Rhetorical Analysis, Mickey Mouse

rhetorical Analysis 10 February 2013 In the article The Masks of rice paddy Mouse, Robert Brockway explains how Mickey Mouse was one of the most pregnant cultural symbols during the twentieth century. The article discusses how mickey pussyfoot went from cosmos a slap stick draw char figure outer analogous all other animated personalities and grew into a much more complicated creation. 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 simply drawn cartoon character.It starts the article by demonstrate the reader that even Disney himself is shocked by the massive favoriteity the animated mouse collects during the 1920s and 1930s. This as well exercises up the first point the writer pushes which is that Mickey Mouse is no ordinary cartoon character entirely a diverse, evolving cultural symbol that everyone around the world can relate to. As the author puts it, He has become an archetypal symbol, not only to the Statesns but to community everywhere, especially to the generation that was young during the thirties. Brockway goes on to reinforce the initial argument by stating that the entire film industry was shocked by the torrential success of Disneys character and saying, Mickey was instantly popular not only among ordinary people young and old, but with intellectuals, artists, and heads of state (Profiles of Popular finish 80). The author continues to press the point of the cartoons global influence talking about 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 aft(prenominal) proving Mickeys dominance of international culture Brockway duologue about how complicated the short, round mouse really is. He claims Disney himself tried to explain the mouses po pularity simply on his plainness, saying that everyone could deduce him easily. Brockway counters this statement by stating, He is as complex as Disney was himself and as profound in his emblematic 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. There is a statement later in the essay that talks about curved shapes having always been a favorite of people even if they dont lay down it. It states that since there is no threat in a curved surface we enjoy them more, unlike a sharper object with points which we see as more of a danger.For this reason the author deducts that one of the change factors to Mickeys early competition, Felix the cat, didnt last simply because of how sharp his design was. The essay quotes prat 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 have pestilential experiences with sharp points, with angles, but circles are things we have fun with- babies, womens behinds, breasts. So Mickey was made this way, part 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 vital look 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 slapstic k comedy 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 childlike 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 terrestrial 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 times in America with shorts called Silly Symphonies (84). Brockway writes that this is not the only evolution Mickey must go through to stay relevant. 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 final point in the schoolbook is that Mickey, as many heroes do, will die out in popularity as the generation that grew up with him also dies.He states, Mickey has some impact on younger people but far less than upon those born(p) during the inter-war years. That generation is now senior and it is also diminishing. All gods eventually die and Mickey is no exception. But, being immortals, all gods rise. Mickey, too, may be reborn in some future imaginary character of the popular culture of which he is an avatar Future generations will encounter him again (Profiles of Popular Culture 88). whole shebang Cited Browne, Ray B. , ed. Profiles of Popular Culture A Reader. Madison, WI University of Wisconsin, 2005. Print.