Much has been written about the power and influence of the Disney corporation (Dorfman & Mattelart, 1975; Shickel, 1968; Smoodin, 1993; Wasko, 2000; Maltin, 1980; Mosley, 1985). With enterprises in film, video, theme parks, cable and network television, cruise ships, toys, clothing, and other consumer products, Disney leads in the construction and promotion of U. S. popular culture. Yet, despite its position as global media giant—second only to Time-Warner-AOL, its sordid past as cold war propagandist and union-buster, and its current exploitation of sweatshop workers (e.g., $1/day for Haitian Disney employees), Disney maintains the Mickeyesque-aura of Uncle Walt and wholesome family entertainment. Indeed, Disney now serves as America’s moral educator (Real, 1977; Ward 1996). Dominating market power in entertainment mitigated by avuncular representation adheres to Disney in large part due to its primary production art form: the animated feature