It is in Disneyland, where Umberto Eco finds the ultimate expression of hyperreality, in which everything is brighter, larger and more entertaining than in everyday life.
In comparison to Disney, Eco implies (Travels in hyperreality), reality can be disappointing. When he travels the artificial river in Disneyland, for example, he sees animatronic imitations of animals. But, on a trip down the real Mississippi, the river fails to reveal its alligators. "...You risk feeling homesick for Disneyland," he concludes, "where the wild animals don't have to be coaxed. Disneyland tells us that technology can give us more reality than nature can."
He also discovers something else in Disney: a place that no longer even pretends it is imitating reality, but is straightforward about the fact that "within its magic enclosure it is fantasy that is absolutely reproduced."
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