Disney’s Wagner Aesthetic
Music Drama in Pursuit of the Total Artwork
Bibliographic Data
| ID | 21787448 |
|---|---|
| Authors | Jason Barker (0000-0001-6679-1026, Kyung Hee University, corresponding author) |
| Year | 2024 |
| Volume | 19 |
| Issue | 1 |
| Pages | 43-57 |
| Publication date | 2024-03-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Animation (JOURNAL) |
| Journal identifiers | ISSN: 1746-8477 • E-ISSN: 1746-8485 |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/17468477241233252 |
| OpenAlex | W4392971171 |
| Language | EN |
| Citations received | 1 |
| References cited | 7 |
Aside from Walt Disney’s reputation for renegade avant-gardism, ‘sentimental modernism’ and subliterary Americana, the German composer Richard Wagner’s pursuit of the Gesamtkunstwerk (total artwork) provides a coherent framework for interpreting the ‘music drama’ of the Disney studio’s Depression-era shorts of the 1930s and its feature films of the Golden Age (1937–1942). In citing Wagner and Adorno’s critique of him, the author argues that Disney follows Wagner in three key respects: (1) in his disavowal of the ‘work’ of art and corresponding objectification of Nature; (2) his espousal of technology and its ‘innovation’ as a means of attaining artistic perfection; and (3) his striving for a synaesthesia, or aesthetic unity of the senses, which would ultimately prove unsustainable given the commercial constraints of capitalist modernity
Aesthetics · Art · Art history · Aside · Drama · Epistemology · Literature · Modernity · Objectification · Perfection · Reputation · Sociology · Studio · Visual arts · German Colonialism and Identity Studies · Musicology and Musical Analysis · Philosophy · Theater, Performance, and Music History
| Unique citing works | 1 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2024 - 2024 (1) |
| Citation velocity | recent |
| Highly cited | No |
| Citation types | Neutral: 1 |