Disney is one of the world’s top media companies, and it shows. Just the fact that Disney, an American media conglomerate, has theme parks around the globe proves its enormous influence. While in Disneyland Paris, it felt like I was in America. Disney logos cover every corner of the park’s grounds, and many signs are in English, not French. Cross-promotion and branding are visible with other American and French companies; the park’s Plaza Garden restaurant boasts a flashy sign with the Perrier logo, a French brand of sparkling water, beneath. For my first time visiting a Disney park, I was overwhelmed by the crowds and chaos. Upon entering, you must walk through the village before reaching any attractions. The village has countless shops selling anything and everything Disney related- their purpose to catch the eye of visitors on their entrace and exit. I felt like the park was more of a Disney themed mall with some super cool rides than a theme park. Overall though, I had a blast on these rides and seeing the spectacle that is Disneyland.
Author: lbaumer
Media Literacy Ad Analysis
I found this message right by Citadines. This message was created by the ad/pr team of 1664, a French Beer. The color coordination on each sign attracts attention and the contrast between the signs’ colors. People who do not drink alcohol or struggle with alcohol addiction may pay more attention to the ad, as it advertises nonalcoholic beer. Those who drink alcohol, specifically beer, may disregard the ad once seeing the large 0.0%. Sober lifestyle and values are appreciated in this advertisement, but non-sober lifestyles are inherent to the advertisement too, as one may drink this at social events instead of alcoholic beer. I think the signs say something along the lines of “carte blanche at any time”(carte blanche meaning literally blank check but also freedom) and subsequently, “Monday night fever”. The message is being sent to show consumers that 1664 produces the same beer that is known and loved, but also for those who don’t drink alcohol. I think the message is ethical and inclusive, as it is simple and its message seems encouraging and inviting.
Art museum gift shop
Although I did not see the gift shop at Musée de l’Orangerie, I visited the gift shop in the Picasso Museum and the Musée d’Orsay. During these visits, I noticed the commodification of artwork (it’s hard not to). The Musée d’Orsay gift shop had a Rubik’s cube with Van Gogh’s Starry Night Over the Rhône, which I found to be amusingly dumb and ethically concerning, as it is simply exploiting Van Gogh’s work. In contrast, I think that art prints in both the museums’ gift shops are ethically created, as they are simply made for visitors to take their favorite pieces home with them and continue to enjoy their beauty. I also noticed that at the Louvre, directly outside of the room housing the Mona Lisa, there was a gift shop dedicated to the painting with her face on just about any object it could fit on. I wondered how Leonardo da Vinci would react to seeing that, or how the woman in the painting would. I can’t imagine da Vinci would be very pleased.
Orsay and Louvre Reflection
I enjoyed visiting the Orsay and Louvre museums. Seeing so many important pieces of artwork in such a fast-paced, commercial environment is surreal. I found that the large crowds of the museums made it difficult to enjoy the art and really consider the history behind each piece, but having Anne as our tour guide helped make space to do this. I enjoyed her explanations of the history and technique behind different pieces and I thought this greatly enhanced the experience. If not for her, I would have found both museums overhyped- particularly the Louvre. I liked the Orsay more than the Louvre, possibly because it was a more manageable size. I found the Mona Lisa, though beautiful, to be extremely overrated, especially considering the line to reach her for just a glimpse and a photo. If the woman in the painting were alive today, I wonder what she would think if she saw that spectacle.
Normandy Reflection
The experience of visiting Normandy was very surreal. The beaches were beautiful and peaceful, and I found it difficult to balance this with the realities of what happened there. But, the German bunkers and bomb crater-ridden landscape serves as a constant reminder of the lives lost on those beaches. I was shocked to see how commercialized Ohama beach was in comparison to the historical landmark of Pointe du Hoc. Amanda and I discussed this while standing on the sand, wondering if the American soldiers who sacrificed their lives would be offended by the sunbathers and popsicle stands, or at peace seeing joy had returned, liberation achieved, the mission accomplished. I found myself staring into the ocean, thinking of the many soldiers who never made it to the sand. I cannot imagine frolicking in that water without thinking of this and feeling this weight. Just standing on the beach felt heavy.
Picasso Museum
Before visiting the Picasso Museum, I had very little knowledge of Pablo Picasso. I knew he was a famous artist and that his art was surrealist with exaggerated, bold images. I was surprised to see the variety of art styles and forms Picasso worked with- this showcased just how talented he was. I found it interesting how many works were titled “Tete de Femme”, Head of Woman, yet the paintings were all very different. For some, it took imagination to see the woman’s head, and as our tour guide pointed out, the images reflect Picasso’s feelings about the different women they depict. His paintings of his first wife, Olga, were dark and angular, while those of his second wife, Marie, were softer, brighter, and more playful. Our tour guide said Picasso had a way of seeing into people, and this shows in his work. I enjoyed this visit and learning more about Pablo Picasso!
SEMIOTICS
AESTHETICS
Duties and Consequences
The Image: A Guide to Pseudo-Events
Daniel Boorstin’s book The Image: A Guide to Pseudo-Events in America explores illusions in American media, society, and politics, and how these illusions are simultaneously an effect of and affected by extravagant expectations. He argues that contrived, publicity-based “pseudo-events” satiate audiences’ extravagant expectations, but create “a world where fantasy is more real than reality, where the image has more dignity than its original.” (37). America’s “Graphic Revolution” instigated pseudo-events, Boorstin argues, and due to competing media, “News gathering turned into news making.” (14). He claims that extravagant expectations have bred a partiality for illusions that plague American society, particularly American tourism. Boorstin argues that travelers once sought authentic experiences but increased expectations made travel “diluted, contrived, [and] prefabricated,” as the American tourist “has come to expect both more strangeness and more familiarity than the world naturally offers.” (79). He claims that the tourist “demand[s] that the whole world be made a stage for pseudo-events” (80), and it has, with tourist attractions. Boorstin’s analysis articulates thoughts and feelings I’ve experienced in my travels. These perspectives make me crave a unique, authentic experience in Paris, and I’m thankful we will focus on this. I look forward to an in-depth analysis of popular tourist attractions throughout France with an emphasis on history and media depiction. The Eiffel Tower is more than a backdrop for the perfect Instagram post but is a historical monument that was long considered a scar on the face of Paris. Traveling to Paris with this program will allow me to view our experiences through a lens of media literacy and ethics, hopefully destroying exaggerated expectations in the process. Boorstin’s arguments led me to believe that Paris, one of the most visited cities in the world, is full of pseudo-event tourist attractions. While this may be true, the Eiffel Tower is not inherently a stage to satisfy exaggerated expectations. It just needs to be seen through the right lens.