Walt Disney: Kingdom of Fairy Tales
He invented the theme park and originated the modern multimedia corporation. For better or worse, his innovations have shaped our world and the way we experience it.
It was long ago converted into a brand name, constantly fussed over, ferociously defended, first by Disney, latterly by his corporate heirs and assigns. Serving as a beacon for parents seeking clean, decent entertainment for their children, the Disney logo - a stylized version of the founder's signature - more generally promises us that anything appearing beneath it will not veer too far from the safe, sound and above all cheerful American mainstream, which it defines as much as serves.
沃尔特·迪斯尼:童话王国
他发明了主题公园，创立了现代多媒体公司。无论好坏，他的创新塑造了我们的世界，也塑造了我们体验世界的方式。
它在很久以前就变成了一个品牌，不断被过分关注，被猛烈地捍卫，先是被迪士尼，后来又被他的公司继承人和受让人。迪士尼的标志，作为父母们为孩子们寻求干净、体面的娱乐的灯塔，是创始人签名的一个风格化版本，它更普遍地向我们保证，任何出现在它下面的东西，都不会偏离安全、健康、最重要的是令人愉悦的美国主流，它定义了多少服务，就有多少服务。
Write an essay within 250 words, stating one of your favorite film producers.
写一篇250字以内的文章，说明你最喜欢的电影制片人之一。
https://lanfeizi.wixsite.com/english-learning/blog/william-wyler
These attractions were better than any movie in his eyes. They were better than life, for they offered false but momentarily thrilling experiences in a sterile, totally controllled environment from which dirt, rudeness, mischance (and anything approaching authentic emotion) had been totally eliminated.
Before he was felled by cancer at 65, it was possible to imagine that he was happy.
The boy, envious of the placid small-town life, had become dictator of a land where he could impose his ideals on everyone. The restless, hungry young entrepreneur had achieved undreamed of wealth, power and honor. Asked late in life what he was produdest of, he did not mention smiling children or the promulgation of family values. "The whole damn thing,…
Predictably, he became the first Hollywood mogul to embrace television. The show with him as host became not just a profit center but also a promotional engine for all its works.
Disneyland was another bet-the-farm risk, and Disney threw himself obsessively into the park's design, which anticipated many of the best features of modern urban planning, and into the imagineering by which the simulacrums of exotic, even dangerous creatures, places, fantasies could be unthreateningly reproduced.
不出所料，他成为第一个拥抱电视的好莱坞大亨。他主持的节目不仅成为一个利润中心，而且成为所有作品的推广引擎。
迪斯尼乐园是另一个赌上农场的风险，迪斯尼痴迷于公园的设计，它期待现代城市规划的许多最好的特点，并进入想象工程，通过这种幻想，异国情调，甚至危险的生物，地方，幻想可以不受威胁地再现。
Commercially, this worked out beautifully for him.
Social critics began hectoring him, becasue his work ground off the rough, emotionally instructive edges of the folk - and fairy-tale tradition on which it largely drew, robbing it of "the pulse of life under the skin of events," as one critic put it.
Disney didn't give a mouse's tail about all that. As far as he was concerned, the whole vexing issue of content was solved,and though he enjoyed being a hero to the culturally conservative, he was free to focus on what had always mattered most to him, which was not old pieties but new technologies.
从商业上看，这对他来说效果很好。
社会评论家们开始威吓他，因为他的作品脱离了民间和童话传统中粗糙的、情感上有教育意义的边缘，而民间和童话传统在很大程度上是建立在这种边缘之上的，正如一位评论家所说，它剥夺了“事件背后的生命脉搏”。
迪斯尼对这一切毫不在意。在他看来，整个令人烦恼的内容问题都解决了，尽管他喜欢成为文化保守主义者心目中的英雄，但他可以自由地专注于对他来说最重要的东西，那不是旧的虔诚，而是新技术。
But the latter film, rich as it was in unforgettable animation, was also full of banalities. "his prettiness had no core or heart."
Artistically he strove for realism; intellectually, for a bland celebration of tradition.
His insistence on the upbeat also possibly served as an anodyne for the bitterness he felt when an ugly 1941 labor dispute ended his dream of managing his studio on a communitarian basis with himself as its benign patriarch.
但是后一部电影，虽然在令人难忘的动画中丰富，也充满了陈词滥调。“他的美貌既没有核心，也没有心。”
在艺术上，他为现实主义而奋斗；在智力上，他为传统的平淡的庆祝而奋斗。
他对乐观态度的坚持也可能是他感到痛苦的一种痛楚，1941年一场丑陋的劳资纠纷结束了他在社区主义的基础上管理自己工作室的梦想，而他自己却是其仁慈的族长。