1 10 26 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/1fb738175d16d3356a9b51109c5850d1.jpg 7fa621a19f9208d92cfd2cbbcdc3ad20 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/02fb852da27ce28040d963cbae9b7f18.jpg 2160d5a33106807b945e44b363a782c9 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/c665cb41f7d636584b12b2572aecc3b1.jpg 4f3f70943bbf620a22d99181b9b0ad38 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/04dd61a46ee1519d6e2997d13092f4c1.jpg 1dd99231e2d59a9e538d8a831f52b020 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/032c058f2c1b7674866614af47e84089.jpg 450e63949585e79bf2d22feff272ec83 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/0682df3b513e9750b9cbea8b587a0772.jpg aa1cd439fbc5b9a3873d1bee1841cc63 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wallace & Gromit's Going Crackers Game Subject The topic of the resource Wallace & Gromit Description An account of the resource ‘Wallace & Gromit's Going Crackers Game’ (BDCM 13133) is a family board game for two to six players, aimed for ages eight and up. This game fits as part of the popular British transmedia franchise Wallace and Gromit, who are owned by Aardman studios. Darlington writes that “It has often been remarked that Aardman’s Wallace and Gromit stand for something quintessentially British, with an emphasis on ‘quintessential’.” (39), showing how it has become a big franchise within the British media industry. This artefact shows the expansion of this transmedia franchise and its growth within Britian. Ryan writes that “Transmedia can avoid this pitfall by telling a variety of autonomous stories or episodes, held together by the fact that they take place in the same storyworld.” (529) which is something that Wallace & Gromit is able to achieve by the franchises utilisation of multiple mediums. Arguably, this artefact opens up even more levels of storytelling and creation through being able to interact with different aspects, such as characters, of the franchise. Wallace & Gromit LTD are a member of the Aardman Animations group of companies. The logotype is a trademark of Wallace & Gromit Limited. The Board game was licensed by BBC worldwide limited. The board game is also copyrighted by Pressman Toy Corporation. The physical box for the game contains a brief description on how to play the game and invites you to “join the world of Wallace and Gromit”. Inside the box, there are different cards, game pieces, a sand timer, a die, character cards and an ‘inventor’s pad’. All of these different elements allow for immersion within the franchise. The game makes players perform certain actions based on what character card that you pick up, which instantly engages players with the franchise itself. This may be for example you may have to sing something on your go. However, the game adds to a realistic aspect to it as if you are the character of Gromit, you are not able to speak. Therefore, through using the different characters, you are able to learn more about the franchise as well as extend out the world building. The Wallace & Gromit franchise were created by Aardman studios, who are based in Bristol which is a “UNESCO City of Film” (About). They are a studio primarily concerned with animation, which is why Wallace and Gromit is a perfect example of the type of work that is produced by that studio. Interestingly, the board game was made by Pressman Toy Corporation, who are an American toy company. They are a company that primarily focus on family “games and licensed puzzles” (Pressman Toy). With this information, it is clear why they were able to produce this board game. The game was released in 1998, which came three years after the release of the franchise third installment A Close Shave (Nick Park, 1995). The front of the box contains important iconography such as the rocket ship which was used to go to the moon in the first installment of the franchise A Grand Day Out (Nick Park, 1989). Therefore, I would argue that board game acts as a way of bringing together the franchise so far through the iconography. Within the board game, there are pieces which include pictures of the characters (aside from Wallace and Gromit) that have featured within the three films so far in the franchise. This furthers my point that a board game acts as a moment to pull together many aspects of the franchise. This brings in the ideas of denotation and connotation, which Kuhn and Westwell define as “denotation is the first order of a sign’s meaning, its outward, informational, literal meaning…. connotation is the second order of meaning—the implicit, symbolic, associative, or evaluative meanings that may attach to a sign.” (denotation/connotation). Whilst it may just be an image of a rocket ship, the artefact places this iconography within a different context, which brings out different connotations from within the franchise. Booth writes that “I don’t think scholars believe no board game fans exist; but I do think that because board games are not generally considered in media scholarship, and the types of fan activities undertaken by board game fans are different than those discussed in traditional fan studies literature, those board game fans are elided and the field is undertheorized. Opening up fan studies to encompass board game players helps to underscore a diversity of fan experiences.” (101-102). Booth argues here that studies around gaming have often ignored board games and have instead focused on video games. Furthermore, if we look at board games, it can help us to understand in greater aspects how fans engage with different products more. I think this is particularly important to apply to this case study for many different reasons. Therefore, this artefact can be viewed as a fan product. Firstly, it is important to think that this is a game that has be aimed at ages 8 and up, yet it still advertises itself as a family board game. This is important because I would argue that the franchises primary target audience, based off of its content, is younger children. Therefore, by adding this family aspect to the board game shows how fans can have a level of cross generational interactivity. This is a board game that can be enjoyed by children as they are likely to appreciate the characters and themes that are present, as this is a franchise they may already be engaged with. However, this is also something that parents are able to enjoy playing with their children and could even grow to like the franchise. There is even a possibility in the future that this idea will be reversed, and that the board came will become nostalgic for parents. They can then use this board game to engage their children within the franchise and open up a new generation of fandom. Another reason it is important to look at this board game in particular is because it is part of a transmedia franchise. Jenkins writes that “Extensions often authenticate themselves as belonging in the same fictional world through adapting aspects of their originating texts…” (4). With this idea in mind, I want to argue that this board game acts as an extension. Through playing the board game, you are creating narratives which extends off from the world that you would see in the films. You are placing the characters within new contexts whilst still engaging with the already established storyworld. Therefore, this board game is just one element of the Wallace and Gromit transmedia world. It is important that this board game is present within the archive because it acts as a piece of fan history. It is able to show how fans are able to interact with the franchise, across all generations, and engage within the world building. Furthermore, it also represents the types of ancillary products that studios were able to produce at the time, allowing for us to compare to modern day. Overall, this item aligns well with the typical merchandising that can be seen for this franchise. Often, many of the ancillary products that are made are aimed for children to engage futher with the franchise. This includes items such as soft toys, pens and even cleaning products like shampoo. However, this isn’t always the case and there are items available which aren’t aimed at children. For example, there is a shaving kit available (BDCM 91834) which is themed around the film A Close Shave (Gromit A close shave kit). Although this product isn’t designed for children, it may be designed as a product for children to buy for their families. Similar to this board game, this allows for cross generational engagement with the franchise. Works Cited: Aardman. "About." Aardman studios. https://www.aardman.com/about/ . Accessed 24 November 2024 Booth, Paul. "The Player as Fan: Ludic Fandom in Board Game Cultures." Board Games as Media. London: Bloomsbury Academic, 2021. 101–115. Bloomsbury Collections. Web. 24 Nov. 2024. <http://dx.doi.org/10.5040/9781501357206.0012>. Darlington, Joseph. "Music, Sound and Northernness in the Wallace and Gromit Films." Aardman Animations: Beyond Stop-motion. By Annabelle Honess Roe. London,: Bloomsbury Academic, 2019. 39–53. Bloomsbury Collections. Web. 20 Nov. 2024. <http://dx.doi.org/10.5040/9781350130319.ch-003>. (CHECK CITATION) Jenkins, Henry. “Adaptation, Extension, Transmedia.” Literature/Film Quarterly, vol. 45, no. 2, 2017. JSTOR, https://www.jstor.org/stable/48678410. Accessed 24 Nov. 2024. Kuhn, Annette, and Guy Westwell. "denotation/connotation." A Dictionary of Film Studies. : Oxford University Press, , 2020. Oxford Reference. Date Accessed 4 Dec. 2024 <https://www.oxfordreference.com/view/10.1093/acref/9780198832096.001.0001/acref-9780198832096-e-0186>. Marie-Laure Ryan. "Transmedia Storytelling as Narrative Practice." The Oxford Handbook of Adaptation Studies, Thomas Leitch Ed, edited by Thomas Leitch, Oxford University Press, 2017, pp. 527-541. Tom's Toys. "Pressman Toy" Tom's Toys, https://www.tomstoys.com/by/97/pressman-toy. Date Accessed 4th December 2024. The Bill Douglas Cinema Museum. "Gromit's Going Crackers Game." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/13133/. Date Accessed 4th December 2024. The Bill Douglas Cinema Museum. "Wallace & Gromit A Close Shave kit." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/91834/. Date Accessed 4th December 2024. A Close Shave. Directed by Nick Park, BBC, 1995. A Grand Day Out. Directed by Nick Park, BBC, 1989. Creator An entity primarily responsible for making the resource Pressman Toy Corporation Source A related resource from which the described resource is derived Wallace & Gromit animated film franchise Publisher An entity responsible for making the resource available Pressman Toy Corporation and Wallace & Gromit Limited Date A point or period of time associated with an event in the lifecycle of the resource 1998 Contributor An entity responsible for making contributions to the resource Aardman Studios, BBC Rights Information about rights held in and over the resource Wallace & Gromit LTD 1989, a member of the Aardman Animation group of companies. The Wallace & Gromit logotype is a trade mark of Wallace and Gromit Limited. Licensed by BBC worldwide. Copyright 1998 Pressman Toy Corporation Format The file format, physical medium, or dimensions of the resource Board Game in a Cardboard Box - Dimensions 39.8 x 27.4 x 6.2 cm Language A language of the resource English Type The nature or genre of the resource Board Game, Toy Identifier An unambiguous reference to the resource within a given context BDCM 13133 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Wallace & Gromit, British Film and Television, Stop Motion Animation 1990s Aardman Animation Board Game Toy Wallace & Gromit https://humanities-research.exeter.ac.uk/archivalencounters/files/original/ce1d92d62d52e5be1a7b80b607fdfb2a.jpg 1978edbc7e2000e32a46a44d536401ae https://humanities-research.exeter.ac.uk/archivalencounters/files/original/aa33f73100db6052337ec538bbdea1bc.jpg 5f0433c6914267c536fda772fa2d3d32 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/21b6cbbfc733f39d42193b71b1b166ad.jpg a0453952e61935892cb1854b7916bd0f https://humanities-research.exeter.ac.uk/archivalencounters/files/original/91c22aa5af8a2f89a03dc148398cab14.jpg 4a2ed13d701d3cf249f56bf3463daf64 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Doctor Who Special Anniversary jigsaw Subject The topic of the resource Doctor Who Description An account of the resource ‘Doctor Who Special Anniversary Jigsaw’ (BDCM 66958) is a 1000-piece jigsaw puzzle that was commissioned to be made in order to celebrate the shows 50th anniversary. The jigsaw celebrates the many different actors who have