Para Leer al Pato Donald Comunicación de Masas y

Para Leer al Pato Donald Comunicación de Masas y

10 thoughts on “Para Leer al Pato Donald Comunicación de Masas y Colonialismo

  1. Trevor Trevor says:

    This is utterly remarkable A Marxist critiue of Donald Duck from Chilean academics published prior to the US inspired and paid for coup and burnt in the streets afterwards But this analysis is much interesting than just some historical curiosity That Marxist Chileans didn’t much like Walt Disney is hardly surprising What is interesting is that in providing this cultural analysis they are not merely saying that Disney was a representative of the capitalist class and therefore only interested in the suppression of class consciousness they say this as well of course rather they illuminate some incredibly interesting themes from cartoons and show how these link to the world view Disney was seeking to normalise It must be remembered that this isn't an easy task as it has to overcome a lot of prejudice Disney is often presented as a remarkably moral man – a provider of fantasy and imagination to children someone who presents us with a better world if not a golden age from a near distant past When my children were born it used to annoy me that each new Disney film that would come out would be referred to in the advertising as ‘the all new Disney classic’ But that was how Disney liked to see themselves as the classics factoryI didn’t really know all that much about Disney himself before reading this book the introduction really A Freudian analysis of Walt would also be a really interesting read His relationship with his mother is non existent and the one with his father seems particularly problematic and well let’s be frank Oedipal His relationship with his wife seems anything but loving much a commercial transaction But his relationship with his employees were particularly horrific The introduction talks about one of his key artists who seems to have been the creative brains behind Donald Duck but who lived in obscurity enforced as Disney took all credit for all creativity and relative poverty Disney made his employees sign contracts that gave him complete artistic control over all of their work I had always also just assumed that Disney was some kind of artist But “Walt Disney the man who never by his own admission learned to draw and never even tried to put pencil to paper after around 1926 who could not even sign his name as it appeared on his products acuired the reputation of being ‘the most significant figure in graphic art since Leonardo’” Pages 18 19Disney’s world is a very male one Females exist as sex objects even if sex itself is never realised even by implication This is a world without mothers and often also without fathers It is a world where parental authority resides in uncles Something that isn’t said in the book but that I couldn’t help thinking about throughout was the relationship here to the US’s Uncle Sam Most countries are either fatherlands or motherlands only is the US avuncular Perhaps there is a lesson here about patriotism as the love from an uncle is far less guaranteed or something that can be be taken for granted than that of a parent to a child You have to earn it and even then the relationship can be cold and distantAs the authors note “The world of Disney is a nineteenth century orphanage” Page 35And the relationship between those with power and those without is not really like family either “The less fortunate regard their subjection as natural They spend all day complaining about their slave master but they would rather obey his craziest order than challenge him” Page 36 In fact not only can they not challenge authority but any real union between those at the same level is deeply problematical too “All that is left to them since solidarity between euals is prohibited is to compete” Page 37 The old anarchist slogan that property is theft is virtually reversed here Property always belongs to someone and it is a duty to ensure that it is either returned to its rightful owners or kept out of the hands of those trying to take it from its rightful owners There is no talk of unfair distributions of wealth such a notion is inconceivable and so a reallocation is also and eually unimaginable What is is and it is both lawful and natural This does not apply to the property of third world people’s in uite the same way Their wealth is basically wasted on them and so needs to be taken from them But in a nice and smiling way rather than in the way the Spanish did with the Conuistadors In fact often the natives are only too happy to give away their wealth You don’t just steal their riches you trade them for it However these trades are hardly ever fair even in the make believe world of Disney “Even our the authors' fiercest enemies could hardly justify the ineuity of such an exchange; how can a fistful of jewels be regarded as euivalent to a box of soap or a golden crown eual a cheap watch?” Page 51This is all part of the continuation of the white man’s burden “The constant characteristic of the natives irrational fear and panic when faced with any phenomenon which disrupts their natural rhythm of life serves to emphasize their cowardice rather like children afraid of the dark and to justify the necessity that some superior being come to their rescue and bring daylight” Page 53 And for bringing rationalism and protection how could anyone possibly complain that they also take with them recompense This stems from the fact that Disney has excised workers and production from his ideal society No one actually works even though the world is awash with stuff there are products but never any