Knjiga Kako brati Jaka Racmana je tik pred izidom. Zato Vas vse skupaj vabimo na predstavitev knjige v sredo 13. junij ob 20. uri / Kiberpipa, Kersnikova 6, Ljubljana.
gosti: Sandra Bašić Hrvatin, Tea Hvala, Simon Tecco; pogovor bo vodil Dražen Dragojević
Sandra Bašić Hrvatin je predavateljica na FDV Univerze v Ljubljani. Posveča se teoriji medijev, predvsem medijskega lastništva ter medijskih pravic. Skupaj z Lenartom L. Kučićem je napisala študijo o lastništvu medijev Monopoli (Maska 2005)
Tea Hvala se od leta 2000 v esejističnih, proznih in novinarskih zapisih z vidika queer teorije in feminizma posveča družbenim in umetniškim obravnavam spolov in seksualnosti. Sodeluje tudi pri organizaciji festivala Rdeče zore.
Čilenec Simon Tecco, v Ljubljani živeči sociolog in izvedenec za državljanske vojne in politične odnose v Južni Ameriki, ki objavlja predvsem v španskem časopisju.
Knjiga, ki je izdelek političnega boja, je globoka ter domiselna kritika svete krave otroške kulture - mita o Disneyju. Knjiga je pod naslovom Para Leer al Pato Donald prvič izšla leta 1971 v Čilu, v fašističnem obdobju pa je bila skupaj z drugo literaturo prepovedana in sežgana.
Slovenska izdaja v prevodu Aleksandre Rekar prinaša:
* izčrpen portret delovanja korporacije Disney v študiji Sandre Bašić Hrvatin
* nov predgovor avtorjev
* posodobljeni uvod Davida Kunzla, komentirane bibliografije levičarskega pisanja o kulturnem imperializmu in stripih
* dodatek Johna Sheltona Lawrencea o cenzuri, ki jo izvaja ameriška vlada, in zakonsko-političnih pravicah do kritiziranja Disneyja.
* nov predgovor avtorjev
* posodobljeni uvod Davida Kunzla, komentirane bibliografije levičarskega pisanja o kulturnem imperializmu in stripih
* dodatek Johna Sheltona Lawrencea o cenzuri, ki jo izvaja ameriška vlada, in zakonsko-političnih pravicah do kritiziranja Disneyja.
Opis Publikacije: 208 strani, format 170 x 240 mm, čb reprodukcije, Cena 19 €
Iz spremne študije Sandre Bašić Hrvatin:
Mattelartova in Dorfmanova analiza Disneyjevih stripov pokaže, da se za navidezno nedolžnim in »orokavičeno nežnim« otroškim svetom, ki ga korporacija ponuja v množično potrošnjo, skriva trda pest korporativne imperialistične ideologije. To, kar sta Mattelart in Dorfman iskala »skrito« v stripih, upravljalci korporacije Walt Disney odkrito govorijo svojim lastnikom.
Mattelartova in Dorfmanova analiza Disneyjevih stripov pokaže, da se za navidezno nedolžnim in »orokavičeno nežnim« otroškim svetom, ki ga korporacija ponuja v množično potrošnjo, skriva trda pest korporativne imperialistične ideologije. To, kar sta Mattelart in Dorfman iskala »skrito« v stripih, upravljalci korporacije Walt Disney odkrito govorijo svojim lastnikom.
V pismu delničarjem iz letnega poročila korporacije je takratni predsednik uprave Michael Eisner zapisal naslednje: »Verjetno ne bomo pretiravali, če bomo vlogo ameriške zabavne industrije ocenili kot vpliven zgodovinski dejavnik. Berlinskega zida ni zrušila moč zahodnega orožja, ampak moč zahodnih idej. In kateri je bil kanal za prenos teh idej? Lahko priznamo, da je bil ta kanal v veliki meri ameriška zabava.«
Več o tem:
http://www.maska.si/sl/zalozba/mediakcije/kako_brati_jaka_racmana/
Vabljeni Vsi skupaj kot kot poslušalci / obiskovalci!
