The roots of Disneyland revealed from the “Tomorrowland” exposition (Part 2)

A Hopeful World

I won't go into detail about what happens next because it would be a spoiler. But honestly, I felt that the existence of the character Nix was a bit forced. I don't think this movie needed a typical villain.

Furthermore, some people may find the Arrival at the end too direct and preachy. This may be due to the influence of Robert A. Iger, CEO of Disney. He is a liberal political activist and is known to be passionate about issues such as racism and LGBTQ, but he also personally works on environmental issues such as global warming. However, I don't dislike this kind of straightforward expression. At the very least, it is more meaningful than an environmental activist who pours soup on a painting.

"Tomorrowland" (c)Photofest / Getty Images

Secrets in the end credits

The end credits feature CG animation of pavilions from various past expositions, such as the Eiffel Tower (4th Paris World's Fair), Globe Celeste (5th Chicago World's Fair), the Science Museum's Carillon Tower (1933 Chicago World's Fair), Trylon & Perisphere (1939 New York World's Fair), and the New York State Pavilion (1964 New York World's Fair).

The retro touch is likely a nod to Austrian graphic designer Joseph Binder, who created the poster for the 1939 New York World's Fair. And of course, Tomorrowland at Disneyland Park appears at the end of this animation. In other words, in this short time, it is clear that the sub-theme of this work is "the history from the fair to Disneyland."

Text: Takayuki Oguchi

In 1982, he became director of Japan's first CG production company, JCGL. After working as head designer for the IMAX Dome 3D film "Universe 2: Echoes of the Sun" at the Fujitsu Pavilion at EXPO '90, he is now a freelance video creator. He won an Emmy Award for the NHK special "Life: A Long Journey of 4 Billion Years" (1994). He is also a video journalist specializing in VFX, CG, 3D films, art animation, exhibition videos, etc., and has contributed numerous articles to film magazines, theater pamphlets, websites, etc. He is a visiting professor at Digital Hollywood University, and a part-time lecturer at Joshibi University of Art and Design, the Graduate School of Animation at Tokyo University of the Arts, and Japan Electronics College. His major publications include "3D Century: Wonders! 100 Years of 3D Film and a New Century of Film" (Born Digital), "Naked Eye 3D Graphics" (Asakura Publishing), and "The History of Computer Graphics: The Imagination of 3DCG" (Film Art Publishing).

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