production Donald Duck might be constantly looking for work but he also constantly fails in whichever jobs he undertakes and these are invariably service jobs never jobs in manufacturing never jobs making stuff This seems almost ironic now given that the first world seems to have mostly stopped manufacturing anything Disney’s dream seems to be coming trueWhile there are no workers in Disney’s paradise there is certainly a kind of criminal underclass These are normally drawn as people of colour certainly unkempt and presented as people without ‘ideas’ There are a couple of major currencies that determine social location – social class isn’t discussed as everyone knows it doesn’t exist The first is heredity As is pointed out a one stage here Donald Duck puts on a hat that makes dull people smart and he suddenly knows lots about history And what does he ‘know’? That his town was founded by someone with the same surname as his Uncle Scrooge Pedigree counts even for ducksOther than heredity there is also a kind of natural allocation of cash – this is in fact also a kind of heredity But the thing that really sets the rich apart from the poor is ideas Once you have ideas you can have anything and money is or less guaranteed Money is essential in the stories the stories could really be defined as exercises in avarice This is only tempered by that great imponderable luck Some people have it and some people don’t and this affects their fortune in ways that are hard to foretell although the luck of the ‘nice’ is infinitely better than that of the ‘not nice’ As no one really 'works' that can hardly be the basis of wealth Being the first person who knows where to look for wealth is the key not getting there firstSo you’re a duck that hasn’t got enough money to pay the next instalment on your television set or to take your girlfriend out on a date or to buy a present for your rich uncle – what to do? Well work is probably out of the uestion What you almost certainly need to do is go off on an adventure An adventure is a kind of abstract labour – uixotic labour really The arc of these stories generally starts with Donald resting but bored He needs cash not for anything like a gas bill or food but for some trifle He goes off on an adventure which is fast and furious and probably involves bringing civilisation to the uncivilised Then after all this work he takes a vacation Everything begins and ends in rest There is activity but never any changeAnd this is part of the confinements imposed by the genre Each story is independent This is certainly not a serial it is a series of stories all independent of the last Just because Donald achieved fame and perhaps a statue in the town suare in the last story or Uncle Scrooge made a fortune from one or other of his ideas – neither this fortune or fame has any currency in the new story which is or less a reiteration of the same thing yet againWhen we steal from natives we are not really stealing from them The fact is that the objects we are taking from them are generally infinitely antiue They no belong to the natives than they do to anyone else This reminded me so much of Said’s Orientalism The myth of the white expert who must go to distant lands and explain their cultural treasures to them If these people are so childlike that they don’t realise how valuable their treasurers really are do they really deserve to keep them? Having recently been to the British Museum I have to say white people have had this attitude for uite some timeI would love to see this same critiue done today on The Simpsons I suspect it would be just as interesting many of the same themes are evident in both shows down to the rich uncle character and the anti hero being lazy and a bit stupid but also somewhat goodThere is a link to this book online – I’ve no idea how long the link will remain active – but download the file onto your computer This really is a uick and fascinating read A lovely piece of Marxist literary criticism Enjoy uotes“To say that this book was burnt in Chile should not come as a surprise to anyone Hundreds of books were destroyed and thousands prohibited and censored Page 9“Over the last twenty years Barks has become something of a cult figure which has generated a small literary industry while his original comic books and the lithographs and paintings done since his retirement in 1967 have been eagerly sought after and bought at high prices much in contrast with his earlier obscurity and relative poverty His working conditions under Disney make him look like Donald Duck vis à vis Uncle Scrooge as Uncle Walt” 18“Ever since 1935 when the League of Nations recognised Mickey Mouse as an International Symbol of Good Will” Disney has been an outspoken political figure” Page 20“But the physical absence of the father does not mean the absence of paternal power” Page 34“The world of Disney is a nineteenth century orphanage” 35“The less fortunate regard their subjection as natural They spend all day complaining about their slave master but they would rather obey his craziest order than challenge him” 36“Her own power is the traditional one of seductress which she exercises in the form of couetry” 38“Women are left with only two alternatives which are no really alternatives at all to be Snow White or the Witch the little girl housekeeper or the wicked stepmother” 38“And since she is always cooking for the male her aim in life is to catch him by one brew or the other” 38Her only raison d’être is to become a sexual object infinitely solicited and postponed She is frozen on the threshold of satisfaction and repression among impotent people” 39“But why this unhealthy phobia of Disney’s? Why has