DOCSLIB.ORG

Strategic Management and Global Competition Individual Paper

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Strategic Management and Global Competition Individual Paper STRATEGIC MANAGEMENT AND GLOBAL COMPETITION INDIVIDUAL PAPER THE WALT DISNEY COMPANY AND ITS ACQUISITION STRATEGY: PIXAR, MARVEL & LUCASFILM Li Chi Ching Jane Strategic Management and Global Competition, Fall 2016 December 1, 2016 Abstract In this paper, I will analyze the rationale behind Disney’s acquisitions of Pixar, Marvel and Lucasfilm and the subsequent impacts they have on Disney as a whole. Disney has always been relying on its strategic model “The Ripple Effect” for sustainable growth—through creation of a film asset, value can be infused into an array of its related entertainment assets. And a popular film acts like a wave maker in creating ripples that go down to all of Disney’s businesses—success of films are central to Disney’s overall performance. Yet, the absence of successful films from Disney starting from the late 1990s stopped the Disney model from working, resulting in a decline in profits in various business segments within Disney. In light of this problem, Disney chose the path of acquisitions— Pixar was acquired in 2006, while Marvel and Lucasfilm were acquired in 2009 and 2012 respectively. All three acquisitions have one central goal—to find Disney’s way back to the wave makers, and hence make the Disney model work again. The announcement by Disney that it would buy its partner Pixar at $7.4 billion in 2006 once shook the world—many were either having doubts on how such an acquisition would turn out or considering the valuation as too high. Most acquisitions, particularly in media, are value-destroying as opposed to value-creating. Either Disney’s trampling of Pixar’s esprit de corps or Pixar animators showing resistance in the integration of technology and expertise with Disney would destroy the acquisition. However, evidence today shows the three acquisitions have so far been highly beneficial to Disney and have pushed Disney back up to its position as an entertainment giant. Ten years since the first acquisition of the animation studio Pixar, Disney has throughout this period successfully revitalized its own animation studio by learning and integrating Pixar’s animation technology, evidenced in Disney’s highly-recognized productions of Tangled (2010), Frozen (2013) and Zootopia (2016)—wave makers are again created form within Disney’s animation studio. On the other hand, the huge intellectual property that accompanied the acquisitions of Marvel and Lucasfilm has allowed Disney immediate exploitation of thousands of characters in generating revenues from films, merchandize production, theme parks and more—wave makers are directly collected from purchase of the two companies. In one sentence, with the accumulation of a rich reservoir of wave makers today, the ripple effect has come back stronger than ever for Disney. 2 1. Introduction Well-known all over the world, the Walt Disney Company (Disney hereafter) is an entertainment company that produces animation movies and extends them to its theme parks, merchandize and more. Disney was founded in 1923 by brothers Walt and Roy Disney initially solely as an animation studio, most famous for the creation of its mouse character— Mickey Mouse. Disney has over its 93 years of history, expanded into the world’s second largest media conglomerate after Comcast. Throughout the years, Disney diversified into a wide range of businesses that stem from its movie productions. It is now a multinational entertainment company headquartered in Burbank, California. Best known for its film studio—the Walt Disney Studio, Disney also has different operations in its five major business segments—Media Networks, Parks and Resorts, Studio Entertainment, Consumer Products and Interactive Media. By having Studio Entertainment as their foundation, the other business segments perform mostly as related diversifications that allow Disney to maximize revenue through having film-derived activities expand into these segments. Despite being one of the most well-known entertainment company across the globe, Disney has suffered from a rather long period of slow growth at the turn of the millennium, unable to capture the market by producing revenue-generating hits, intensified by lengthy internal turmoil for twenty years that involved the CEO of the time, Michael Eisner with Roy E. Disney, nephew of the co-founder of the company. However, from figure 1, it can be seen that after significant stagnation in growth, stock price began to rise continuously on an unprecedented scale after 2009, as it began to recover from the 2008 financial crisis—and my analysis is that this should be attributed to the current Disney’s CEO, Bob Iger’s acquisition strategy in incorporating Pixar, Marvel and Lucasfilm into its Studio Entertainment portfolio that created great synergy and brought about abundant revenue- maximizing opportunities that extended into Disney’s other business segments. Figure 1. Disney's stock price over the years. From Google Finance. 