was "not [anti-Semitic] in the conventional sense that we think of someone as being an anti-Semite". Gabler concludes that "though Walt himself, in my estimation, was not anti-Semitic, nevertheless, he willingly allied himself with people who were anti-Semitic [meaning some members of the MPAPAI], and that reputation stuck. He was never really able to expunge it throughout his life". Disney distanced himself from the Motion Picture Alliance in the 1950s. According to Disney's daughter Diane Disney-Miller, her sister Sharon dated a Jewish boyfriend for a period of time, to which her father raised no objections and even reportedly said "Sharon, I think it's wonderful how these Jewish families have accepted you." Disney has also been accused of other forms of racism because some of his productions released between the 1930s and 1950s contain racially insensitive material. The feature film Song of the South was criticized by contemporary film critics, the National Association for the Advancement of Colored People, and others for its perpetuation of black stereotypes, but Disney later campaigned successfully for an Honorary Academy Award for its star, James Baskett, the first black actor so honored. Gabler argues that "Walt Disney was no racist. He never, either publicly or privately, made disparaging remarks about blacks or asserted white superiority. Like most white Americans of his generation, however, he was racially insensitive." Floyd Norman, the studio's first black animator who worked closely with Disney during the 1950s and 1960s, said, "Not once did I observe a hint of the racist behavior Walt Disney was often accused of after his death. His treatment of peopleand by this I mean all peoplecan only be called exemplary." Watts argues that many of Disney's post-World War II films "legislated a kind of cultural Marshall Plan. They nourished a genial cultural imperialism that magically overran the rest of the globe with the values, expectations, and goods of a prosperous middle-class United States." Film historian Jay P. Telotte acknowledges that many see Disney's studio as an "agent of manipulation and repression", although he observes that it has "labored throughout its history to link its name with notions of fun, family, and fantasy". John Tomlinson, in his study Cultural Imperialism, examines the work of Ariel Dorfman and Armand Mattelart, whose 1971 book (trans: How to Read Donald Duck) identifies that there are "imperialist ... values 'concealed' behind the innocent, wholesome façade of the world of Walt Disney";