played the doctor throughout its long running show. Booth and others write that “The perennially popular BBC series holds a unique place in the history of television: as the longest-running science-fiction series, academic research and fan discussion about the show track social and cultural changes over the past sixty years.” (1). As we can see from this argument, Doctor Who is canonical show in the history of not only science fiction television, but also of general television history. Therefore, when the show reached its 50th anniversary, it was a moment to celebrate. They did this in many ways such as special episode that was titled “The Day of the Doctor” (2013). Another way they did this is through this artefact which draws upon the nostalgia of the series for fans. The Jigsaw itself is made up of 1000 pieces which when put together form a picture which depicts the different actors who have played Dr Who. This ranges from the very first doctor, played by William Hartnell from 1963-1966 all the way up to the most recent doctor (of the time) who was played by Matt Smith. The box contains the final image of the jigsaw puzzle. On the back of the puzzle, there are small pictures of each doctor containing information on what doctor they were (first, second etc..) and the time period which they portrayed that doctor. This artefact is a good source for gaining information about the who has played Doctor Who as well as representing the legacy of the franchise. Also on the back of the puzzle, there are pictures of some of the other puzzles that are available to buy. This includes one puzzle with many images of the Daleks and another which is a compilation of other iconic villains seen across the franchise such as the Cybermen. Therefore, this puzzle acts as a form of advertising for similar ancillary products related to the franchise that are also available. Freeman writes that “These Tarzan jigsaw puzzles, produced as extensions of the Tarzan brand as manifested across multiple media, all became just another match box to be collected.” (52). Although Freeman is writing about jigsaws in relation to the Tarzan radio serial that was released in the 1930’s, I believe we can still apply these ideas here. Freeman argues that the Jigsaw puzzle acts in two ways: an extension of the brand and another item to be collected. I believe that this is the case for this jigsaw. It acts as an extension of the brand of Doctor Who because it is another ancillary product to accompany the line of many other ancillary products available such as action figures, models and much more. As well as this, the jigsaw also acts as a collector’s item for a fan of the franchise. As this item was commissioned especially to celebrate the shows 50th anniversary, it becomes a piece of history which fans of the franchise want to engage with. One potential way to view this artefact is to view it as a piece of fan memorabilia which fans can use to interact with the franchise. Booth and Jones write that “As fans expound on their particular favourites or least-favourites, they bring a sense of propriety to the media texts of which they are part. We’re concentrating on Doctor Who fandom in particular in this book, not only because Doctor Who fans (nicknamed ‘Whovians’ by the Doctor Who Fan Club of America in the 1980s – a term that itself is devalued by many Classic Doctor Who fans) are notorious for rankings, best-of lists, worst-of lists, and polls about the most fill-in-the-blank-attribute of the series, but also because we ourselves are part of this fan culture, a positionality we interrogate in more detail in the conclusion.” (1-2). Their argument suggests that fandoms become groups which establish a hierarchy based on how much knowledge you may possess about the franchise. As well as this, they argue that hierarchies are created through taste, for example what is your favourite episode or favourite Doctor. Therefore, I believe this artefact links in with the fan culture because it brings a sense of togetherness; everyone can engage with the puzzle because it depicts doctors from across the franchise, meaning there is something for everyone. The puzzle acts as a way of breaking down the hierarchies present within the fan community and unifying them under the umbrella that they are all Doctor Who fans despite what their personal taste’s may be. Another way that this puzzle fits into the fan community is through the element of nostalgia. Jacobsen writes that “Throughout history, humans have always attempted not only to anticipate and shape the future, but also to make sense of and relate to the/ their past. The past is often regarded as the already known territory, whereas the future is regarded as an alien and sometimes even scary terrain. Time, however, is a tricky thing. What we may think we already know well and have left behind us long ago sometimes returns to haunt and pester us – even many years after its actual occurrence. At other times, the re- acquaintance with or revisits to the past – voluntary and involuntary – are much more pleasurable and positive.” (1). Jacobsen writes that nostalgia is a common human emotion that can evoke a variation of feelings. In relation to Doctor Who, Phillips writes that “Recollections of childhood experience are, inevitably, caught in the filters of adulthood – knowledge added, subtracted, modified, warped – and so when I think about my earliest awareness of Doctor Who, the white and the brown curls of my ‘original’ Doctors becomes entangled with prior and subsequent Time Lord hairstyles, from the long silver wig of the First Doctor to the floppy ‘not ginger fringe of the Eleventh.” (17). Pairing these two arguments together, this can give us a whole new way to view the jigsaw puzzle: as a piece of nostalgia. This is obviously audience dependent however by bringing together all of the Doctors, this creates a sense of nostalgia for fans who can reminisce about memories they have of the early stages of the franchise whilst engaging with the puzzle. Therefore, this puzzle anchors and unlocks the fans memories. The Whoniverse was created, as stated by the BBC website, as a “official name, and dedicated home, for all shows within the orbit of Doctor Who.” (Welcome to the Whoniverse...and Tales of the Tardis). Hills writes that “…the ‘Whoniverse’ referred to then-televised episodes as well as Doctor Who’s producers and fan clubs. More recently, the 'Whoniverse' has meant the show’s overarching diegetic universe…” (344-345). I want to argue that this jigsaw is a key part of the ‘Whoniverse’. First of all, it ties together all of the different Doctors into one jigsaw, which is a physical engagement of the franchise being brought together. As well as this, the puzzle also acts as a route into the ‘Whoniverse’ for fans who may have joined the franchise at different moments in time. By being able to see all of the Doctors, it acts as a route into the different universes that form together the wider universe. This is futher reinforced by the fact that this was commissioned as part of the anniversary of the franchise, which encourages fans to go back, engage and celebrate the ‘Whoniverse’. Works Cited: BBC. "Welcome to the Whoniverse...and Tales of the Tardis." BBC Doctor Who. October 30th 2023, https://www.doctorwho.tv/news-and-features/welcome-to-the-whoniverse-and-tales-of-the-tardis. Booth, Paul, Matt Hills , Joy Piedmont , and Tansy Rayner Roberts. "Introduction." Adventures Across Space and Time: A Doctor Who Reader. Ed. Paul Booth , Matt Hills , Joy Piedmont and Tansy Rayner Roberts London,: Bloomsbury Academic, 2023. 1–8. Bloomsbury Collections. Web. 4 Dec. 2024. <http://dx.doi.org/10.5040/9781350288416.ch-I>. Booth, Paul , and Craig Owen Jones. "Introduction Going Forward in All Our Beliefs: Regenerating and Re-Valuation in Doctor Who Fandom." Watching Doctor Who: Fan Reception and Evaluation. London: Bloomsbury Academic, 2020. 1–16. Who Watching. Bloomsbury Collections. Web. 5 Dec. 2024. <http://dx.doi.org/10.5040/9781350116757.ch-001>. Freeman, Matthew. "The Wonderful Game of Oz and Tarzan Jigsaws: Commodifying Transmedia in Early Twentieth-Century Consumer Culture ." Intensities: The Journal of Cult Media, issue 7, August 2014 , pp. 44-54. Hills, Matt. “Traversing the ‘Whoniverse’: Doctor Who’s Hyperdiegesis and Transmedia Discontinuity/Diachrony.” World Building, edited by Marta Boni, Amsterdam University Press, 2017, pp. 343–61. JSTOR, https://doi.org/10.2307/j.ctt1zkjz0m.22. Accessed 6 Dec. 2024. Jacobsen, Michael Hviid. “Introduction: The Many Different Faces of Nostalgia – Exploring a Multifaceted and Multidisciplinary Emotion.” Intimations of Nostalgia: Multidisciplinary Explorations of an Enduring Emotion, edited by Michael Hviid Jacobsen, 1st ed., Bristol University Press, 2022, pp. 1–30. JSTOR, https://doi.org/10.2307/j.ctv21zp21b.5. Accessed 5 Dec. 2024. Phillips, Ivan. "Frock Coats, Yo-Yos and a Chair with a Panda on it: Nostalgia for the Future in the Life of a Doctor Who Fan." Fan Phenomena: Doctor Who, edited by Paul Booth, Intellect Books, 2013, pp. 17-27. The Bill Douglas Cinema Museum. "Doctor Who Special Anniversary jigsaw." The Bill Douglas Cinema Museum. https://www.bdcmuseum.org.uk/explore/item/66958/. Date Accessed 13th December 2024 "The Day of the Doctor." Doctor Who, created by Steven Moffat, series 7, episode 16, BBC One Television, 23rd November 2013. Tarzan, WOR, 1932-1936. Creator An entity primarily responsible for making the resource RMS UK Ltd and BBC Source A related resource from which the described resource is derived Doctor Who: 'The Day of the Doctor' - series 7 episode 16 (2013) Publisher An entity responsible for making the resource available RMS UK Ltd Date A point or period of time associated with an event in the lifecycle of the resource 2013 Contributor An entity responsible for making contributions to the resource BBC Format The file format, physical medium, or dimensions of the resource Jigsaw Puzzle in a Cardboard Box - Box dimensions - ‎30 x 30 x 5.4 cm Puzzle Size - 73 x 38.5 cm Language A language of the resource English Type The nature or genre of the resource Jigsaw puzzle, Toy Identifier An unambiguous reference to the resource within a given context BDCM 66958 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Doctor Who, British Television, Science Fiction Rights Information about rights held in and over the resource BBC, DOCTOR WHO (word marks, logos and devices). TARDIS, DALEKS, CYBERMEN and K-9 (work marks and devices) are trade marks of the British Broadcasting Corporation and are used under licence. BBC LOGO copyright BBC 1996. Doctor Who logo copyright BBC 2012. Dalek image copyright BBC/Terry Nation 1963. Cybermen image copyright BBC/Kit Pedler/Gerry Davis 1966. K-9 image copyright BBC/Bob Baker/Dave Martin 1977. Licensed for RMS UK Ltd 2010s Doctor Who Jigsaw Science fiction Toy https://humanities-research.exeter.ac.uk/archivalencounters/files/original/cda2ea173ba02f6e0af4f8e9809ebc3e.JPG e0bf5841019c16bc6837cae6ff9b35a5 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/285e6f26074f947b89720690f833b9af.JPG 53db3e0f95354131fb911e063a127c28 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/b3c17ebf1443334d9dbc2bf3b1cdc8d0.JPG 0ac0e70573cedff87c31e2548c090a1c https://humanities-research.exeter.ac.uk/archivalencounters/files/original/16ed43e3268bace75381ef620ecd3cb0.JPG 2d8fa9055a40c17ffc2218645013b6d4 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/df2390d5f070696264e17685c66020db.JPG cde1bdbf4db5b6fb117966dd4483d476 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/5a4002c8442cd39d6e4a1ecc9a07f6c8.JPG 5c623cb76ab4f6dbfeb79f9d6e35f546 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pokemon 'Mew' toy Subject The topic of the resource Pokemon, Electronic Toy, Description An account of the resource Pokémon 'Mew' toy is an electronic plush toy of Pokémon series that distributed by Hasbro in 1998. This toy uses the Psychic-type Mythical Pokémon Mew from the Pokémon universe as the character. This is a toy for children who older than four. The 9-inch plush is made with pink fabric and cotton, the interior of the toy is equipped with electronic components. The toy requires 3 LR06 batteries to move eyes and tail. It also allows the toy to make the Mew’s signature sound through the interaction. The plush is cased in a red cardboard box with soft plastic window, which provides a multi-angle view of the toy inside. The front of the box includes the name of the character, the cartoon of Mew, the Pokémon slogan ‘Gotta catch ’em all!’, the toy’s battery requirements