Abstract
Anderson argues that corporate or media allegory as a hermeneutic practice offers necessary context for understanding creative production and that, in the case of Julie Taymor’s film Titus , it alters how we might view the film’s representation of historical, cultural, and familial relationships. Anderson claims that the film extends Shakespeare’s ambivalence over a Roman cultural and religious inheritance to her own position as an inheritor of two legacies—one, the historical avant-garde and two, the wonderful world of Disney. In making Titus her first film after the considerable success of her Disney collaboration The Lion King , Taymor delegitimizes her corporate partnership by symbolically disowning her Disney past: like young Lucius at the end of the film who walks into pixilated sunrise and away from what has become a Roman mausoleum, the director rejects Disney’s powerful corporate legacy that promises to shape the reception of her avant-garde work.
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