Tinker Belles and Evil Queens: The Walt Disney Company From the Inside Out (55 page)

Treasure Island
(1949), 45, 78, 82

85, 86

Triumph of the Will
(1934), 212

“Submarine Voyage,” 127

“True Life Adventures,” 42–45

Suddenly, Last Summer
(1959), 46–47

Truffaut, Francois, 138, 140

Susie, the Little Blue Coupe
(1952), 58

Tuberculosis
(1945), 34

Sweeney, Gael, 211

TV Guide,
x, 173–175, 177, 178, 182–183

Swing Kids
(1993), 162, 164–166, 169, 205

20th Century-Fox, 98

Swiss Family Robinson
(1960), 82, 100

20,000 Leagues Under the Sea
(1954), 45, 82,

Swoon
(1992), 153

186

Tales of the City
(Maupin), 79

“Ugly Duckling, The” 64

Tall Timber
(1927), 8

Uncle Scrooge, xiii

target marketing, 188–190; audience reac-

Unidentified Flying Oddball
(1979), 103

I N D E X

291

United Artists, 187

117–118, 123; EPCOT Center, 104, 122;

United Fruit Company, 35

“family” at, 124–125; homosexual em-

Universal, 9–10, 98, 110, 185, 186–187, 209

ployees at, 116–130; “Lesbian and Gay

USA Today,
223

Weekend” at, xi, xiii-xiv, 122, 191, 216,

Uses of Enchantment, The,
62, 67–68

224–225, 228–229; Pleasure Island, 124,

224

Valentino, Rudolph, 11, 149

Warner Bros., xii, 98, 105, 107, 187; anima-

van Meter, Jonathan, 225–226

tion department at, 40–41, 70.
See also

van Sant, Gus, xii

Time/Warner

Vanishing Prairie, The
(1955), 43–45

Watergate, 102

Variety,
98, 155, 162, 163, 179, 196

Webb, Clifton, 211

Viacom, xiv.
See also
Paramount

Weeks, Jeffrey, 199

Victory Through Air Power
(1943), 33

“WEFT films,” 32–33

Vietnam war, 102

Welles, Orson, 140

villains, 72–77, 141–142, 146–147, 211–213,

Wells, Frank, ix, 105–107, 118, 187, 215

217–218

West, Mae, 25, 71

Vincent, Jan-Michael, xi, 185–186

West Side Story,
176

Virginian-Pilot,
223–224

White, Betty, 170

White Fang (1991), 162

Walker and Struhman Research, Inc.,

White, Mimi, 170

203–204

Whitman, Walt, 161

Waller, Gregory, 22

Who Framed Roger Rabbit?
(1988), ix, 219

Walt Disney Company: animators strike

Who Killed Cock Robin?
(1935), 71

of 1941, 28, 30–31, 32; censorship and,

Whoopee Party, The
(1930), 58

13–14, 15–16; Character Merchandising

Wilde, Oscar, 65, 134, 144

Division, 186; documentary filmmaking

Williams, Robert L., 113

at, 42–45; domestic partner benefits,

Williams, Robin, 147, 160–161

109–110, 113–114, 131, 153–154, 178, 223;

Williamson, Judith, 193

educational films made by, 30–37; EEO

Wilson, Marie, 87

policy at, xv, 107, 118, 223; gay market-

Windows
(1980), 97

ing, xii, 190–213; “The Golden Period,”

Winfrey, Oprah, 176, 202

6, 11–30, 38; “Good Neighbor Policy”

Winkler, Margaret, 10

and, 31–32; “high culture” and, 53–54;

Wise Little Hen, The
(1934), 16

homosexual employees, 99–101,

Wizard of Oz, The
(1939), 63, 64

107–132; the Multiplane camera, 18–19;

Wonderful World of Disney, The,
170

1930s public relations for, 21–26; studio

Woodland Cafe
(1937), 17, 64

propriety, 25–26; “synergy” and,

Woods, Gregory, 199, 201

186–188; “Team Disney” at, 107–108,

Woolverton, Linda, 143, 207, 210

118, 183, 216; threats of hostile

World’s Greatest Athlete, The
(1973), xi,

takeovers, xvii-xviii, 105, 192; World

85–86

War II and, 30–35

Walt Disney Presents,
45

Zane, Billy, 167

Walt Disney World, 135, 187–188; conser-

“zapping,” 95, 126–127

vative environment surrounding,

Zorro,
82

About the Author

S E A N G R I F F I N received his doctorate in Critical Studies from the School of Cinema-Television at the University of Southern California in 1998, and is currently teaching film and television courses at Florida Atlantic University. In-between his graduate studies, he worked at New Wave Productions, which produced television advertisements for Disney’s theatrical features. Beyond his interest in Disney and animation, he has also written on television soap operas, the internet and media fan culture and the film musical genre. He lives happily ever after with his partner, Harry Benshoff.

292