and the age requirements to children, while the back of the box reveals further details of the toy. In the late 1990s, as a multimedia complex, Pokémon became rapidly popular in worldwide range. The Pokémon series began with the Game Boy role-playing game released in 1996, and has been followed by anime, card games and toys. The success of the Pokémon series may not achieved without the development of the fantasy industry during the millennium moment in Japan. The millennial moment in Japan was marked by not only a bruising recession and social unease (and diseases) but also resounding triumphs in the fantasy industry (Allison, 2006). Just like 30 years ago, in the 1970s, when Japan began experiencing the comforts of recovery in the wake of the country’s first economic boom since the end of the World War II, Doraemon turned into a popular anime that captured the imagination of the nation. In both cases, the lead character is a fantasy creature attached to a singular child (Allison, 2006). Pokémon has made friendship, adventure, and the personal growth as a central theme, while using its fantasy characterization to attract not just children, but also adults and inspire the imaginations of them, brings a wide audience to itself. This type of theme and main story has a huge attraction to children and their family due to the values of teamwork and perseverance, and also making a tremendous international impact at the same time because of the theme transcend cultural barriers, which makes it not only limited in Japan. Most of the Pokémon characters are inspired by animals, myths, cultural backdrops, legends, and scientific elements. Although people can capture them in the games but can not own them in the reality, and the appearance of plush toys come to make up for the regrets of fans. Pokémon blends elements of reality and fantasy, connecting people to the real world while stimulating the imaginations. At the end of the 18th and the beginning of the 19th centuries, the explore of electromagnetic phenomena developed rapidly because of the needs of the development of production, by 1985, the first samples of integrated circuits appeared, marking a new stage in the development of electronic technology. With advanced in electronic technology, more toys began to incorporate features such as sound, motion, and light effects, by the 1990s, the development of electronic toys was touching its peak. Pokémon Mew electronic plush is the product of this trend. Hasbro productized the Pokémon species by making them into electronic toys, deepening connection between people and Pokémon furtherly. The addition of electronic components makes the plush more functional and provides people a more realistic interactive experience. As a character archetype for the toy, Mew is a Psychic-type Mythical Pokémon introduced in Generation I. It is said that Mew have the DNA of every single Pokémon contained within its body. This causes many scientists to theorize that Mew is the ancestor of all Pokémon. It is associated with Mewtwo, Mr. Fuji is the one who discovered Mew deep in the jungle and coined its name. With other scientists, he managed to gather some of Mew's DNA and used it in his mansion to create a modified clone of it, aiming it to be the most powerful Pokémon of all, which resulted in the birth of the Legendary Pokémon Mewtwo. The Mew represents the pure form of natural and the natural evolution, while the Mewtwo represents the intervention and challenge to the rules of nature by people. The birth of Mewtwo was a product of cloning technology, the experiment ignored the emotions and liberty of the Mewtwo due to the seeking of power, this caused Mewtwo to doubt the meaning of its existence. As a created clone, it is confused its own identify and value, it even resisted its own creator in the process of finding its own identify. This is a reflection of the concern about the moral and social issues that cloning technology may bring in the real world. Morally questionable uses of genetic material transfer and cloning obviously exist. For example, infertility experts might be especially interested in the cloning technique to produce identical twins, triplets, or quadruplets. Parents of a child who has a terminal illness might wish to have a clone of the child to replace the dying child. The old stigma, eugenics, also raises its ugly head if infertile couples wish to use the nuclear transfer techniques to ensure that their “hard-earned” offspring will possess excellent genes. Moral perspectives will differ tremendously in these cases. Judgments about the appropriateness of such uses are outside the realm of science (Wolf, Liggins and Mercola, 1997). The relationship between the Mew and the Mewtwo is a reflection on genetic engineering and cloning in the late 20th century, especially the birth of Dolly in 1996. This caused a debate on the moral risks and the improvement of genetics of cloning technology. Utilitarians can argue, and many did just after Dolly, that cloning human beings by nuclear transfer is, for the time being, too dangerous, and that we should not attempt it before we know more about the process. Ethicists from other schools of thought have maintained, among other things, that cloning violates our dignity, uses people as means, affronts our uniqueness, and threatens our humanity (Häyry, 2018). Pokémon was called the singular success story in the world of Japanese business during the recessionary times of the post-Bubble. Its profits were a welcome boon to the national economy (Allison, 2006). The 1990s were ‘the lost decade’ for Japan, with economic growth stopping. At the time, the global success of Pokémon and its derivatives showed the importance of the creative industries in economic recovery. As a derivative of Pokémon series, Electronic Mew Hasbro plush strengthened Pokémon’s domination in the toy market and boosted the growth of Japan toy industry, which played an important role in economic recovery. It also promoted the functioning of several industries around the world. Works Cited Allison, A. (2006). Pokémon: Getting Monsters and Communicating Capitalism. In Millennial Monsters: Japanese Toys and the Global Imagination. 1st ed. University of California Press. http://www.jstor.org/stable/10.1525/j.ctt1ppk4p.12 Häyry, M. (2018). Ethics and cloning. British Medical Bulletin, 128(1), 15-21. https://doi.org/10.1093/bmb/ldy031 Wolf, P., et al. (1997). The Cloning Debates and Progress in Biotechnology. Clinical Chemistry, 43(11), 2019-2020. https://doi.org/10.1093/clinchem/43.11.2019 Creator An entity primarily responsible for making the resource Tajiri Satoshi, GAME FREAK, Creatures, Nintendo Publisher An entity responsible for making the resource available Hasbro UK Ltd. Date A point or period of time associated with an event in the lifecycle of the resource 1998 Contributor An entity responsible for making contributions to the resource Morimoto Shigeki Rights Information about rights held in and over the resource ©1995, 1996, 1998 Nintendo, CREATURES, GAME FREAK. TM & ® are trademarks of Nintendo. ©2000 Nintendo. © 2000 Hasbro International Inc. All rights reserved. Format The file format, physical medium, or dimensions of the resource 26 x 18 x 14 cm Language A language of the resource English Type The nature or genre of the resource Plush Toy Identifier An unambiguous reference to the resource within a given context BDCM 93038 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant United Kingdom Pokemon Toy https://humanities-research.exeter.ac.uk/archivalencounters/files/original/29a4c2c1d392d0d7130a00f71b974756.jpg df24f0a5e3a5b0a90d406613147ffa4b https://humanities-research.exeter.ac.uk/archivalencounters/files/original/ca74c0b0090619ebb41e7f9cd37133a8.jpg 52390f6381f1990d94e2cf856aa1508e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 'Pokemon' collectable marble pouch with marbles Subject The topic of the resource Pokemon, Marble Toy Description An account of the resource 'Pokémon' collectable marble pouch with marbles was a product of the Pokémon craze of the late 90s. The Pokémon Collector Marble Pouches series was produced and distributed by ToyBiz in 2000, and divided into two series basing on the different creature in Pokémon. The series 1 of Collector Marble Pouches used popular characters from Pokémon Generation I, such as Pikachu, Poliwhirl, Machamp and Charmander, while series 2 giving people more options outside of popular characters. This #45 one belongs to the second series of Pokémon Collector Marble Pouches, the character of this toy is Vileplume. The main items of this toy are a small cloth bag made of fabric and ten marble marbles. The cloth bag is green with an anime image of Vileplume on it, the number and name of character marked near the mouth of the bag and the logo Pokémon was under the image. On the left side of the cloth bag displays a translucent green marble, inside the marble are painted with anime character and individual number and name. The outer shell of the toy is made of yellow transparent plastic, while inside is a red and green cardboard. The front of the cardboard has the Pokémon slogan’ Gota catch’ em all!’, the anime images of characters Ash and Pikachu are near the slogan. The back of the package includes all Pokemons in two series with the basic information, there is an advertisement of Poke Ball Collector Marble Shooters at the same time. The phenomenal success of the Pokémon multimedia products has brought Japan unprecedented profits and acclaim in a domain of cultural production long dominated by Hollywood. The media have proclaimed Pokémon a “global character”and a sign of Japan’s “cultural power” in a marketplace where, as the New York Times reported, Japan is becoming the new “superpower of superheroes.” (Allison, 2006). As one of the represents of Japan cultural exports, Pokémon became an important part of a generation’s memories in childhood after it entered the American market in 1998. Pokémon gradually broke the monopoly of American superheroes on the market through the anime, card games, video games, toys and books, and people began to come into contact with superhero themes that were from different country and culture. As the partner of Marvel Comics, Toy Biz started to search for cross branding opportunities due to the Pokémon craze in the late of 1990s, and collaborated with Pokémon and launched the Pokémon Collector Marble Pouches series, which catered to the growing diversity requirements of the international toy market. Beyond the market, Pokémon also had a tremendous impact on the younger generation in the America. It helped to promote American children’s interest in Japanese culture, stimulated their desire to explore and learn about Japan through the story in anime, related games and toys, this built a bridge for cultural communication between Japan and America. Meanwhile, by adapting to different demands, Pokémon constantly launch products which related to local cultures and overcome language and cultural barriers through cooperation with global brands. Pokémon is not only a commercial phenomenon, but also a symbol of culture, its success in the Japanese and American markets strengthened its global position and given it the ability to maintain a tremendous influence in the future. In this way, Japan has turned away from manufacturing trades to cultural products and because these products are cultural products they function not only as “soft power” (as Joseph S. Nye would suggest) but also as networks (Bainbridge, 2014). Compared with electronic toys and video games, Collector Marble Pouches series are more accessible to families due to the low price and it is healthier to children. Marble games allow kids to get away from electronic products and get out of the house to socialize with different kids and improve their social skills. At the same time, kids may get more competitive through the game which has a benefit for developing their wining spirt and confidence. They can collect different marbles through the game, which with different information of Pokémon, this will make kids to research relevant information actively. which could develop the independent learning ability and stimulate their imagination and desire to explore. Pokémon has stimulated their kid’s reading, motivated them to study and learn a minutia of facts, helped create a cooperative play atmosphere between the two children, encouraged creativity and strategy building, and fed interest in something they approach as active rather than passive consumers. (Allison, 2003). The character of this