Rhetorical Analysis, Mickey Mouse

Rhetorical Analysis 10 February 2013 In the denomination The Masks of rice paddy Mouse, Robert Brockway explains how Mickey Mouse was superstar of the most important heathen symbols during the twentieth century. The name discusses how mickey mouse went from creation a smooch stick cartoon consultation like in any other animated personalities and grew into a much more complicated being. He was the sign of hope and escape during the depression and evolved even more into the dominating avatar of Disney itself. Brockway begins his article by describing Walt Disney himself trying to explain the dramatic success of his exclusively worn- come to the fore cartoon piece.It starts the article by showing the reader that even Disney himself is surprise by the massive popularity the animated mouse collects during the 1920s and 1930s. This also conditions up the first point the writer pushes which is that Mickey Mouse is no average cartoon character but a diverse, evolving cultura l symbol that everyone approximately the manhood can relate to. As the antecedent puts it, He has make an archetypal symbol, not only to Americans but to people everywhere, especially to the extension that was young during the mid-thirties. Brockway goes on to reinforce the initial argument by stating that the immaculate film industry was shocked by the torrential success of Disneys character and saying, Mickey was instantly popular not only among mediocre people young and old, but with intellectuals, artists, and heads of state (Profiles of commonplace subtlety 80). The write continues to press the point of the cartoons global influence lecture more or less the king, George V, in England requiring a Mickey Mouse short be watched before every film performances and the Emperor of Japan wearing a Mickey Mouse watch.Shortly after proving Mickeys dominance of supranational culture Brockway talks about how complicated the short, round mouse authentically is. He claims Dis ney himself tried to explain the mouses popularity simply on his plainness, saying that everyone could understand him easily. Brockway counters this statement by stating, He is as intricate as Disney was himself and as profound in his symbolic and mythic implications as any mythic or fairy tale character (Profiles of Popular Culture 80). Another point the author makes about Disneys character was that it was in the actual shape of Mickeys body that was a reason for his dominance. He also evokes the mysteries of the circular design which some regime find profoundly significant as an archetypal figure. Such a phenomenon can scarcely be dismissed as frivolous, Brockway announces in his article. in that location is a statement later in the essay that talks about curved shapes having always been a favorite of people even if they tire outt realize it. It states that since there is no threat in a curved surface we enjoy them more, unlike a sharper quarry with points which we see as mo re of a danger.For this reason the author deducts that one of the contributing factors to Mickeys early competition, Felix the cat, didnt last simply be casing of how sharp his design was. The essay quotes John Hench, Mickey has been accepted all over the world, and there is obviously no problem of people responding to this set of circles. Im going to oversimplify this, but circles never cause anybody any trouble. We throw bad experiences with sharp points, with angles, but circles are things we have fun with- babies, womens behinds, breasts. So Mickey was made this way, while a contemporary known as Felix the Cat didnt get anywhere.He has points all over him like a cactus (Profiles of Popular Culture 87). Brockway also quotes Ub Iwerks on the shape of mickeys head, Mickeys face is a trinity of wafers- and the circular symbol always points to the single most merry aspect of life- its ultimate wholeness (86). The other contributing factor the author lists as to why Felix the Cat doesnt go anywhere was that he never evolved from the slapstick frivolity that started him out. Mickey also began his career with a slapstick style as did many artists in the twenties.Unlike Felix though, Mickey didnt remain in the slapstick genre of comedy. According to Durgnat, slapstick emerges from juvenile impulsiveness, dream fantasy and visual poetry. The slapstick comedians are childlike, and act out impulses which as adults we suppress (Profiles of Popular Culture 83). Disney evolved Mickey Mouse during the thirties because of the tone that America had taken. The economic crisis called for a different kind of comedy a more upbeat type. The bleakness of everyday life called for a cartoon that displayed sentimental escapism.Brockway claims that Disney seamlessly changed the style of his cartoon to relate to the changing propagation in America with shorts called Silly Symphonies (84). Brockway writes that this is not the only growing Mickey must go through to stay relevan t. During the second world war, Mickey is matured again to fit with the times. He goes from short films to being the face of the corporate Disney image. Brockway claims he became the organized man (86). Brockways terminal point in the text is that Mickey, as many heroes do, will exhale out in popularity as the generation that grew up with him also dies.He states, Mickey has some impact on younger people but utmost less than upon those born during the inter-war years. That generation is now senior and it is also diminishing. all told gods eventually die and Mickey is no exception. But, being immortals, all gods rise. Mickey, too, whitethorn be reborn in some future imaginary character of the popular culture of which he is an avatar Future generations will thicket him again (Profiles of Popular Culture 88). Works Cited Browne, Ray B. , ed. Profiles of Popular Culture A Reader. Madison, WI University of Wisconsin, 2005. Print.