motherhood been expelled from his Eden?” 40“Moral don’t try to change anything Put up with what you have or chances are you will end up with worse” 43“So there are two types of children While the city folk are intelligent calculating crafty and superior; the Third Worldlings are candid foolish irrational disorganised and gullible like Cowboys and Indians” 46“Everything continues as before It doesn’t matter if one part be in the right and the other in the wrong as long as the rules stay the same” 47“The king has learned that he must ally himself with foreigners if he wishes to stay in power and that he cannot even impose taxes on his people because this wealth must pass wholly out of the country to Duckburg through the agent of McDuck” 51“Even our fiercest enemies could hardly justify the ineuity of such an exchange; how can a fistful of jewels be regarded as euivalent to a box of soap or a golden crown eual a cheap watch?” 51“It is the old aphorism the poor have no worries it is the rich who have all the problems So let’s have no ualms about plundering the poor and underdeveloped” 52The constant characteristic of the natives irrational fear and panic when faced with any phenomenon which disrupts their natural rhythm of life serves to emphasise their cowardice rather like children afraid of the dark and to justify the necessity that some superior being come to their rescue and bring daylight” 53“In order to assure the redemptive powers of present day imperialism it is only necessary to measure it against old style colonialism and robbery” page 54“Disney does not invent these caricatures he only exploits them to the utmost” 54“Disney has had to adjust to the fact of Cuba and the invasion of the Dominican Republic The buccaneer now cries ‘Viva the Revolution’ and has to be defeated It will be Chile’s turn yet” 56“Apparently in modern times it is the champions of popular insurgency who will bring back human slavery” 58“In the Disney comics one never meets a member of the working or proletarian classes and nothing is the product of an industrial process” 59“What are these adventurers escaping from their claustrophobic cities really after? What is the true motive of their flight from the urban centre? Bluntly stated in than seventy five percent of our sampling they are looking for gold in the remaining twenty five percent they are competing for fortune in the form of money or fame in the city” 61“We are struck by the antiuity of the coveted object” 61“The nobel savages have no history and they have forgotten their past which was never theirs to begin with” 62“For Disney history exists in order to be demolished in order to be turned into a dollar which gave it birth and lays it to rest” 62“The origin of wealth has to appear natural and innocent” 63“Nature is the great labor force producing objects of human and social utility as if they were natural” 64“There is a term which would be like dynamite to Disney like a scapulary to a vampire like electricity convulsing a frog social class That is why Disney must publicise his creations as universal beyond frontiers; they reach all homes they reach all countries O immortal Disney international patrimony reaching all children everywhere everywhere everywhere” 65“Surely it is not good for children to be surreptitiously injected with a permanent compulsion to buy objects they don’t need This is Disney’s sole ethical code consumption for consumption’s sake” 66“Disney can conceive of no other threat to wealth than theft” 67“There is no uestion of an unjust distribution of wealth if everyone was like the honest ducklings rather than the ugly cheats the system would function perfectly” 68“It is always the ideas of the bourgeoisie which give them the advantage in the race for success and nothing else” 69“The socio economic basis of unemployment is shunted aside in favour of individual psychological explanations which assume that the causes and conseuences of any social phenomenon are rooted in the abnormal elements in individual human behaviour” 71“This gold is not easily attained One has first to suffer deconcretized work work in the form of adventure” 72“The adventure usually ends in the recompense of a vacation and a return to rest now well deserved after the weight of so much deconcretized labor” 74“Let us take the most extreme example Big Bad Wolf and his eternal hunt for the three little pigs He appears to want to eat them But hunger is not the real motive his need is really to embellish his life with some simulacrum of activity” 75“The segregation of the child’s world between the everyday and the enchanted begins in the comics themselves which take the first step in teaching children from their tenderest years to separate work from leisure and humdrum reality from the play of their imagination” 76“Beyond the children’s comic lies the whole concept of contemporary mass culture which is based on the principle that only entertainment can liberate humankind from the social anxiety and conflict in which it is submerged” 76“They can be read in any order and are ‘timeless’ one written in 1950 can be published without any trouble in 1970” 79“All is in motion but nothing changes” 80“Statue Statute Status Static Time and time again someone is rewarded with the prize of a statue standing in a public place or museum” 84“History is portrayed as a self repeating constantly renascent adventure in which the bad guys try unsuccessfully to steal from the good guys” 85“There first and last thought is to fill up spare time that is to seek entertainment” 96“Matter has become mind history has become pastime work has become adventure and everyday life has become a sensational news item” 96

