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Disneyland Article
Its Inspiration Is So Racist Disneys Buried It For Decades So Should Splash Mountain Change

Splash Mountain
ID:
TMS-4647
Source:
SFGate
Author:
Katie Dowd
Dateline:
June 21, 2020
Posted:
June 26, 2020
Status:
Current
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Disney will be the first to tell you that “Song of the South” is racist.

For years, in fact, they haven’t shied away from it. In March, Disney executive chairman Bob Iger told shareholders that the film is “not appropriate in today’s world,” so much so the company wouldn’t even release it with an “outdated cultural depictions” disclaimer.

“Song of the South” hasn’t been released since its 40th anniversary theatrical run in 1986 and it’s never been commercially available for purchase in the U.S. With the launch of its streaming service Disney+, Iger confirmed “Song of the South” would not be included on the platform. But it does occasionally come back into the public discourse, most recently due to a petition demanding the company rebrand Splash Mountain, a popular ride at Disneyland themed after the film.

Because the movie isn’t widely available — although some copyright scamps have illegally uploaded it online — most have never seen it in its entirety. Its reputation as a racist relic is based on a few clips and on Disney’s insistence that it won’t release the film again. As a result, some fans of the movie claim “Song of the South” isn’t nearly as bad as innuendo would have you believe.

It is. The movie is steeped in racist stereotypes and minstrel tropes. They are intrinsic to the narrative, not passing references. The plot revolves around Johnny, a young white boy in the Reconstruction South, who lives on his family’s plantation. Many people, then and now, mistakenly believe the movie is set before or during the Civil War, a mistake that’s easy to make because the world is composed of white masters and Black workers. In one song, the Black plantation workers allude to choosing to stay on the farm over risking the outside world, implying these formerly enslaved people willingly decided to work for their former oppressors. This, of course, ignores the reality of the Reconstruction era, where employment was not readily available anywhere for Black people and many, as a matter of survival, remained on plantations in systems that were still slavery in all but name.

Into this world comes Johnny, whose parents’ marital woes are the central conflict of the movie. Emotionally neglected by his mother and father, Johnny turns to Uncle Remus, a kindly Black man who was once enslaved on the plantation. He — and all the other Black characters — exist in the film to serve Johnny’s needs, a typical racist trope wherein Black characters live only to support and care for white children.

The movie cuts between live action sequences and animated ones featuring the adventures of Br’er Rabbit. In perhaps the most troubling overly racist scene, Uncle Remus tells Johnny these stories are from “the old days” before the Civil War.

“In dem days, everything was mighty satisfactual… and if you’ll excuse me for saying so, ‘twas better all around,” Remus says. The scene leads into the movie’s most famous musical number, "Zip-a-Dee-Doo-Dah.” The song was written by a white man, and its inspiration isn’t definitive. But many scholars have noted its similarity to a minstrel song called “Zip Coon.” (And in case anyone wants to argue minstrel songs aren’t inherently racist, they are. Minstrel shows were created by white people for white people, using Black stereotypes as a form of entertainment.)

Fans say “Song of the South” is merely a product of its time, racist only with the benefit of hindsight. But the argument doesn’t hold up. Even during its production in the mid-1940s, “Song of the South” worried Disney employees. It was a passion project of Walt Disney himself, who had tried for years to acquire the rights to the Joel Chandler Harris books on which the movie is based.

(It is worth noting here that Harris has a controversial legacy himself, with some asserting his Uncle Remus tales helped preserve African American storytelling while others say he appropriated a culture that wasn’t his in order to profit off it. One thing is certain: He never credited any of the Black storytellers by name.)

Murmuring about the film’s source material was persistent enough for Disney that he decided to bring in a writer to review the script. Although some asked him to use Black consultants, he went with Maurice Rapf. Rapf, who was a communist and Jewish, was considered outsider enough by Disney. After a few weeks, Rapf got into an argument with the original screenwriter and was moved to another project.

When the movie premiered in 1946, it was met with immediate pushback, including protests and picketing all over the nation.

“You begin to wonder if Disney doesn’t think Lincoln was wrong in signing the Emancipation Proclamation,” one review in the New Yorker read. Influential Hollywood columnist Jimmie Fidler said the movie “should be immediately withdrawn and the entire Hollywood industry share the cost because it will mean a black eye for all of the industry.”

Although it was released several more times over the decades as part of Disney’s lucrative theater re-release strategy, “Song of the South” has stayed in the vault since 1986. But that hasn’t stopped the company from utilizing its intellectual property in a way that whitewashes its history.
 
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