Thompson, Kirsten Moana2014-09-162022-07-062014-09-162022-07-0620142014https://ir.wgtn.ac.nz/handle/123456789/18847This paper examines the unusual theatrical and exhibition dimensions of Disney’s World of Color, an outdoor night time entertainment spectacle which screens animated films on ephemeral materials: the water spray and light produced by fountains, water, mist and fire. It considers how this show innovates a new form of theatrical exhibition, combining older art forms from fireworks to pyrodramas, with contemporary computer-controlled light and colour design and immersive effects. It will suggest structural and aesthetic connections between this animated attraction and recent technological innovations such as Google Glass™ in which mobile computer interfaces combine transparency and opacity as an essential part of their formal structure and tactile pleasure. Theorising that the relationship between animation and the ephemeral is also situated in these tensions between the transparent and opaque, I go on to suggest that Disney’s World of Color is a particular instantiation of the ways in which “animation” can be understood not only as a specific technical process, but also as a form of corporeal transformation in which movement, light and colour enlivens individual bodies and screen spaces.pdfen-NZhttp://refractory.unimelb.edu.au/submission-guidelines/DisneyWorld of ColorColor studiesText