Whose Paradise? Encounter, Exchange, and Exploitation

Alexeyeff, Kalissa; McDonnell, Siobhan

doi:10.1353/cp.2018.0028

Cited by 8 publications

(3 citation statements)

References 52 publications

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“…There are millions of people in the Pacific, hundreds of languages” (Constante 2016; Kelly 2016). Vincente Diaz adds that Disney’s commercial and cultural reach means that it has the power to “authenticate” the region of Polynesia and the broader Pacific Islands and administrate “how the rest of the world will get to see and understand Pacific realness” (Alexeyeff and McDonnell 2018; Diaz 2016b; Herman 2016).…”

Section: Discussionmentioning

confidence: 99%

Chief Tui Makes Way: Moana, Misogyny, and the Possibility of a Profeminist Ethic

Hollowell

2020

Men and Masculinities

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Much has been made of Moana as a different kind of Disney princess. This essay suggests that Chief Tui is a different kind of Disney father. While Chief Tui exhibits misogynist behavior through the majority of Disney’s Moana, he learns at the film’s conclusion to “make way” for Moana’s skillful sea voyaging leadership. Philosopher Kate Manne’s account of the “logic of misogyny” supplies criteria for moral judgment of Chief Tui’s early misogynist behavior and later conversion to a profeminist masculinity. The essay proposes aspects of a profeminist ethic of making way and explores connections between gender and other social forces of oppression in Moana. It highlights the profeminist ethical imperative and political opportunity that Chief Tui represents where powerful men learn to make way for feminist women.

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Section: Discussionmentioning

confidence: 99%

Chief Tui Makes Way: Moana, Misogyny, and the Possibility of a Profeminist Ethic

Hollowell

2020

Men and Masculinities

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“…Their Moana‐ centric article details how the film's messaging reads to contemporary Euro‐American audiences, which is an indulgence of Disney's 1934 experience, film depictions, and the themed spaces cultivated over the last 100 years: paradise is accessible in the Pacific, offering “harmonious alternatives to modern worlds” without the complications of identity (qtd. in Alexeyeff & McDonnell, 2018, p. 283). Disneyland's Enchanted Tiki Room, the Polynesian resort, and Aulani play up this wish fulfillment of harmonious alternatives through performed, artificial island life.…”

Section: Mickey's Haole Fantasies: Hawaiian Holiday (1937) Ku'u Lei M...mentioning

confidence: 98%

“…In “Whose Paradise? Encounter, Exchange, and Exploitation,” Kalissa Alexeyeff and Siobhan McDonnell are succinct when stating “Pacific paradise is an imaginary that enacts the material dispossession of colonialism” (2018, p. 270). Their Moana‐ centric article details how the film's messaging reads to contemporary Euro‐American audiences, which is an indulgence of Disney's 1934 experience, film depictions, and the themed spaces cultivated over the last 100 years: paradise is accessible in the Pacific, offering “harmonious alternatives to modern worlds” without the complications of identity (qtd.…”

Section: Mickey's Haole Fantasies: Hawaiian Holiday (1937) Ku'u Lei M...mentioning

confidence: 99%

“The Spirit of Aloha:” A history of how Disney theming performs Hawaiian and Polynesian cultures

Lantz

2024

J of American Culture

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The view from Hawaiʻi in the 21st century has to contend with haole fantasies made of the reified stuff of discovery and paradise. Each tour package and 'experience' touts the ability of newcomers to 'discover' Hawaiʻi anew, to enjoy a lūʻau (a Hawaiian feast), feted Cook-like.Noelani Arista, "Encountering History: 'Discovery' and 'Resolution' Revisited"Remember to share the Spirit of Aloha wherever you go. Auntie Wini, "The Spirit of Aloha" Dinner Show, February 2020 I N T RODUC T IONOne hallway of the main lobby, or the Great Ceremonial Hall, of Disney's Polynesian Village Resort houses a glass display. This collection archives the Disney Company's history with the resort, and by extension, its history with Hawaiian and Polynesian cultures. The display includes original images and ephemera: photos from the resort and Aunty Kau'i performing in the 1970s, Walt and Lillian Disney in leis, company-produced Annette Funicello pop-Hawaiian LPs, and branded educational materials. This display foregrounds one of the key concepts of Disney parks and resorts, which is the detail and care Imagineers put into themed spaces. The display also draws a direct line from the Polynesian to interests of founder Walt Disney himself. The image of Disney, from his 1934 visit to Honolulu, is something guests easily walk by without noticing that it is Disney in the picture or this miniature archive at all. But this hallway display shares a history of Disney, man and company, crafting, literally in some images, paradisiacal illustrations of Hawaiian and Polynesian 1 cultures. Disney's history and framing offers insight into how

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Selling Authentic Happiness: Indigenous wellbeing and romanticised inequality in tourism advertising

Phillips

Taylor

Narain

et al. 2021

Annals of Tourism Research

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Whose Paradise? Encounter, Exchange, and Exploitation

Cited by 8 publications

References 52 publications

Chief Tui Makes Way: Moana, Misogyny, and the Possibility of a Profeminist Ethic

Chief Tui Makes Way: Moana, Misogyny, and the Possibility of a Profeminist Ethic

“The Spirit of Aloha:” A history of how Disney theming performs Hawaiian and Polynesian cultures

Selling Authentic Happiness: Indigenous wellbeing and romanticised inequality in tourism advertising

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