![]() I seek to examine Disney comics, particularly in a transnational context. These three creators were crucial to the development of the fan communities around the comics, and the impact is still felt within the larger German society.Īmerican Studies has many blind spots it is apt to ignore things which have already been "definitively" examined. Barks provides original context in both America and Germany, Fuchs and her translations offer clues into why the comics became popular, and Rosa works towards of an understanding of how the comics continued after the retirements of Barks and Fuchs. ![]() Three creators in particular stand out: Carl Barks, Erika Fuchs, and Don Rosa. The success of Disney is not built on enforcing a march towards homogeneity rather, the intellectual properties are adapted by translators, writers, artists, and consumers to take on new, relevant meanings within Germany in particular, where the properties have grown beyond their American origins. ![]() This utilization of American culture also differs from the manner it is consumed domestically Disney’s comics remain among the best-selling worldwide, instead of the niche products that they are in the American market. This process is in fact more multifaceted, with American culture creating something entirely new in interactions with other cultures the meaning is typically reinterpreted by outside audiences. Traditionally, the process has been regarded as one-sided and imperialistic, with Disney (and American culture at large) marching into new territories and asserting control over the native popular culture. Roderick Lamar Lee, Outside Member Keywords:ĭisney is one of the major cultural exports of America, with a multimedia empire of film, comics and even theme parks. Charles David Kupfer, Dissertation Advisor/Co-AdvisorĬharles David Kupfer, Committee Chair/Co-Chair
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