  2. Nandakishore Varma Nandakishore Varma says:

    Donald Duck as the agent of American imperialism? Surely it’s a joke right?Not according to Ariel Dorfman and Armand Mattelart exiles from the Chilean dictatorship They are in dead earnest – and they do a good job of convincing the reader in this slim volume of less than a hundred pagesDonald Duck and later on Uncle Scrooge was my personal favourite among the Disney characters In an age bereft of TV and computers comic books were very popular among the bookish kids – and Walt Disney was a sort of god in the field If anybody would have mentioned that there was anything political in those harmless fantasies in those days he would have been ridiculed to deathBut that was India In Latin America a turbulent continent struggling with lawlessness on one hand and dictators backed by the USA on the other anything and everything was political In Chile a country with an unfortunate history the struggle between capitalistic despotism and communism was fought on the arena of comic books – unlikely as it may seemIn 1973 the democratic government in Chile was overthrown by the military with the blessings of the USA and with liberal help from the CIA Liberals and leftists were jailed and tortured Democratic institutions were closed down Books were burned including this one Even now this book is not available in Chile in those days to be found in possession of one was to risk death at the hands of the authoritiesThis “War of the Comics” had started in 1971 In 1970 after the Popular Unity government came to power there was a marked shift to the left This worried the US because Chile was totally in their economic control till then However as David Kunzle says in the introduction to the book it was easier to nationalise the copper industry than to remove the influence of insidious American popular media Chile took the effort anyway apart from this book a local comic called Cabro Chico “Little Kid” was created to counter Disney How effective these measures were can be seen by the violent reaction of El Mercurio a reactionary daily funded by the CIA no less who claimed these comics were a plot to seize the control of young minds by Marxist media – which was true in a sense What they forgot to mention was this was already being done by America through its “free” pressThe inevitable happened the military stepped in with the blessings of the US In the words of David Kunzle On September 11 1973 the Chilean armed forces executed with U S aid the bloodiest counterrevolution in the history of the continent Tens of thousands of workers and government supporters were killed All art and literature favourable to the Popular Unity was immediately suppressed Murals were destroyed There were public bonfires of books posters and comics Intellectuals of the left were hunted down jailed tortured and killed among those persecuted the authors of this bookTo illustrate where Disney stood in this fight Kunzle reproduces a cartoon which is chilling in its implications A couple of vultures Marx and Hegel see the blatant politicisation in the names are attacking innocent animals and Jiminy Cricket as the voice of conscience is trying to dissuade them However they attack Jiminy “Get him comrade” who says “Occasionally I run up against guys who are immune to the voice of conscience” However the farmer comes with his guns and chases the birds away cheered on by Jiminy “Ha Firearms are the only thing these bloody birds are afraid of” Emphasis is mine to clarify the message – shoot the communistWalt Disney by his own admission never learned to draw and never put pen to paper since 1926 What he did was assimilate and market the creative a genius of a group of people The case of Carl Barks is illustrative Barks retired in 1967 from the Disney Empire and was unknown until relatively recently even though he drew most of the popular Donald Duck stories and created many endearing and enduring characters – the most popular being Uncle Scrooge In actuality the relationship between Disney and Barks was almost a parallel of that between Scrooge and Donald one almost wonders whether Barks did it tongue in cheek Walt did not consider any of his employees as creators or what he did as art it seems – he was interested in its marketability This trend is continued by the Disney studios even now It is the god of capitalism and consumerism at the altar of whom they worship We tend to think of “Children’s Literature” as different Children are supposed to live in a world of innocence free from all subterfuge and deception Their world accordingly has to be “sanitised” from such “evils” as violence and sex and above all from politics As the authors say in the introductionInasmuch as the sweet and docile child can be sheltered effectively from the evils of existence from the petty rancours the hatreds and the political and ideological contamination of his elders any attempt to politicise the sacred domain of childhood threatens to introduce perversity where there once reigned happiness innocence and fantasyIt is this mythical world which Disney aims to protect with his magical world of talking animalsAccording to Dorfman and Mattelart this ideal child’s world is creation of the adult based on their concept of what a child should be Children’s literature envisages a magical world which is nothing but a projection of the adult’s inner child which wants to shut out the unpleasantness and angst of existence prevent all forms of uestioning and ensure the perpetuation of the current society with its status uo And this lie is self sustaining children nurtured in such an environment grow into adults who will continue to recreate this fantasy world of the nursery and the vicious circle is maintainedSo the apolitical world of the child is anything but its lack of politics is its politics And Donald and company invades this universe with their own subliminal messages which affect the mind of children in insidious ways Read the full review on my blogThe book is available for free on Scribd BTW