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ENGLISH (translation by Maska, used with permission):Ariel Dorfman and Armand Mattelart, How to Read Donald Duck
28.05.2007 | The book How to Read Donald Duck: Imperialist Ideology in the Disney Comic was first published in 1971 in Chile under the title Para Leer al Pato Donald, and was during the fascist period prohibited and burnt together with other literature. The book – a product of political struggle – is a profound and ingenious critique of the holy cow of childhood culture, the myth of Disney.
With a new foreword of the authors, an updated introduction by David Kunzl, a commented bibliography of the leftist writing on cultural imperialism and comics, and with a supplement on censorship conducted by the American government and the legal-political rights for the critique of Disney by John Shelton Lawrence. The Slovenian translation by Aleksandra Rekar brings an exhaustive portrait of the functioning of the Disney Corporation in the study by Sandra Bašić Hrvatin: Mattelart's and Dorfman's analysis of the Disney comics shows that under the apparently innocent and “handgloved gentle” children’s world, offered to mass consumption by the corporation, a hard fist of corporate imperialist ideology is hidden. The “hidden thing” that Mattelart and Dorfman sought in the comics the managers of the Walt Disney Corporation openly employ to address their owners. The then president of the managing board Michael Eisner wrote the following in the letter to shareholders in the annual yearly report: “Most likely it is not an exaggeration to see the role of the American entertainment industry as an influential historical factor. The Berlin Wall did not fall because of the power of the Western arms, but because of the power of Western ideas. And which was the channel that transmitted these ideas? We can freely admit that the channel was to a great extent the American entertainment.”
With a new foreword of the authors, an updated introduction by David Kunzl, a commented bibliography of the leftist writing on cultural imperialism and comics, and with a supplement on censorship conducted by the American government and the legal-political rights for the critique of Disney by John Shelton Lawrence. The Slovenian translation by Aleksandra Rekar brings an exhaustive portrait of the functioning of the Disney Corporation in the study by Sandra Bašić Hrvatin: Mattelart's and Dorfman's analysis of the Disney comics shows that under the apparently innocent and “handgloved gentle” children’s world, offered to mass consumption by the corporation, a hard fist of corporate imperialist ideology is hidden. The “hidden thing” that Mattelart and Dorfman sought in the comics the managers of the Walt Disney Corporation openly employ to address their owners. The then president of the managing board Michael Eisner wrote the following in the letter to shareholders in the annual yearly report: “Most likely it is not an exaggeration to see the role of the American entertainment industry as an influential historical factor. The Berlin Wall did not fall because of the power of the Western arms, but because of the power of Western ideas. And which was the channel that transmitted these ideas? We can freely admit that the channel was to a great extent the American entertainment.”
IS WALT DISNEY TRULY THAT INNOCENT?
WHY ARE THERE NO PARENTS IN HIS COMIC BOOKS?
HOW COME THE NATIVES AND THE SAVAGES ALWAYS GIVE UP THEIR RICHES TO THE DUCK INVADERS?
WHY DOES DONALD LIKE SCULPTURES AND PHOTO ALBUMS?
WHAT ARE HUEY, DEWEY AND LOUIE DOING IN VIETNAM?
These and other questions were first brought up in the revolutionary Chile in the distant 1971.
WHY ARE THERE NO PARENTS IN HIS COMIC BOOKS?
HOW COME THE NATIVES AND THE SAVAGES ALWAYS GIVE UP THEIR RICHES TO THE DUCK INVADERS?
WHY DOES DONALD LIKE SCULPTURES AND PHOTO ALBUMS?
WHAT ARE HUEY, DEWEY AND LOUIE DOING IN VIETNAM?
These and other questions were first brought up in the revolutionary Chile in the distant 1971.