toy is Vileplume. Vileplume’s design is inspired by the real-world creature Rafflesia arnoldii, which is a tropical plant known for its huge flowers and strong, putrid odour. Rafflesia arnoldii grows mainly in the rainforests of Southeast Asia, echoing the herbaceous properties of Vileplume. One of the basic themes of Pokémon is the coexistence between humans and nature. Each region in Pokémon universe presents a unique ecosystem (e.g. forests, deserts, oceans), and different areas have unique Pokémon species, most Pokémon designs come from real-world flora and fauna or weather systems, this is a reflection of biological diversity in real-world. These setting could draw our attention to real-world situations and reflect the environmental issues like the logging of rainforests, overfishing and global warming. With the development of technology and urbanization, the environment on the earth is damaged in an inevitable way. Meanwhile, the development of the Internet has also made people less likely to go outdoors to explore the natural world, which makes their interest in species and environment has gradually diminished. The Pokémon Collector Marble Pouches series allows people to increase their interest in the related species by putting different Pokémons in marbles, attracting their attention to the animals and the environment in a way of integrating education with entertainment. The marble game makes people to go outdoors and away from the Internet, they can get closer to nature in this way. At the same time, as a player, people are more able to substitute their identity as a Pokémon trainer through the marble game, who is responsible for the care and protection of Pokémons and resists the threat from dark forces and environmental impacts. This makes people to take a similar attitude towards environmental protection in reality, and take responsibility for the protection of the environment. Works Cited Allison, A. (2003) ‘Portable monsters and commodity cuteness: Poke´mon as Japan’s new global power’, Postcolonial Studies, 6(3), pp. 381–395. doi: 10.1080/1368879032000162220. Allison, A. (2006). Pokémon: Getting Monsters and Communicating Capitalism. In Millennial Monsters: Japanese Toys and the Global Imagination. 1st ed. University of California Press. http://www.jstor.org/stable/10.1525/j.ctt1ppk4p.12 Bainbridge, J. (2014). “Gotta Catch ‘Em All!”: Pokémon, Cultural Practice and Object Networks. IAFOR Journal of Asian Studies, 1(1). https://doi.org/10.22492/ijas.1.1.04 Creator An entity primarily responsible for making the resource Tajiri Satoshi, GAME FREAK, Creatures, Nintendo Publisher An entity responsible for making the resource available Toy Biz, NYC 10017 Date A point or period of time associated with an event in the lifecycle of the resource 2000 Contributor An entity responsible for making contributions to the resource Atsuko Nishida Rights Information about rights held in and over the resource ©1995, 1996, 1998 Nintendo, CREATURES, GAME FREAK. TM & ® are trademarks of Nintendo. ©2000 Nintendo. Toy Biz, a division of Marvel Enterprises, Inc. TM and © 2000 Marvel Enterprises, Inc. All Rights Reserved. Format The file format, physical medium, or dimensions of the resource 27 x 19 cm Language A language of the resource English Type The nature or genre of the resource Marble Toy Identifier An unambiguous reference to the resource within a given context BDCM 93067 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant The United States of America Pokemon Toy https://humanities-research.exeter.ac.uk/archivalencounters/files/original/95aaab5bdada518904df71ac08dfb91d.jpg 4faacad94732b9d8af32b17362198639 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/dcfcb4b24d441d2442e0a48f8abc5848.jpg c4314a386c03e7f3a6adb90f23a13224 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/a47552d05b373ac3e1b46114802e1335.jpg dfdb00511337715ec248f45ef9ee8d55 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/bab3ecd3c470068b08bc4cc22948b963.jpg 3344f34aa6deaa6d9c0b1aa68d5f6eb6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Disney characters wind-up toy television Subject The topic of the resource Disney vintage toy Description An account of the resource The Disney characters wind-up toy television, made by Ideal Toys in the 1980s, it is a nostalgic craft toy that showcases Disney's innovative approach to children's entertainment in the 1980s. Designed for children ages 2-6, this lightweight, portable toy combined music, visual storytelling, and interactivity and was loved by children at the time. Meanwhile, colorful scrolling animations of Disney characters, including Mickey Mouse and Donald Duck, bring the screen to life. The toy is part of Disney's broader strategy to attract more parents to buy it for their children through innovative interactive games. Its special design and gameplay make it a favorite among children. Today, it has important nostalgic and collectible value, symbolizing the advanced imagination of Disney toy design. The toy is shaped like a small television, with a mechanical mechanism inside that plays scenes from a series of classic Disney characters. This toy has a colorful appearance, and the bright colors catch the eye, so that people will notice it quickly. The toy activates the built-in music box by turning a manual knob on the side to play classic Disney melodies that are simple and cheerful, perfect for children. While music plays, a screen on the front of the toy shows animated scenes involving Disney characters such as Mickey Mouse, Donald Duck and Goofy, which are slowly rolled by mechanical devices to create a dynamic effect of characters dancing across the screen, give the player the feeling of watching cartoons. The top is equipped with a hand handle, designed to be lightweight and durable, easy for children to carry. Players can enjoy the picture and music of the toy alone at home, or they can take it to school and watch it with their classmates. In addition, the toy adopts a fully mechanical design without batteries, which is not only safe and environmentally friendly, but also greatly reduces maintenance costs. Characters such as Mickey Mouse and Donald Duck have been popular with audiences around the world since the 1920s. Disney has been working to promote its classic characters and stories into family life, and this toy is part of that strategy. These characters became cultural ICONS of Disney through animation, toy peripherals and theme parks, while The Disney Characters wind-up toy television incorporated these characters into children's daily lives through toys. The toy's release comes at a time when the Disney brand is expanding globally. By working with toy manufacturers, Disney has successfully integrated characters into toys, making children interested in Disney when playing. The Disney Characters wind-up toy television is the result of a partnership between Disney and the Ideal Toy Company. The Ideal Toy Company was a prominent American toy manufacturer at the time, known for its innovative designs. This collaboration leverages Ideal's expertise in toy production and Disney's expertise in creating characters and stories that audiences love. Ideal played an important role in the toy industry in the United States by producing high-quality and innovative toys, and its peak period was from the 1960s to the 1980s. For Disney music video toys, Ideal has leveraged its expertise in mechanical toy design to create hand-cranked devices that bring Disney characters to life through the toys. The toy combines Ideal's expertise in mechanical toy design with the influence of classic Disney characters. Disney's involvement extends beyond character licensing. From the choice of music to the presentation of characters such as Mickey and Donald Duck, to the overall visual design, Disney's creative team has carefully curated the toy to ensure that it is aligned with the brand's core values. This collaboration reflects Disney's emphasis on quality and consistency. Disney knows that making products is an important way to continue telling its brand story. This toy brings Disney's magical stories into homes, allowing children to play with their favorite characters in a real and interactive way. Unlike watching movies, where children are passive, this toy lets them take control of their own Disney adventure, helping them feel a stronger emotional connection. For nearly a century, The Walt Disney Company has been captivating audiences young and old with its timeless tales of heroism, love, and adventure. Yet, beneath the surface of its animated masterpieces lies a complex tapestry of societal influence. Disney's narrative power extends beyond mere entertainment; it wields a remarkable ability to shape, reflect, and even challenge cultural norms (Karma and Bhad, 2023). The toy allows children to connect with Disney characters in a fun, hands-on way. By turning the clockwork, the child makes the picture on the screen move, as if they are in the world created by Disney. Unlike movies, the toy lets children feel they are part of their own Disney story, building a deeper bond with the brand. In the 1980s, people paid more attention to educational toys for young children. The Disney character wind-up TV toy fit this trend by blending fun and learning. It was part of Disney's strategy to make itself an important part of family life. Disney music video toys are now seen as collectibles because of their cultural, historical, and business importance. The toy shows what life was like for kids in the 1980s, focusing on simple and enjoyable play. At the same time, it highlights a key moment when branding became a big part of the toy industry. This toy contains beautiful graphics, elegant music and interactive games, showcasing Disney's creativity. It marked a new step in Disney's history, showing the company could create more than just movies. Disney characters wind-up toy television is a toy product that deserves to be collected. Your favorite Disney toys in your childhood, because now those products could be worth a fortune, so if you were a boy or girl who kept their dolls in good condition, now you could get an excellent profit. So run to those old and stored boxes, as some of these have sold for over $10,000, which over time will increase in value ( LLC ,2021). Disney medieval toys because of its age and toys are consumables, most people will not buy collections now, the appearance of the newer preservation is very little, so this kind of medieval toys in the collection market is a popular category. Most individual collectors tend to be fans of Disney culture and have a high loyalty to the brand. The museum collects these toys to preserve and display important objects related to popular culture, the history of the brand, and social change. Through the exhibition, these toys can help the audience understand the social background, entertainment and consumer culture of a certain era. These toys also provide material for scholars to study design, marketing, psychology, and sociology. In conclusion, The Disney character wind-up TV toy combines Disney's original classic cartoon characters with ideal's innovative production process. It shows the trends in toy design in the mid-twentieth century and how Disney expanded its brand influence by entering the toy market through partnerships with toy companies to make more children aware of the Disney brand. This toy carries childhood memories for some players, the exquisite technology of ideal company at that time, is a part of Disney history for the Disney Company, and is an innovative and unique retro toy product for antique toy collectors. It also shows how Disney uses entertainment, marketing and design to leave a lasting impact. Translated by ContentEngine LLC (2021) Do you have these Disney toys? These products are now worth a fortune. English ed., CE Noticias Financieras. English ed. Miami: ContentEngine LLC, a Florida limited liability company. Date Accessed 6 December 2024 The Bill Douglas Cinema Museum. " Disney characters wind-up toy television." