i agree, and some theorists have identified a âright to comfortâ as a cornerstone of contemporary white supremacist culture.
But conceptually I see a lot of other connections too.
it kind of reminds me of how the nazis conceived of âdegenerate art.â to the nazis, their vision of âgoodâ art was art that promoted the most conventional, the most nostalgic, the most kitsch, the most neoclassical, the most conservative, the most comfortable. Thus, they despised modernist art from movements such as the impressionists and the expressionists, particularly work that depicted the horrors of war (rather than an uncomplicated view of war as an honorable enterprise) such as the work of Otto Dix. Obviously there was also a blunt, vulgar motive to simply discriminate against Jewish artists and anyone who was âinfluenced by Jewish or non-Aryan idealsâ but there was also a formal artistic basis as well.
one could even say that the nazi party censored and burned avant-garde art as a grotesque act of âself-care.â I think there are conceptual echoes of that in every âwhy i left the leftâ thonkpiece. Or in the contemporary appropriation by reactionary white people of the term âBlack Fatigue,â wherein racist white people complain they are âtiredâ of seeing and/or interacting with Black people.
Even though Walt Disney died decades ago, I think itâs still worth analyzing his idea of a completely curated amusement park that utterly immersed the guests in a cohesive pampered experience. That was, essentially, the idea that Walt was attempting to achieve when he opened Disney Land in 1955, and there has not, in my opinion, really been a coherent break from that goal after he died and after the construction of subsequent Disney theme parks. Workers have described disney parks as, essentially, high-control environments for them, with extremely strict standards for their behavior, language, and appearance, and Walt Disney World in Florida has a history of relying heavily on workers from economically oppressed backgrounds such as Haitian immigrants (especially for the worst jobs like custodial positions!), and the pay and benefits were always pretty bad.
But all of those very real issues with the working conditions are concealed to park visitors, so as not to break the illusion, the âdisney magic.â
An aside about Walt: While Walt Disney was âtechnicallyâ not a fascist, he was in fact still a political reactionary (especially later in his life) who, in 1941, took out a magazine ad deriding his employees at his animation studio as communists (or at the very least part of a âcommunist plotâ) when they went on strike. In 1947 he went on to give names of animators and labor organizers to HUAC, a clear antagonistic act against âuppityâ workers. (Funnily enough, Salvador Dali, whose own work was derided by the Nazis and who fled to america until after the war, became friends with Walt Disney, collaborating on an animated film that remained unfinished until long after both of them were dead. Both of them tilted rightward politically over time and Dali ended up a supporter of fucking Franco and had even been expelled from his own art movement for his right wing politics in the 1930s.)
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