  3. Ivonne Rovira Ivonne Rovira says:

    Ariel Dorfman — Chilean author playwright poet essayist human rights activist — is best known for his riveting play Death and the Maiden How to Read Donald Duck Imperialist Ideology in the Disney Comic written with the Belgian sociologist Armand Mattelart before Dorfman had to flee Chile because of General Augusto Pinochet That means the book is dated in parts and it has some of that over the top flavor of the late 1960s and early 1970s But Dorfman and Mattelart meticulously maybe a bit too much dissects Disney comic books sold in Latin America which uphold the banner of capitalism by justifying Uncle Scrooge McDuck mocking working stiffs like Donald Duck and infantilizing Third World peoples as children who need Duckburg read US management And if we take their gold? Well they weren’t using it for anything anyway A very convincing and compelling argumentIn interest of full disclosure I received this book from NetGalley and OR Books in exchange for an honest review Thank you OR Books for reissuing this book translated into English

  4. Clay Clay says:

    A marxist take on cultural imperialism in Latin America This was a useful text for my MA thesis in discussing the effect that globalism had on comic strips in Latin America Though it has been a while since I have read it Reviewing it brought me back to my time in graduate school

  5. Maru Kun Maru Kun says:

    This book is a must read for anyone interested in a 1960's Chilean Marxist interpretation of Mickey Mouse and has just this month October 2018 been released on the kindle Christmas has come early this year

  6. Dominick Dominick says:

    I can't really uarrel with any of the main points this book raises except to say that they seem to me to miss the point somewhat Actually I can uarrel than that Valid enough as the observations here are in broad strokes they are also ultimately I believe overly reductive not surprising I suppose given the ideological and polemical aims of the authors Indeed the polemical style occasionally interferes with intellectual objectivity Of course they're not really trying to be intellectually objective but to persuade readers that Disney comics are used deliberately as part of a capitalistcolonialist strategy of dominating other cultures and reconciling people to being cogs in the mercantile machine It's easy enough to read Uncle Scrooge that way except for how freuently the comics the Barks ones anyway satirize Scrooge's capitalist agenda Definitely an interesting read for anyone interested in cultural studies somewhat less interesting but still worth a look for folk interested in comics studies of limited interest to anyone else Th most fascinating bit is the appendix documenting the book's problems getting into the US Disney tried to have it blocked because it dared to use images from Disney comics in a pretty blatant attempt to suppress free speech and subvert the fair use exception entrenched in copyright law

  7. Hannah Hannah says:

    Everything I expected from such a title Reductive while bloated melodramatic yet tedious This read like the manifesto of a sopho YouTuber streaming from their bed but without any of the editing I felt like I had already lost brain cells by page 50 out of 448 I was only able to get halfway through before I realized I wasn’t going to get the compelling narrative the other reviews promised

  8. Bob Schnell Bob Schnell says:

    I don't have a shelf for political criticism of popular culture but that is where this belongsHow to Read Donald Duck was originally published in Chile in 1971 as an indictment of American imperialism being marketed as children's literature in the form of Disney comic books It was hugely popular and spread to the rest of Latin America When an English translation was shipped to America in 1975 it was seized at the port and was the subject of a copyright battle When a military coup in Chile in 1973 ousted the socialist government all copies of the book were banned and burned and the authors put on a hit list they survived This 2018 edition is the first official American releaseIf you have ever watched the 1944 Walt Disney movie The Three Caballeros you might have considered that Donald Duck is acting a bit suspiciously during his tour of Brazil and Mexico My friends and I always postulated that Donald was actually a CIA spy sent to report on political conditions in those countries but got sidetracked by samba Imagine my surprise when the book How to Read Donald Duck appeared in a catalog of new releases I had to read this to see if our hypothesis was correctThe movie is barely mentioned Instead the focus is on the monthly Disney comic books being distributed in Latin America since the 1950's It seems that Donald Duck is popular there than Mickey Mouse so Donald is the point of entry for all sorts of capitalist ideas in socialist markets The authors take a Marxist view of this colorful and entertaining propaganda and explain exactly why it was an insidious part of a not so subtle cultural revolution It is both thought provoking and frightening especially considering future events right up to the current immigration situation in the USA I actually learned a bit about Marxism it is like learning Taoism from Winnie the Pooh and had my worst suspicions about the Walt Disney Corporation validated I think it should be part of every political science curriculum There are three introductions and an appendix of essays all worth reading to put the book in historical perspective One star off for getting a bit too didactic in some sections but otherwise recommended if any of what I've written has sparked your interest