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/68161/. Date Accessed 6 December 2024. Disney Discourse: Producing the Magic Kingdom (no date). Date Accessed 6 December 2024. Translated by ContentEngine LLC (2021) Do you have these Disney toys? These products are now worth a fortune. English ed., CE Noticias Financieras. English ed. Miami: ContentEngine LLC, a Florida limited liability company. Date Accessed 6 December 2024. Abdelrahman, O.K. et al. (2019) ‘“I’m Only a Guardian of These Objects”: Vintage Traders, Curatorial Consumption and the Meaning(s) of Objects’, in Consumer Culture Theory. United Kingdom: Emerald Publishing Limited, pp. 55–69. Available at: https://doi.org/10.1108/S0885-211120190000020007. Date Accessed 6 December 2024. Karma, A. and Bhad, A. (2023) ‘Disney Setting and Changing Gender Stereotypes’, Global media journal, 21(66), pp. 1–28. Available at: https://doi.org/10.36648/1550-7521.21.66.402. Date Accessed 6 December 2024. Creator An entity primarily responsible for making the resource Ideal Toy Company Source A related resource from which the described resource is derived Disney Publisher An entity responsible for making the resource available Ideal Toy Company, under license from Disney Date A point or period of time associated with an event in the lifecycle of the resource 1982 Contributor An entity responsible for making contributions to the resource Disney Rights Information about rights held in and over the resource Disney , Ideal Toy Company Format The file format, physical medium, or dimensions of the resource 25.4x17.78x7.62 CM Language A language of the resource English Type The nature or genre of the resource toy Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Primarily distributed in the U.S. and international markets, including Hong Kong. 1980s Disney Ideal https://humanities-research.exeter.ac.uk/archivalencounters/files/original/91b27dd3d744a354cac033dc990aa4f4.JPG f2d1994b976945c329d24cb1b18377f1 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/0815eb5891d32392b22b830127ba7630.JPG 8f846d0e81c1fab35630e2ab7458e2bc https://humanities-research.exeter.ac.uk/archivalencounters/files/original/4a5cbb9b89d5bd16964f725350f53132.JPG bbd2f7639a800a8f0e1ccd9a04dbd4fb https://humanities-research.exeter.ac.uk/archivalencounters/files/original/631a8f7ac128404923997c6f8933475d.JPG 3e4770f933ecad9d39360b8f6536701d https://humanities-research.exeter.ac.uk/archivalencounters/files/original/40000f083e045a7b90c3769ca21fe5e3.JPG 2254769028dfe3529e520ef808609d94 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Disney spinning top Subject The topic of the resource Disney and LBZ Description An account of the resource Disney spinning top is a classic toy for children aged 3-10 years old, which was designed and produced by Disney and Lorenz Bolz Zirndorf, Disney was mainly responsible for the visual design, and Lorenz Bolz Zirndorf was mainly responsible for the production side. Disney spinning top belongs to Disney's "Happy Days" series. The appearance of this top is mainly in bright colors such as yellow and green. Disney spinning top is printed with classic Disney cartoon characters such as Mickey Mouse, Donald Duck and Pluto. When the player rotates the top, the classic Disney cartoon characters on the surface of the top will form a running picture as the top rotates. This product made of tin material by Lorenz Bolz Zirndorf, this top is of high quality and is smooth and wear-resistant. Disney spinning top was loved by players in the mid-20th century and is still collected today. Disney spinning top is not only an ordinary toy, but also a collectible for some Disney toy collectors. It represents the development and innovation of the Disney brand in the field of toys in the mid-20th century, integrating classic animated characters into children's lives in the form of toys, and becoming an indispensable part of the happy memories of many families. Even today, this top is still favored by Disney vintage toy lovers and vintage toy museum collections for its unique design and sentimental value, which also symbolizes Disney's relentless pursuit of joy and quality. Players can place the gyro on a flat surface, such as a table or floor, making sure there are no obstacles around it. The top of the gyroscope is usually equipped with a handle or pull bar, and the player can make the gyroscope turn by simply holding the top handle with the palm of the hand, gently pressing down and twisting at the same time, or pulling the attached pull rope. With the rapid rotation of the top, the Disney characters printed on the surface will show dynamic effects with the movement, just like watching cartoons, this "visual dynamic effect" can attract children's attention, add fun to the game, and also let children understand and love Disney original characters. This toy is easy to carry and can be used in many scenarios, such as school playgrounds and family courtyards. And this toy is not only suitable for children to play alone, but also suitable as an interactive game between friends, children can start the top by trying different forces, observe its rotation speed and duration, and challenge the longest rotation time. Multiple players can start their own tops separately and compete to see whose tops spin faster or longer. The toys to buy are the ones that engage to senses, imaginations, and inspire of children. They help to interact and learn about different shapes, sizes and colours with others. It develops ability of children to solve and understand problems. Toys support in cognitive development and overall growth in children (Rani, Kumar and Pushp,2022). When playing spinning top alone, children can exercise hand-eye coordination and motor skills. Multi-player competition increases interactivity and can foster a child's team spirit and healthy sense of competition. The Disney spinning top toy, produced by Lorenz Bolz Zirndorf (LBZ), was released in the 1950s to 1960s. Lorenz Bolz GmbH, Zirndorf is a toy manufacturing company with a long history, originating in the early 20th century and headquartered in Zirndorf, Bavaria, Germany, known for the production of high quality metal and mechanical toys. The company is located in Germany's famous toy production center of Zilndorf, a town that is one of the birthplaces of the world's famous toy brands. During the rapid development of the toy industry in the mid-20th century, Lorenz Bolz occupied an important position in the European market with its high quality and innovative toy designs. Spinning Tops is one of the company's signature products, with clever design, excellent quality, loved by children, parents and toy collectors. In the mid-to-late 20th century, the company partnered with several well-known brands, such as Disney, to produce a range of toys featuring animated characters. These licensed products not only appeal to children, but also serve as a medium for the culture of the Disney Universe. After World War II, West Germany was experiencing an economic recovery known as the "economic miracle." During this period, consumer goods, especially toys, became more accessible to the middle class. The LBZ spinning top is part of this wave of consumer goods, providing a fun and durable toy for kids. Disney spinning top is Disney's Happy Days series, launched in the "Happy Days" series at a time when the global economy was rapidly developing and household consumption levels were rising. From the 1950s to the 1980s, Disney built a strong global brand with Mickey Mouse and Donald Duck, the Disney Princess series and other classic animation works. The "Happy Days" series was launched against this backdrop, with the aim of extending Disney's animated characters from the screen to everyday life through a range of themed toys and household items. The name of this series of products, "Happy Days", means "happy every day", which is highly consistent with the core philosophy of the Disney brand to deliver happiness and hope. The series is not only aimed at children, but also hopes that through product design, the whole family can participate and enjoy it. Today, many products from the "Happy Days" series have become popular objects in the collectible market. For those who owned these items in their childhood, the toys are a nostalgia and a nod to the Disney brand culture. Disney spinning top is historically significant as a licensed Disney product. The toy featured Disney's most popular characters of the time, such as Mickey Mouse, Donald Duck, and Goofy, whose images made the toy a treasured keepsake in the hearts of Disney fans. In particular, this gyroscope is made of metallic tin material and carefully built by LBZ, a well-known toy manufacturing company, which further enhances its collection value. For the toy industry, the recently completed Toy Fair 2002 kicked off in New Year and marked the official launch of a new buying season. While product innovation took many forms this year, three prominent trends emerged from the showrooms. Spinning tops, food-themed toys and relaunches of "retro" toys of the '80s generated much of the buzz at this year's show（Prior, 2002). Vintage toys are often revived in the toy industry and remade by manufacturers. Its collectible value also lies in its rarity. Since most of these toys were played with by children at the time, many gyros have suffered from wear and tear due to frequent use, so preservation in good condition is very rare, especially the version with the original packaging, which is very valuable to collectors. In conclusion, The spinning top, jointly designed and produced by Disney and Lorenz Bolz Zirndorf, is not only a toy, but also a witness to the history of Disney and Lorenz Bolz Zirndorf, and a vehicle for the memories of children and family members. For collectors of Disney toys, it is also a rare piece of art. Its innovative look and interactive gameplay represent Disney's endless imagination, and its excellent workmanship represents Lorenz Bolz Zirndorf's exquisite craftsmanship. Although The Times are changing and toys are constantly innovating, many toy collectors' enthusiasm for spinning top collection will not decline, because it carries the emotional memories of individual players in the mid-20th century and bears witness to the historical development of the toy industry. Prior, M. (2002) ‘Spinning tops and retro toys create a buzz at Toy Fair 2002’, DSN Retailing Today, 41(4), pp. 4-. Date Accessed 11 December 2024. Rani, P., Kumar, A. and Pushp Deep Dagar (2022) ‘A Study on Role of Toys in development of children’, NeuroQuantology, 20(7), pp. 4372-. Available at: https://doi.org/10.48047/NQ.2022.20.7.NQ33527. Date Accessed 11 December 2024. Sotelo-Duarte, M. (2022) ‘Collecting nostalgic pieces of plastic: the journey of toy collectors and the effects of nostalgia’, Qualitative market research, 25(2), pp. 319–336. Available at: https://doi.org/10.1108/QMR-07-2021-0090. Date Accessed 11 December 2024. The Bill Douglas Cinema Museum. " Disney spinning top." The Bill Douglas Cinema Museum, https://www.bdcmuseum.org.uk/explore/item/68012/. Date Accessed 11 December 2024. Reconstruction and Politics in West Germany, 1949–1957’, Journal of Cold War Studies. One Rogers Street, Cambridge, MA 02142-1209, USA: MIT Press, pp. 244–246. Available at: https://doi.org/10.1162/jcws_r_01071. Date Accessed 10 December 2024. Creator An entity primarily responsible for making the resource Lorenz Bolz GmbH, Zirndorf Source A related resource from which the described resource is derived Disney Publisher An entity responsible for making the resource available Lorenz Bolz GmbH, Disney Date A point or period of time associated with an event in the lifecycle of the resource 1950s Contributor An entity responsible for making contributions to the resource Disney Format The file format, physical medium, or dimensions of the resource 20 x 20 x 20 cm Language A language of the resource English Type The nature or genre of the resource spinning top Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Europe Disney https://humanities-research.exeter.ac.uk/archivalencounters/files/original/a5dd42b67459345a01bf6a00317a14e1.jpg d5b478855103544a1f21d1f00baa6772 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/a4ce8ca61e8fcb3bb341a7f3fed5fa7b.JPG 5150dc8a86004f452c06b03f41c74142 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/b455850ce417437b0501814b1c8a2ae1.jpg fbb8f3b49584d1d36506bfd1063e5950 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Charlie Chaplin Puppet Subject The topic of the resource Charlie Chaplin Description An account of the resource How can we archive a mystery?