The Glocalization of Shanghai Disneyland
Focusing on Disneys production of Shanghai Disneyland, this book examines how the Chinese state and the local market influence Disneys ownership and production of the identities and the representations of Shanghai Disneyland. Qualitative methods are here applied to combine both primary and secondary data, including document analysis, participant observation, and in-depth interviews.
Shanghai Disneyland is purposely created to be different from the other Disneylands, under the authentically Disney and distinctly Chinese mandate. In order to survive and thrive in China, Disney carefully constructs Shanghai Disneyland as Disneyland with Chinese characteristics. Previous studies tend to link Disney with cultural imperialism; however, this book argues that it is not imperialism but glocalization that promotes a global companys interests in China. In particular, the findings suggest state-capital-led glocalization: glocalization led by economic capital of the state (direct investment) and economic capital with the state (market potential). Furthermore, the four categories of glocalization with different conditions, considerations, and consequences illustrate various globallocal dynamics in the process of a global formation of locality.
The Glocalization of Shanghai Disneyland will appeal to students and scholars of sociology, communication studies, business studies, and Asian studies more broadly.
Ni-Chen Sung is experienced in the entertainment industry across the region. With The Walt Disney Company, she was head of creative in Taiwan, and director of production in China. Dr. Sung has research interests in globalization and the cultural industries.
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- The Glocalization of Shanghai Disneyland
Ni-Chen Sung
First published 2021
by Routledge
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2021 Ni-Chen Sung
The right of Ni-Chen Sung to be identified as author of this work has been asserted by her in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
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ISBN: 978-0-367-67550-9 (hbk)
ISBN: 978-0-367-67588-2 (pbk)
ISBN: 978-1-003-13190-8 (ebk)
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Experienced in the industry yet young in the academia, I would not have started this project without solid academic training at The Chinese University of Hong Kong. First, I would like to thank Professor Anthony Fung, who helped me coin the term, state-capital-led glocalization, while I worked on my doctoral thesis. Deep gratitude to Professor Joseph Chan and Professor Jack Qiu who led me through the broad literature on cultural globalization. My sincere thanks to Professor Ven-hwei Lo, Professor Paul Lee, and Professor Eric Ma who encouraged me to believe in myself, keep thinking, and follow my dreams.
I am grateful for my time with Disney. To some extent, this is a reflexive study to decode my over-one-decade working experiences across the region with the company. My unfeigned thanks to my Disney informants and friends who shared their wisdom. I am also thankful to my former team members who flew to Hong Kong for a surprise Christmas dinner to wish me the very best on my research.
Finalizing this book during the 2020 global pandemic helped alleviate anxiety. When I clarified my thoughts by virtue of writing, there existed hopes to generate humble knowledge for a better understanding of the world. Heartfelt thanks to my Routledge contacts who made this quest possible. My genuine thanks to Stephanie who recognized this project and facilitated the greenlight. My thanks also go to Emily and Balambigai who shared the know-hows for publication.
Profound gratitude to my family who taught me the values of integrity, curiosity, and diversity. I owe a debt of gratitude to my mom who gave me the strength to leave my comfort zone. She is now in Heaven but love will never end. Special thanks to my spiritual mentor, Master Sheng-Yen. This book witnesses the power of faith.
Dr. Ni-Chen Sung received her Bachelors Degree in Sociology from National Taiwan University, Masters Degree in TV-Radio-Film from Syracuse University in the United States, and PhD Degree in Communication from The Chinese University of Hong Kong and has research interests in globalization, film studies, and the cultural industries. New in the academia but experienced in the industry, Dr. Sung has nearly two decades of regional experiences in the entertainment industry. With The Walt Disney Company, she was award-winning writer/producer in Singapore, head of creative in Taiwan, and director of production in Beijing and Shanghai. She also worked on some projects with Singapores MediaCorp Channel 8 and Discovery Networks. Dr. Sung aims to leverage industry experiences and academic studies to generate humble knowledge for a better understanding of the world.
Background
My initial interest in this project is out of imagination, which I believe is not less important than knowledge. Once in a while, I imagined China as Disneyland, with the death penalty, for a few reasons. First, almost every child in China is raised like a princess or a prince under the one-child policy, in effect from 1979 to 2015. Second, the Chinese partystates emphasis on harmonious society, proposed by former President Hu Jintao, resonates with the so-called Disneyfication (Schickel, 1997) to clean up the unpleasant past. Third, the launch of Hong Kong Disneyland before the spotlighted Shanghai Disneyland echoes the Chinese governments preference for a pilot before the official launch of a policy.
Furthermore, Disney did not seem to be an evil empire to China in my experience. When I worked on Jia Pian You Yue, which introduced Disneys animated features on China Central Televisions Movie Channel (CCTV6), my co-workers from both sides of Disney and CCTV6 warned me to pay great attention to the differences between capitalist Disney and socialist China. Watch out for the landmines along the way, Mr. Li, a benign department head from CCTV6 constantly reminded me. However, I observed more similarities than differences between the practices in place at Disney and CCTV6. For example, Chinese television forbids the portrayal of high school students wearing earrings, revealing clothing, or with dyed hair, which was entirely consistent with Disneys production guidelines I had been following for years.