  9. Nils Nils says:

    A period piece of cultural criticism written by a young Allende supporting Chilean on the eve of Chile’s descent into a hell of authoritarian neoliberalism It aims to deconstruct the faux innocence of the Disney universe to demonstrate the subterranean political agenda that its animated world traffics in “In order to attain knowledge which is a form of power we cannot continue to endorse with blinded vision and stilted jargon the initiation rituals with which our spiritual high priests seek to legitimize and protect their exclusive privileges of thought and expression” In the end Donald Duck provides a justification narrative for nothing less than “imperialist plunder and colonial subjugation” of “noble savages” who are unable and indeed forbidden ever to become civilized and modern “The Disney world is one in which all materiality has been purged All forms of production the material sexual historical have been eliminated and conflict never has a social basis but is conceived in terms of good versus bad lucky versus unlucky and intelligent versus stupid”

  10. sologdin sologdin says:

    Left critiue of mass culture products as distributed abroad wherein the presentation is that “The world of Disney is a nineteenth century orphanage” 35Fulfills the normal role of ideology insofar as “Disney relies upon the acceptability of his world as natural that is to say as at once normal ordinary and true to the nature of the child” 41 It is further “simply escapism the common mass culture safety valve necessary for a society” 43 And yet it also takes part of the repressivecoercive apparatus “There are two forms of killing by machine guns and saccharine” 48—the latter being Disney’s preferred methodVery much a creature of the cold war in seeing “a typical example of Disney’s colonial attitudes in this case directed against the African independence movements” 50Disney strategies ‘dilution’ “whereby protest is converted into imposture” “banalize an unusual phenomenon of the social body and symptom of a cancer in such a way that it appears as an isolated incident removed from its social context” 56 and ‘recuperation’ “the utilization of a potentially dangerous phenomenon of the social body in such a way that it serves to justify continued need of the social system and its values and very often justifies the violence and repression which are part of the system” 56Stereotypes are sold to peoples abroad as “a channel of distorted self knowledge” 54 the normal method of oppression to lead victims away from self recognitionDisney uses “animal symbolism infantilism and ‘noble savagery’ to cover over the network of interests arising from a concrete and historically determined social system US imperialism” 58 Only “one true object the working class” 59Likely that Disney escapism is aptly described by “Each great urban civilization created its pastoral myth an extra social Eden chaste and pure” 59; “a utopia of the future which revives a nostalgia of the past” 60 Part of the fantasy is that “objects have no history; they arise by enchantment and are untouched by human hand The stork brought the gold It is the immaculate conception of wealth” 63—a routine bourgeois mysticismDiagnoses a standard rightwing mysticism in such things as “Disney style unemployment based on the personality of the employee” 71 as opposed to structural economic causalityFairly standard critiues here but nice to see them paired with images from comics which really are ludicrously imperial

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Para Leer al Pato Donald Comunicación de Masas y Colonialismo [PDF / Epub] ☉ Para Leer al Pato Donald Comunicación de Masas y Colonialismo By Ariel Dorfman – En este mundo nada escapa a la ideologia Nada escapa por lo tanto a la lucha de clases Este libro intenta develar los mecanismos especificos por los ue la ideologia burguesa se reproduce a traves de l En este mundo nada escapa a la ideologia al Pato Epub Ù Nada escapa por lo tanto a la lucha de clases Este libro intenta develar los mecanismos especificos por los ue la ideologia burguesa se reproduce a traves de los personajes de Walt Disney; indagar asimismo en la estructura de las historietas para mostrar el universo de connotaciones ue desencadena y ue termina por ocupar el lugar fundamental en la comprension del mensaje.

  • Paperback
  • 98 pages
  • Para Leer al Pato Donald Comunicación de Masas y Colonialismo
  • Ariel Dorfman
  • Spanish
  • 05 November 2016
  • 9789682300592

About the Author: Ariel Dorfman

Vladimiro Ariel Dorfman is an Argentine Chilean novelist al Pato Epub Ù playwright essayist academic and human rights activist A citizen of the United States since he has been a professor of literature and Latin American Studies at Duke University in Durham North Carolina since .