<br /><br />Catalogued by the Bill Douglas Cinema Museum on March 14th, 1997, this artefact raises exactly this question. Entitled ‘Charlie Chaplin Puppet’ (BDCM, 68326), the artefact is composed of various mixed-media elements, including a painted doll’s head and hands, red string, seemingly hand-sewn clothing, a fabric torso, and grey plastic hooks in lieu of doll-like limbs. These elements work in combination to recreate the likeness of American silent film star and comedy actor Charlie Chaplin. Animated using a horizontal control bar, it evokes similar Chaplin memorabilia, such as Dancing Charlie, a cardboard puppet mass-produced in Britain in the 1930s which can also be found within this collection. Beyond its surface similarities to other Chaplin memorabilia, however, the origins of this puppet remain enigmatic. <br /><br />On his own encounter with a Chaplin puppet during childhood, Alan Bilton writes that ‘I was terrified of Charlie Chaplin […] the puppet: an 8-inch wooden doll mysteriously (where had he come from? whose was he?) sequestered at the back of a cupboard in our living room’ (Bilton, 78). What is particularly striking about his account is that the origin of his fear centres around its mystery: the things that he does not know, which ascribe his puppet (and perhaps, due to its own mysterious origin, this artefact) with an uncanny quality. The composition of the puppet—and particularly its less polished elements, such as the shoes, the hooks, and the clothing—suggest that it was likely handmade, perhaps with the parts of a Chaplin doll. As a result, it cannot be identified with a company or publisher, shrouding its creator in anonymity and offering a searing indictment of the prioritisation of companies over individual creators when acquiring or maintaining the rights to a creation. Indeed, the struggle concerning the archiving of objects lacking identifying information has been a central concern of many archivists; the Regional Peel Archive, for example, write that ‘[r]ecords that have passed through numerous hands are more likely to have become fragmented or incurred changes’ (RPA, 2016).<br /><br />Despite this fragmentation, however, it is possible to gesture towards potential origins for this artefact. The first celluloid toy was produced in 1869, but plastic did not become the dominant mode of toy production until the plastic boom of the mid-20th Century, particularly after World War II, when producers shifted focus from the war effort and towards consumer goods (Knight, 2014). With this in mind, although there is no definitive date for the puppet’s creation, we can extrapolate from its use of multiple plastics that it would likely have been made at some point between 1945 and the archive’s acquisition in 1997. <br /><br />Furthermore, although specific information about the creator, publisher, and copyright holder(s) for this artefact have since been lost, information about the creation can also be gleaned from its format: a puppet. Puppetry has a rich history in pedagogy, used often as a means of developing empathy in children. As recently as 2020 and 2023, psychological studies have been launched in order to investigate the use of puppets to evoke positive responses to immigrants (Jones, 2020), and in social development of autistic teenagers (Karaolis, 2023). Most significantly for this object, however, puppetry is central to pedagogy in Czechoslovakia: Bogatryev writes that ‘[m]ore often than not children experience their first contact with native literature and folktales in schools by means of puppet theatre’ (Bogatryev, 1999). <br /><br />Although it cannot be definitively stated that this puppet originates from Czechoslovakia—puppetry also plays a key role in Russian folk theatre, for example, as Bogatryev goes on to discuss—a nonetheless compelling argument can be made in its favour due to its depiction of Charlie Chaplin. Following the Second World War in Czechoslovakia (and, arguably, Eastern Europe as a whole), Hollywood stars were often framed as agents of United States cultural imperialism, particularly against the emerging backdrop of the Cold War. As the July 1950 edition of <em>Kino</em> (a Czechoslovakian state-controlled film magazine) summarises: ‘Hollywood stars paved the way for American films to flood European cinemas; behind them […] came—oblivious to the general public—powerful Wall Street bankers whose loans fuelled the international operations of the US military. Behind them came the soldiers’ (Kino, 349). <br /><br />This scepticism and suspicion did not extend to Chaplin, who became an enduring and immensely popular figure to Czech cinemagoers. Examining the role of Chaplin’s filmography in Czech Communist propaganda of the late 1940s and 1950s, Jindřiška Bláhová argues that ‘Chaplin was, without exaggeration, the favourite Hollywood star of Czechoslovak Communists after the Second World War’ (Bláhová, 321). After the nationalisation of the Czech film industry in August 1945, the distribution rights for Chaplin’s satire <em>The Great Dictator</em> (Chaplin, 1945) was acquired for a staggering $50,000 dollars, at least five times the average individual film price of $3000-$10,000 (NAČR, 1948). In 1947, after the theatrical release of <em>The Great Dictator</em> in Czech cinemas, the film industry went on to purchase six of Chaplin’s comedy shorts, which were screened at the Charlie Chaplin Festival (NAČR, 1947). <br /><br />Bláhová continues: ‘Chaplin was presented to the Czechoslovak public as an outcast and a progressive artist and that these two main tropes served as a platform upon which general tensions between capitalism and socialism could be articulated and various anti-American narratives could be constructed’ (Bláhová, 323). With this in mind, the association of this object with Chaplin’s film <em>The Tramp</em> (Chaplin, 1915) can be problematised as the puppet also shares similarities to his 1947 film <em>Monsieur Verdoux</em> (Chaplin, 1947); the puppet’s top hat, cane, and pinstriped trousers arguably bear a closer likeness to the latter than the former. <em>Monsieur Verdoux</em> was critically successful upon its general release in Czechoslovakia in 1948, receiving ‘more press attention and initiating more discussion than any other movie that was shown in the country in the second half of the 1940s’ (Bláhová, 322), standing in stark contrast to the film’s critical failure in the United States. <br /><br />With all of this in mind, the puppet’s lack of association with a publisher or company can be contextualised as part of the dominant anti-capitalist ideologies at play in Czechoslovakia at the time. Equally, the enduring popularity of Chaplin puppets created by contemporary Czech companies (such as Richi) points directly to other Chaplin artefacts that can provide additional context for this one. As a result, I would suggest that this puppet was likely produced in Czechoslovakia in the 1940s or 1950s, perhaps in conjunction with the theatrical release of <em>Monsieur Verdoux</em>. <br /><br />Regardless of the puppet’s origins, which cannot be definitively stated, this artefact nonetheless speaks to the enduring popularity of Charlie Chaplin iconography in film merchandising, as well as the appeal of puppet toys to children and adults alike. Indeed, puppets are perhaps unique among other toys of their kind due to their complex social element: Stengelin et al argue that, in developmental science, ‘puppets are employed to reduce social hierarchies between child participants and adult experimenters akin to peer interactions’ (Stengelin et al, 1). As a result, this artefact undermines the perceived binary of toys for children versus collector’s items for adults, problematising this distinction and revealing it to be hierarchical. Overall, whether used in pedagogy, treated as a collector’s item, or perhaps handmade by a Czechoslovakian cinemagoer, this artefact remains a fascinating example of the wide-ranging and complex role of toys in film and television merchandising. <br /><br />Works Cited <br /><br />The Bill Douglas Cinema Museum. ‘Charlie Chaplin Puppet.’ Item No. 68326, https://www.bdcmuseum.org.uk/explore/item/68326/, Accessed 11th November 2024. <br /><br />Bilton, Alan. ‘Accelerated Bodies and Jumping Jacks: Automata, Mannequins, and Toys in the Films of Charlie Chaplin.’ <em>Silent Film Comedy and American Culture</em>. London: Palgrave Macmillan, 2013, pp. 78-110. <br /><br />Bláhová, Jindřiška. ‘No Place for Peace-Mongers: Charlie Chaplin, Monsieur Verdoux (1947) and Czechoslovak Communist Propaganda.’ <em>Historical Journal of Film, Radio, and Television</em>, Vol. 23, No. 3, 2009, pp. 321-342. <br /><br />Bogatyrev, Pyotr. ‘Czech Puppet Theatre and Russian Folk Theatre.’ <em>TDR</em>, Vol. 43, No. 3, fall 1999. Cambridge, Massachusetts: Gale Literature Resource Centre. <br /><br />Chaplin, Charlie. <em>The Tramp</em>. General Film Company, 1915. <br /><br />Chaplin, Charlie. <em>Monsieur Verdoux</em>. United Artists, 1947.<br /><br />Jones, Siân E., et al. ‘No strings attached: Using 2D paper dolls and 3D toy puppets to promote young children’s positive responses towards immigrants.’ <em>The Psychology of Education Review</em> (Online), vol. 44, no. 2, 2020, pp. 12–21, https://doi.org/10.53841/bpsper.2020.44.2.12. <br /><br />Karaolis, Olivia. ‘Not Just a Toy: Puppets for Autistic Teenagers.’ <em>Youth</em>, vol. 3, no. 4, 2023, pp. 1174–82, https://doi.org/10.3390/youth3040074. <br /><br />Knight, Laurence. ‘A brief history of plastics, natural and synthetic.’ <em>BBC News</em>, 17th May 2014, https://www.bbc.co.uk/news/magazine-27442625. <br /><br />National Archives of the Czech Republic (NAČR). ‘Distrubuce v roce 1948.’ <em>NAČR, Central Committee of the Czechoslovak Communist Party Archive</em>, 19/7, Archival Unit 660, 1, 43-4.<br /><br />National Archives of the Czech Republic (NAČR). ‘Stary Chaplin stale živy.’ F<em>ilmové noviny</em>, 31st May 1947. Department of State Files, Record Group 59, National Archives, College Park, MD, Decimal File 1955-59. 811.452/2-2555. <br /><br />Region of Peel Archives, ‘How Do Archivists Describe Collections?’ <em>Peeling the Past</em>, 29th February 2016.<br /><br />Stengelin, et al. 'Children over-imitate adults and peers more than puppets.' <em>Developmental Science, </em>Vol. 26, No. 2, March 2023. Source A related resource from which the described resource is derived The Tramp (Chaplin, 1915), Monsieur Verdoux (Chaplin, 1947) Contributor An entity responsible for making contributions to the resource Charlie Chaplin Relation A related resource Dancing Charlie Format The file format, physical medium, or dimensions of the resource Puppet Language A language of the resource N/A Type The nature or genre of the resource Toy Identifier An unambiguous reference to the resource within a given context BDCM 68326 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Silent Cinema, Charlie Chaplin, Puppetry https://humanities-research.exeter.ac.uk/archivalencounters/files/original/5e46518f1ec284890c34a78026ef3aac.JPG aa44345f91c8ef03f213c423aa70e9d8 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/d0bfeb4cc68480189511133bf04cb7ab.JPG e1dacf61c41d56a2996b03b065be1b65 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/594658e4b498da32384ffab797e500e7.JPG a573d81bf56f1d0068bb2f1085efeb64 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/47a75ee24cdc17651a1ee29814314497.JPG 1c89e2a82913e34852ae177ebfc535d7 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pikachu Talking Plush Toy Subject The topic of the resource Interactive Pikachu Toy from the Pokémon Franchise Description An account of the resource The ‘Pikachu Talking Plush’ is an interactive plush toy developed by Tiger Electronics and officially launched in 1999 with global distribution by Hasbro targeting North America and multiple European markets. This plush toy, designed to resemble Pikachu, one of the most beloved characters from the Pokémon series, represents a key piece of late 1990s nostalgia. This is a talking interactive toy for children aged 4 years and above, approximately 20 cm high and made of soft polyester. In the 1990s, due to advances in microelectronics, features such as voice chips were increasingly used in toys. It has a built-in electronic voice chip that emits the iconic and on the back of the box it says, ‘Give the Pikachu Talking Plushie a hug or a pat on the head to hear it talk to you!’