ways that have heretofore differed from past Disney offerings. These films respond to calls for increased diversity, unlocking the potential of imagined spaces on a global scale. Although it addresses postcolonial identity politics that are both salient and fraught in the current geopolitical climate, such diversity nevertheless serves Disney's corporate interests, (re)producing a colonizing progression decentralized from the nation-state but rooted in projection of culture. As Disney adapts new narratives, it also engages in a process of incorporation, absorbing these narratives into the larger framework of the overarching corporate structure of the "magic kingdom"—intended to designate a cultural home for childhood, imagination, and reminiscence of how things were and what they might become. I contend that Disney's incorporation of new narratives extends greater access to imaginary spaces while producing a homogenizing effect on global media culture.


Additional Information

Print ISSN
pp. 151-176
Launched on MUSE
Open Access
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.