Abstract
This chapter examines the Splash Mountain attraction. First tracing the origin and history of the attraction, including its roots in the racially problematic Disney film Song of the South, Bringardner examines Splash Mountain through the lenses of gender and sexuality. Bringardner intervenes in critical debate over whether the ride is a thinly veiled, racist journey in a plastic log, an overly sanitized, commodified excuse for a souvenir photograph, a discursive, subversive, embodied experience, or something completely different. In the rush to consider the ride from the more obvious (and of course necessary) perspective of race and racial representation, most analysis has unproductively shied away from a more intersectional approach. When looking at the ride through such an approach, it becomes clear that troubling racial narratives have been replaced with equally problematic depictions of queer sexuality.
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- 1.
Korkis, Jim. 2012. Who’s Afraid of the Song of the South? And Other Forbidden Disney Stories, 74. Orlando: Theme Park Press.
- 2.
Ibid.
- 3.
Sperb, Jason. 2012. Disney’s Most Notorious Film: Race, Convergence, and the Hidden History of Song of the South, 120. Austin: University of Texas Press.
- 4.
Ibid. 124.
- 5.
Amidi, Amid. 2006. “Bob Iger Axes Song of the South.” April 18. https://www.cartoonbrew.com/disney/bob-iger-axes-song-of-the-south-1780.html.
- 6.
Korkis 78.
- 7.
Marin, Louis. 1983. Utopics: Spatial Play, 1. London: Palgrave Macmillan UK.
- 8.
Baudrillard, Jean. 1983. “The Precession of Simulacra.” Simulations, 6. New York: Columbia University Press.
- 9.
Sperb 929.
- 10.
Ibid. 936.
- 11.
Mauro, Jason Issac. 1997. “Disney’s Splash Mountain: Death Anxiety, the Tar Baby, and Rituals of Violence.” Children’s Literature Association Quarterly 22.3, 114.
- 12.
Wagner, Bryan. 2017. “Bryan Wagner on a controversial folktale: The Tar Baby,” 115. Princeton University Press Blog, August 8. http://blog.press.princeton.edu/2017/08/08/bryan-wagner-on-a-controversial-folktale-the-tar-baby/.
- 13.
Mauro 114.
- 14.
Ibid. 116.
- 15.
Ibid. 117.
- 16.
Wickstrom, Maurya. 2006. Performing Consumers: Global Capitalism and its Theatrical Seductions, 67. New York: Routledge.
- 17.
Loy, Caroline. 2013. “Walt Disney World: Marxism and Myth Creation.” Proceedings of the New York State Communication Association 2012.7, 5.
- 18.
Ibid. 6.
- 19.
Ibid. 7.
- 20.
Ibid. 6.
- 21.
Fortier, Mark. 2016. Theory/Theatre: An Introduction, 99. 3rd Edition. New York: Routledge.
- 22.
Ibid. 99.
- 23.
Hook, Derek. 2006. “Lacan, the meaning of the phallus and the ‘sexed’ subject” The Gender of Psychology, 71. Lansdowne, South Africa: Juta Academic Publishing.
- 24.
Ibid. 71.
- 25.
Griffin, Sean. 2000. Tinker Belles and Evil Queens: The Walt Disney Company from the Inside Out, 61. New York: NYU Press.
- 26.
Ibid. 62.
- 27.
Ibid. 228.
- 28.
Ibid. 228.
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Bringardner, C.A. (2019). Disney-Fying Dixie: Queering the ‘Laughing Place’ at Splash Mountain. In: Kokai, J.A., Robson, T. (eds) Performance and the Disney Theme Park Experience. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-29322-2_6
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