. Pikachu will sound when touched such as 'Pika Pikachu' and it is powered by two AA batteries. Smooth surfaces, adorable shapes, and three-dimensional facial embroidery are Pikachu's signature adorable appearance in the Pokémon Go series. This made it not only a sophisticated children's doll but also a much-loved playmate of the 1990s. As a collector's item, this toy still has considerable collector's value, not only due to its scarcity as a Pokémon peripheral in 1999 but also due to its great brand relevance as one of the most popular characters of the Pokémon brand, as well as the backdrop of the Pokémon craze that took the world by storm at the time. Pokémon first appeared in public as a video game for the Nintendo Game Boy in Japan in 1996, which also marked the birth of the Pokémon series. The concept of Pokémon was conceived by Satoshi Tajiri, whose childhood love of collecting insects culminated in the core mechanic of the Pokémon franchise: ‘Gotta Catch “Em All”. In this series, players can take on the role of trainers, capturing and training a variety of fictional ‘Pokémon’ creatures to complete artwork and engage in battles. At the same time, the Pokémon franchise introduced a revolutionary mechanic that allowed players to trade creatures through connectivity. This made Pokémon not just a game, but a new form of social interaction. Within its first year, Pokémon Red and Green sold millions of copies in Japan, signalling the arrival of a cultural phenomenon. After 1998, the Pokémon brand began to explore the Western market, they are not content with the success of Pokémon in their home country. In September of the same year, the Pokémon animated series was released in the U.S. This cartoon established the image of Pikachu as a friendly, lovable, and loyal companion by telling the adventures of Koji and Pikachu. Instead of failing in the face of cultural differences, the exciting storyline and the universally lovable Pikachu were a huge success. Because Pokémon has appeared in more than just games and films, it has built a strong transmedia narrative on a synergistic multi-platform consumption strategy. In the same year, the release of Pokémon Red and Blue for the Game Boy was also localized to retain its original appeal for American gamers. The Pokémon line of cards has sold more than 400,000 cards in its first six weeks in the U.S. market(Allison,2006), and the same line of dolls is also doing well in the market. By the end of 1999, the Pokémon franchise had sold more than nine million copies in the United States(Iwabuchi,2002), Pikachu was selected by Time magazine as the second most influential figure of the year and was described as ‘the most beloved animated character since Hello Kitty.’ That slogan ‘Gotta Catch ’Em All ‘had become popular in the West. The success of Pokémon in the Western market was more symbolic of an important shift from a cultural point of view: the influence of Japanese pop culture on the Western market in the context of globalization. Why do people love Pikachu? For Japan, Pikachu is not only given an extremely high commercial value but also appears all over the world as a representative of Japanese culture. Scholar Anne Allison, in her book Millennial Monsters, highlights how Pokémon’s “de-localized” designs allowed its cultural icons, such as Pikachu, to transcend language and cultural barriers to become universal symbols. Concerning the image set of Pikachu, we can see that the doll being shown has a rounded shape, bright colours and simple facial features. Pikachu's cuteness stems from the simplicity of its design under the concept of universal aesthetics, as well as the characterization of the character as loyal, kind, friendly, and a protector. More deeply, in the Pokémon series, the main character and Pikachu kind of rely on each other and deeply trust each other, a setting that helps to build the audience's psychological projection of the character. Also carrying the concept of ‘companionship’, from the 1990s to the present day, Pikachu has always been open enough to receive positive emotional feedback from consumers, no matter what their background. As of May 2023, the cumulative sales of the Pokémon series of games have exceeded 480 million copies across all platforms worldwide. According to the Top Global Licensing Report released in 2023, Pokémon is ranked as the fifth most licensed brand in the world with retail sales of $11.6 billion in 2022. In the 1990s several brands such as Digimon and Monster Rancher were born in Japan. These brands were similar in concept to Pokémon but were not reflected in the market in the same way as the Pokémon brands. The success of the Pokémon series has shown everyone the power of cross-media strategies to synergize between different platforms. Though this strategy enhances brand loyalty and fan immersion, it also reflects the challenges facing modern consumerism. According to Jean Baudrillard's theory of symbolic consumption, people buy products not only for their functionality but also for the meaning and identity they represent. Fans of Pokémon are initially introduced to the game and are enticed to purchase plush toys, trading cards and film spin-off merchandise to experience the full Pokémon world. But with each new generation of games, new cards, and new dolls new characters and even limited-edition products are being added to entice fans to participate in the consumption, making the consumption a cycle that is hard to stop. It also creates a sense of urgency, making fans feel compelled to always keep up with the brand. This demand goes beyond mere entertainment and becomes a way to ‘participate in the world of Pokémon’. It's also worth thinking about the importance of moderate consumption. Nonetheless, the consumerist behaviour generated by fans towards Pokémon is not entirely negative, for many fans, owning items like the Pikachu Talking Plushie brings joy and provides a sense of connection and Pokémon merchandise likewise brings a unique community of pleasure as well as a garden of ideals to consumers. Pokémon is more than just a game; it's a global cultural phenomenon that has influenced generations. From accompanying children as they grow up to evoking nostalgic feelings in adults. It's not just a simple peripheral product， it is an extension of the story of the Pokémon brand. It also symbolizes the successful integration of Pokémon's cross-media strategy and global consumer culture and is a testament to the influence of the Pokémon brand in the 1990s. Works Cited Jenkins, H., 2006. Convergence Culture: Where Old and New Media Collide. 1st ed. New York: NYU Press, pp. xi–xi. Available at: https://doi.org/10.18574/9780814743683 [Accessed 13 Dec. 2024]. Allison, A., 2006. Millennial Monsters: Japanese Toys and the Global Imagination. 1st ed. Berkeley: University of California Press. Available at: https://doi.org/10.1525/9780520938991 [Accessed 13 Dec. 2024]. Iwabuchi, K., 2002. Recentering Globalization: Popular Culture and Japanese Transnationalism. Durham: Duke University Press. Available at: https://doi.org/10.1515/9780822384083 [Accessed 13 Dec. 2024]. Napier, S.J., 2001. Anime from Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. New York: Palgrave Macmillan. Baudrillard, J. and Ritzer, G., 1998. The Consumer Society: Myths and Structures. Revised ed. London: SAGE Publications. Available at: https://doi.org/10.4135/9781526401502 [Accessed 13 Dec. 2024]. Creator An entity primarily responsible for making the resource Tiger Electronics Source A related resource from which the described resource is derived Pokémon Franchise by Nintendo, Creatures, Game Freak. Publisher An entity responsible for making the resource available Hasbro Date A point or period of time associated with an event in the lifecycle of the resource 1999 Contributor An entity responsible for making contributions to the resource Nintendo Rights Information about rights held in and over the resource Copyright © 1999 Nintendo, Creatures, Game Freak. Distributed by Hasbro. Format The file format, physical medium, or dimensions of the resource Toy with an electronic voice chip and battery compartment, approximately 20 cm in height. Language A language of the resource English Type The nature or genre of the resource Interactive Plush Toy Identifier An unambiguous reference to the resource within a given context BDCM93090 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant North America, Europe, Japan; 1999-2002 Nintendo Pokemon Toy https://humanities-research.exeter.ac.uk/archivalencounters/files/original/558a21ff3dff5c881f035d8cf1d60ba1.JPG f37cb18e1a14b1edbdfa2811411d46c5 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/7a4bea50d618cf243107e1b2399b2bd3.JPG f57de0b3f69324c5dfd7d519fd44b569 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/7105959f67b5c572b206aa16c654218e.JPG 669d40b12d8033755c3be32b2a654ff2 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/1caf470df13c5f88411191198e191e44.JPG ecf3b72be4995937891797e0efd14c3d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mickey Mouse Rollar Skates Subject The topic of the resource Disney Mickey Mouse Description An account of the resource This is a pair of plastic roller skates with mickey mouse face modelled onto the toe of each skate.Genuine Disney peripheral produced in 1995. This pair of Disney's roller skates combines entertainment, sports and interactive elements. In terms of design, it adopts the classic red and blue colour scheme, and the most striking feature is the two large Mickey mouse heads on the toe of the skate, silently proclaiming Disney's sovereignty.As a pre-owned item, the skates show signs of previous use. This unique piece of Disney history offers a nostalgic look back at the popular Mickey Mouse merchandise from the 1990s. Mickey Mouse is one of Disney's earliest and most influential iconic characters. Mickey was the official mascot of Disneyland when it opened in 1955, and was used in a variety of brand promotions including toys, merchandise, and television shows from the 1960s onwards. These roller skates with Mickey mouse on them were produced in 1995, during the Disney Renaissance. After a downturn in the 1970s and 1980s with the death of founder Walt Disney and poor box office for some productions, Disney once again established its dominance in the animation industry after a new CEO came in to reform the company. At this time Disney was in close communication with theatre, particularly Broadway musicals. Under the circumstances, British musicals were favoured locally and as a result local musicals saw a downturn, a change that put many young talents out of work, while at the same time Disney began adapting animation into musicals, with the first classic animated adaptation of the Broadway musical Beauty and the Beast being a huge success, proving the potential of Disney's storytelling and music on the stage. Meanwhile the period saw Disney produce 10 of the most profitable feature films of all time, all of which were critically acclaimed in the form of multiple Oscars.Disney expanded its reach through worldwide distribution and marketing and developed a wide range of spin-off merchandise. The 1990s was also a golden age for the Disney toy market, a period that saw the explosive growth of the Disney toy brand, which was closely linked to the expansion of its films, television programmes and theme parks. These toys attracted a large number of household consumers, especially in the children's market, through the branding effect of the films, creating a strong consumer drive. Category expansion and innovation were also notable features of Disney's toy market during this period, which was no longer limited to traditional character figurines, but promoted more interactive toy formats. Disney increased its licensing efforts to the toy industry in the 1990s, with many well-known toy companies licensing Disney characters to produce merchandise related to films and television programmes, all of which contributed to the global spread of Disney characters.Mickey, one of the earliest and most successful movie stars, transferred his character image (often the face) itself to a A large amount of merchandising has been standard practice for Disney, and Ben Crawford argues that this synergistic integration of character and merchandise has fuelled the cultural industry and led to positive protection of intellectual property. As a commodity that interacts with children, roller skates fulfil its need for utility first and foremost.Disney has released a number of Mickey-themed roller skates, including single and double rows, designed primarily for children of different ages and skating levels. Double-row roller skates have a much longer history, with a base design in the 1880s. Mickey-themed double-row roller skates are usually launched as beginner models for children, dating back as far as the 1970s and 1980s for Disney-licensed merchandise. Disney's Mickey-themed single-row skates, on the other hand, have only been gaining popularity since the 1990s. These skates are made of durable plastic, and the double-row skate design with four wheels distributed in the front and back rows provides high stability, which is good for beginners to maintain balance and is more suitable for children under the age of six. Its size is adjustable, which is to adapt to the child's growth faster. The bottom of the shoe has three gears to adjust the speed, which fully meets the different individual requirements of the user. As a vintage item from the 1990s, although the surface of the shoe has been somewhat worn and discoloured due to time and signs of use, it bears witness to the popularity of Disney brand peripherals in the 1990s. As a vintage item produced nearly 30 years ago, it represents the importance of the Disney brand in children's culture during that period. A peripheral item produced in a specific year, its value rises over time, making it quite a collectible item for fans of retro style who are also Disney enthusiasts. The same product found on eBay is valued at 24.99dollar, showing that the market demand is always there. And as a pair of roller skates that can be used, it still meets the needs of the modern child who combines fun and exercise, and that use value is part of its collector's value. Most importantly, these Mickey Mouse skates show how Disney influenced children's culture in the 1990's. The popularity of the Disney films led to sales of character-related toys, and Disney character graphics began to appear widely in children's lives, making the brand almost a part of their daily lives. Through these toys, Disney not only satisfied children's entertainment needs, but also profoundly shaped children's cultural perceptions and consumption habits at the time, making Disney a global symbol of children's culture. As Marty Sklar said, ‘Industry has lost credibility with the public, the government has lost credibility, but people still have faith in Mickey Mouse and Donald Duck. Works cited : Bryan, P.C.