In this regard, both parks are isolated by a belief in their own cultueal superiority. It would be asking too much perhaps of a commercial enter-prise to question such a belief since the corporate aim in both settings is, in crude terms, to build and manage an amusement park such that people will come (and come again) to be run assembly-line fashion through its attractions and stripped of their money. But, in the cracks, Tokyo Disney-of its existrnce. L have three in mind.
First, the presentation of “the best in America” in japan breaks some new ground and contributes modestly to what might be called post-mod-ernism by combining cultural elements in new ways and then allowing cus-tomers and workers alike to develop the logic of the relationship. Thus, mickey mouse, a symbol of the infantile and piastic in America, can come to stand for what is fashionable and perky in japan and used to sell adult apparel and money market accounts. This is not simpiy a matter of the Japanese Mickey but rather signals a process by ehich se-lected alien imports are reconstituted and givrn new meaning.
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在這方面，兩個公園在他們自己的cultueal 優良裡被一個信仰隔離。 將是得過分或許問的一商業進入強行打開詢問這樣的一信任兩設置那些社團目的， 用粗製術語， 建造並且管理一個遊樂園因此人 將來(既沒來再次)流動裝配線時尚透過它的旅遊勝地並且奪走他們的錢。 但是，在裂縫，東京迪斯尼的它的existrnce裡。 L 在心裡有3。 首先， 在Americain亮漆最好的他的演出弄斷一些新地並且適度有助于什麼可能叫模數ernism后在結合文化元素在新方法內時， 允許壓電晶體無論tomers還是工人發展關係的邏輯。 因此，米老鼠，一個嬰兒和在美國的piastic的象徵， 能來代表在亮漆裡流行和敏捷並且過去常常出售成年人的服裝和現金市場帳戶的。 這並非正米基日本的問題simpiy而是信號過程以ehich lected 外國人進口被改組和givrn新意思。