J. P. Telotte
Auteur de The Mouse Machine: Disney and Technology
A propos de l'auteur
J. P. Telotte is a professor of film and media studies at Georgia Institute of Technology. He is coeditor of the journal Post Script and author of many books on film and media, including Disney TV, Voices in the Dark: The Narrative Patterns of Film Noir, and The Essential Science Fiction Television afficher plus Reade afficher moins
Œuvres de J. P. Telotte
The Cult Film Experience: Beyond All Reason (Texas Film & Media Studies Series) (1991) 17 exemplaires
Science Fiction Double Feature: The Science Fiction Film as Cult Text (Liverpool Science Fiction Texts and Studies LUP) (2015) 3 exemplaires
Science Fiction Film, Television, and Adaptation: Across the Screens (Routledge Research in Cultural and Media Studies) (2011) 2 exemplaires
Post Script 10 1 exemplaire
Film Noir and the Dangers of Discourse 1 exemplaire
The Oxford Handbook of New Science Fiction Cinemas 1 exemplaire
Oeuvres associées
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- Sexe
- male
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Statistiques
- Œuvres
- 21
- Aussi par
- 2
- Membres
- 219
- Popularité
- #102,099
- Évaluation
- 4.0
- Critiques
- 2
- ISBN
- 60
- Langues
- 1
- Favoris
- 1
Don’t get me wrong. I’m not saying the book is rife with mistakes – the author does seem to have good control of the subject. It just brings to question some of the research and means that, the minute I found an interesting fact I was not aware of, I began to question if it was true.
And the next problem relates to the overall arch of the book. It starts with the innovations that were Disney inspired, and it strongly builds on its proposition that innovation is what drove Disney’s success. But there is an existing parallel between Walt’s death and a decline in Disney’s (the company’s) innovative approaches. In fact, while it isn’t stated this way, the last couple of chapters accurately chronicle how Disney was trying to keep up rather than lead the way. But the book doesn’t look at it that way, even extolling (as I mentioned before) Pixar’s work. (Yes, it was innovative. No, it was not Disney.)
So, what that leaves us with is a fairly interesting book – interesting to those who are deeply into Disney – that gets bogged down in too much analysis, too much conjecture, and too much introspection. (As evidence, the introduction is as long as most of the chapters – evidence that the author thinks he has much more to say than he actually does.) And, that means that we have an okay book that will appeal primarily to the deeply ingrained fans – the same ones who will question the content.… (plus d'informations)