(2024) ‘The Disney animation renaissance: Behind the glass at the Florida studio By Mary E.Lescher, University of Illinois Press. 2023’, Journal of American culture (Malden, Mass.), 47(2), pp. 166–166. Available at: https://doi.org/10.1111/jacc.13547. Jenkins, E. (2014）Special Affects: Cinema, Animation and the Translation of Consumer Culture. 1st edn. Edinburgh: Edinburgh University Press. Available at: https://doi.org/10.1515/9780748695485. Parkes, C. (2001) ‘Seizing firm control of the Mouse: BRAND RENOVATION: Consumer products used to be an accessory to the Disney brand. Now they are central to its reinvention, writes: London edition’, The Financial times (London ed.). Wallace, M. (1985) ‘Mickey Mouse History: Portraying the Past at Disney World’, Radical history review, 1985(32), pp. 33–57. Available at: https://doi.org/10.1215/01636545-1985-32-33. Creator An entity primarily responsible for making the resource Walt Disney Company Source A related resource from which the described resource is derived Disney Mickey Mouse Date A point or period of time associated with an event in the lifecycle of the resource 1995 Contributor An entity responsible for making contributions to the resource Disney Rights Information about rights held in and over the resource Copyright © Walt Disney Company. All rights reserved. Format The file format, physical medium, or dimensions of the resource The length and width of the shoe are 170mm × 110mm. Language A language of the resource English Type The nature or genre of the resource toy Identifier An unambiguous reference to the resource within a given context BDCM31570 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Primarily the United States, and the United Kingdom representing the European market. Cartoons Disney Mickey Mouse rollar skates https://humanities-research.exeter.ac.uk/archivalencounters/files/original/a79a70d594756a914c6e9053cd6b9f34.JPG c24d7b3bce290f75bd3e7d1df155d010 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/50bf1d63868a4d4d0b516d30e954873c.JPG 5b5c7af555e99d612a0dff26c2ba69c0 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/97c24df109d4a51bdec70373694734d7.JPG be7b33b07ec09a73a4bc1589c74fb767 https://humanities-research.exeter.ac.uk/archivalencounters/files/original/b66af71b7bbff4dbbd4d9d490e344fd4.JPG 8941225c0a418c06869cbf18e3fd8c2c https://humanities-research.exeter.ac.uk/archivalencounters/files/original/4dd7c0a7ea2b429b919a20fd9e02ddc7.JPG 5a4a6235dac84f5fc703363b1249aed1 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Film and TV Merchandise: Toys Description An account of the resource A collection of toys and games produced to tie-in with film and television productions and stars Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mickey Mouse ‘ Star Wars’ soft toy Subject The topic of the resource Mickey Mouse Description An account of the resource Mickey Mouse ‘Star Wars’ soft toy is the toy with the combination of Mickey Mouse and Star Wars’ Jedi. It is a modern soft toy that has multiple colors and belongs to The Walt Disney Company. In this toy, Mickey Mouse wears the robe of a Jedi, and it is a soft toy. This kind of combination of two different characters and blending them into a new toy makes customers fully know Mickey Mouse and Star Wars. This toy was sold from Disney theme park because this toy was produced in 2008 before Lucasfilm was acquired by Disney. Mickey Mouse ‘Star Wars’ soft toy cannot sell with the fully known Mickey Mouse and the popular Star Wars. The Mickey Mouse doll is one of the most common and best-selling dolls at the Disney Company. Mickey Mouse rose to fame with his animated feature Steamboat Willie and became one of his most recognizable characters (Davis, 2019). Mickey Mouse's first appearance was in May 1928, so he is one of the well-known characters of Disney. Then the Walt Disney made a series of films to strengthen the status of Micky Mouse. In 1934, the Walt Disney sales of Miss Mickey dolls even made more money than Mickey Mouse at the box office (CBC Radio, 2020). In today’s market, Mickey Mouse is still the most popular toy. The first Star Wars film was released in 1977, and then more than 10 films have been produced. Star Wars also has spin-offs; one of the most famous is Disney’s Star Wars land. The land is fully welcomed so that it may lead a crowd (Biesiada, 2019). This shows that Star Wars is not just one derivative, and its derivatives are very popular. Meanwhile, the films themselves are very outstanding. Its box office is the third highest in film history, behind the Marvel Cinematic Universe and Spider-Man. What’s more, the characters of Star Wars are diverse so that they can fit different roles, not only Mikey Mouse in Jedi but also fit in Donald Duck or other kinds of characters. In fact, this isn't the first time Walt Disney has used collaboration in this way. Walt Disney has numerous series of characters' copyrights. It used to blend it together to create a series of derivative items. And the new identities that different characters have been given all fit the characters. There are many cases, for example, Donald Duck as Stormtrooper and Minnie Mouse as Princess Leia. All collaborations are similar in two different elements. Mickey Mouse and Jedi have some of the same elements: they are both the main characters in the film, easy to recognize. And they all represent the right side, representing kindness, optimism, and braveness. Mickey Mouse makes Jedi more approachable, and Jedi makes Mickey Mouse braver and more mysterious. Donald Duck and Stormtrooper, they share the same color and are all in supporting roles. The stormtrooper is impulsive and easy to make mistakes, same as Donald Duck. Minnie and Lea are of the same gender; both are very sweet and dignified, elegant, tough, and gentle characters, and the combination of the two shows female power. What’s more, this is not just limited to the Mickey Mouse series and Star Wars; there are also Mickey Mouse and Toy Story toys, such as Mickey Mouse as Woody, Mickey and Minnie dressed up as Disney princesses, and sometimes Mickey even appears in games. Different kinds of animation blended together can create more valuable things and give characters new identities. Mickey Mouse ‘Star Wars’ soft toy also fits better in terms of gender because it satisfies the needs of different audiences. So, this kind of toy is more easily accepted by the market because it has a wider consumer group. It will attract the customers who like both Mickey Mouse and Star Wars. Here is an example: Disney had made a Starcruiser park with the combination of Disney and Star Wars; it shows the customers are more willing to pay for this activity because this activity can catch the needs of customers who have expensive (Biesiada in Disney and Star Wars, although the price is expensive, 2019). The customer said although the price is expensive, they think the value of their investment is equal. In other words, the Starcruiser fits the customer’s most interesting interests and sends the feelings of satisfaction. The same as the toy, the Mickey Mouse ‘Star Wars’ soft toy combines the Mickey Mouse animation and Star Wars character, so the people who both like these will be more likely to purchase them because they fit all needs. These kinds of toys are more welcome to children, no matter the different genders. In the traditional Disney toy market, boys’ toys are more likely to be like deep colors, weapons, and action figures, and girls’ toys are’ likely to be like soft toys (‘Disney unveils Star Wars toys amid marketing blitz,2015). In these toys, the ‘soft toy’ Mickey Mouse dressed in ‘deep colors’ robs and pretends it is a Jedi. All of its elements meet the needs of both boys and girls. Boys are more likely to be attracted to the theme of Star Wars and dark characters, and girls choose soft toys. Disney tries to use these more ‘neutral’ toys to open a wider market. In the Bill Douglas Museum, we can also see a series of film archives about Mickey Mouse and Star Wars, in addition to the elements, including Mickey Mouse and McDonald's, or Mickey Mouse printed on various household items such as cups, clocks, and watches. All of these indicate that Disney tries to expand brand recognition by increasing familiarity and thus obtain more business opportunities. This kind of behavior is also common in other companies, such as Lego and Star Wars, Harry Potter, and Marvel, to launch themed building blocks, McDonald's and Hollywood movies to give away IP-themed toys in Happy Meals. Starbucks has linked up with Hello Kitty to attract female customers, among other things. Based on the above statement, Disney Star Wars still has great potential in the future market. First, it can help promote the movie, combine classic Disney characters with different characters in Star Wars, let people better understand the role of Star Wars, and attract Star Wars fans of different ages, because this is undoubtedly a novel setting. At the same time, the emergence of gender-neutral toys has made such toys more popular in terms of gender, and fans are more willing to buy them because they meet the value needs of two different elements at the same time. At the same time, Disney's collaboration behavior is regular, and they are more inclined to choose the collaboration of characters with almost the same personality and external image, because it is more in line with customers' psychological expectations. Finally, this collaboration is very common in various companies and can reap a lot of benefits. Works Cited Davis, Elizabeth (June 25, 2019). "Historically yours: Mickey Mouse is born". Jefferson City News Tribune. Archived from the original on April 30, 2022. Retrieved April 26, 2022 "How Mickey got Disney through the Great Depression". Canadian Broadcasting Corporation. April 23, 2020. Archived from the original on April 28, 2022. Retrieved April 27, 2022.. Biesiada, J. (2019) ‘Disney’s Star Wars lands likely to trigger crowding, agents say’, Travel weekly, 78(14), pp. 1-. ‘Disney unveils Star Wars toys amid marketing blitz’ (2015) New Orleans CityBusiness [Preprint]. Creator An entity primarily responsible for making the resource Lucasfilm, Disney Source A related resource from which the described resource is derived Disney/ Lucasfilm Date A point or period of time associated with an event in the lifecycle of the resource 2008 Rights Information about rights held in and over the resource Copyright© Lucasfilm Ltd.,& TM Format The file format, physical medium, or dimensions of the resource 28cm tall Language A language of the resource English Type The nature or genre of the resource plush toy Identifier An unambiguous reference to the resource within a given context BDCM71395 Mickey Mouse soft toy Star Wars