| Edition |
First Scribner hardcover edition |
| ISBN |
9781501190803 (hardcover) |
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1501190806 (hardcover) |
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9781501190810 (softcover) |
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1501190814 (softcover) |
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9781501190827 (ebook) |
| Descript |
xvi, 408 pages, 8 unnumbered leaves of plates : illustrations, map ; 24 cm |
| Content |
Sunday, July 17, 1955, 4 a.m. -- How I got to Disneyland -- A horrible name for a mouse -- The Railroad Fair -- The Lilly Belle -- World's Fairs, Coney Island, and the decline of the amusement park -- Dwarf Land -- Getting started -- Buzz and Woody -- Orange County -- Buying on the sly -- Roy -- Like nothing else in the world -- The almost broadcasting company -- Selling the idea -- Imagineering -- The Admiral -- The instant jungle -- Arrow -- Harriet and the model shop -- Real trains -- King of the wild frontier -- The struggle for sponsors -- Van Arsdale France founds a school -- The Pony Farm -- Demands of the Jungle Cruise -- Milking the elephant -- Autopia -- The Moonliner -- Through the castle gate -- The perfectionist at work -- Ruth's role -- Union troubles -- "We're not going to make it" -- Tempus fugit -- Dateline: Disneyland -- Dateline behind the cameras: Black Sunday -- Damage control -- Something worthwhile -- Plussing -- The mountain and the monorail -- Disneyland '59 -- "Do you have rocket-launching pads there?" -- Suing God in heaven -- A perfect fascist regime -- The greatest piece of urban design -- The first goodbye -- Beautiful? |
| Summary |
"By the early 1950s Walt Disney's great achievements in animation were behind him, and he was increasingly bored by the two-dimensional film medium. He wanted to work in three, to build an entirely new sort of amusement park, one that relied more on cinematic techniques than on thrill rides, one from which all tawdriness had been purged. He achieved it, but just barely: he ran out of money, had to borrow against his life insurance, fell out with his studio, frightened his family, and endured much ridicule. What he built was far more influential than is generally understood-for one thing, Disneyland's Main Street sparked an architectural preservation movement that touched every American downtown-and remains controversial: many see it as a retreat from life itself. What is beyond argument is that Disneyland was something new, both in public entertainment, and in the way its "lands" managed to chime with how millions of Americans wanted to view their country-six hundred million Americans so far, and they just keep on coming. It reflects the park's uniqueness, but just as strongly that of the man who built it with a watchmaker's precision, an artist's conviction, and the desperate, high-hearted recklessness of a riverboat gambler"-- Provided by publisher |
| Note |
Includes bibliographical references (pages 379-385) and index |
| Subject |
Disneyland (Calif.) -- History
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Architecture, American
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Architecture and society -- United States
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