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dc.rights.licenseCC-BY-NC-ND
dc.contributor.advisorExterne beoordelaar - External assesor,
dc.contributor.authorTsolakis, George
dc.date.accessioned2023-09-24T23:00:54Z
dc.date.available2023-09-24T23:00:54Z
dc.date.issued2023
dc.identifier.urihttps://studenttheses.uu.nl/handle/20.500.12932/45219
dc.description.abstractIn this thesis I am looking at the release and rerelease practices of some key, classic animated films by Disney for different technologies of consumption ranging from cinema to home video, both in analog and digital formats. With this study, I opt to illustrate how the (re)release and (re)circulation of Disney material resulted in an intricate web of dynamic relations with audiences and answer to the emerging question: What are the various forms of capital acquired by Disney in their transition from cinema to home video? Mediated through various cutting-edge technologies, it is through these ranging dynamic relations, that different forms of value and capital emerged – and are still emerging – in ways that may help us understand Disney’s long-standing status and place within Western popular culture and in media history.
dc.description.sponsorshipUtrecht University
dc.language.isoEN
dc.subjectThe research focus of this thesis is to investigate the various ways in which different technologies of storage and consumption forged specific relations between the Walt Disney Company and audiences in ways that generated various forms of value and capital for the mass media enterprise at different points in media history.
dc.titleRemediating Disney Classics
dc.type.contentMaster Thesis
dc.rights.accessrightsOpen Access
dc.subject.keywordsremediation; nostalgia; capital; value; aura; Disney; curation; media; archive; content; viewer; user; home video; cinema; analog; digital; aesthetics; (collective) memory; ‘Disney Vault’; paratextuality; interactivity
dc.subject.courseuuMedia, Art and Performance studies
dc.thesis.id24403


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