3 2. Problems Disney faced that led to the three acquisitions 2.1 The Disney Model—“The Ripple Effect” To understand the rationale behind the three acquisitions, it is necessary to first understand how the Disney model works. Unlike most movie companies which revolve around producing a number of movies every year and waiting for one or two that prove able to sell, every Disney movie is the first step in an entire package that has subsequent activities that will be realized in Disney’s other business segments if the movie turns out to be successful and gains popularity. As we can see from the strategic map of sustainable growth published in 1957 from Disney’s archives in figure 2, everything in Disney starts from the center—“theatrical films”, and from there value can be infused into an array of related entertainment assets like music, merchandize production, Disneyland, TV, publication… For example, Disney creates a Mickey Mouse movie, which gains popularity. From there, music CDs will be released; merchandizes will soon be found on the shelves in Toys R Us and Disney stores; story books and books on behind-the-scene production of the animation will be sold in bookstores; a new ride or even a new theme area will be built in Disneyland; there will be a new program in Disney Channel; new video games will be developed, and the list goes on. Despite being published half a century ago, the fundamental patterns and the underlying insight of the strategic map remains largely valid in reflecting the way Disney works. Figure 2. Disney's corporate theory of sustained growth published in 1957. 4 Therefore, the essence of the Disney model is that as long as there is a popular movie, there will be lots of other businesses that it can earn further revenue from. In other words, Disney’s strategy is related diversification—selling its customers the entire experience by having film-derived activities expand into its other business segments. Bob Iger, current CEO of Disney, once described the model as a “ripple effect”— “As animation goes, so goes our company. A hit animated film is a big wave, and the ripples go down to every part of our business—from characters in a parade, to music, to parks, to video games, TV, Internet, consumer products. If I don’t have wave makers, the company is not going to succeed.”1 As Iger said, there is one big problem to this strategy—also a fundamental problem in pursuing related diversification: all the eggs are in the same basket. When there are no good movies, meaning no wave makers, Disney’s other business segments will suffer as well. 2.2 The loss of wave makers—no more ripples (mid-1990s to mid-2000s) The Disney empire was rooted in animation and its classic characters—Mickey Mouse and friends, and the Disney princesses. Yet they do not generate revenues for the company forever—breakthrough ideas and new animations are always needed. After a few successful productions in the early half of the 1990s, including Beauty and the Beast (1991), Aladdin (1992), and The Lion King(1994), Disney’s animation studio had not been doing as well since the latter half of the decade which lasted into the turn of the millennium. Disney was not producing blockbuster movies with attractive characters. At a low point, the 2002 film Treasure Planet turned out to be a fiasco that forced Disney to take a $98 million write-down. Quoting from Iger, “After ten years of The Lion King, Beauty and the Beast, and Aladdin, there were then ten years of nothing”.2 As a consequence of the under-performing animation studio, there was nothing to take advantage of in the related diversifications that Disney has, leading to a marked decline in profits in various segments as shown in figure 3. There were no ripples found across the Disney strategic map. 1 Isaacson, Walter. Steve Jobs. New York: Simon & Schuster, 2011. 2 Ibid. 5 5,000 Studio 4,000 Entertainment 3,000 Consumer Products 2,000 Parks and Resorts 1,000 Media Networks 0 1997 1998 1999 2000 2001 2002 2003 Figure 3. Disney's decline in net income by business segments from 1997-2003 (USD million) 2.3 Growing competition in the industry On the other hand, Disney’s declining status as the top animation company in the industry was accelerated by the rapid rise of rival companies and their successful productions, such as The Ice Age series by Blue Sky Studios that debuted in 2002 and the Kung Fu Panda series by Dreamwork Studios. Its alliance company Pixar was also performing well with widely recognized productions like Monsters, Inc. (2001), Finding Nemo (2003) and The Incredibles (2004). Disney no long had any dominating power in the industry. 2.4 Lengthy internal dispute Further contributing to Disney’s decline, the company had been consumed by a lengthy internal dispute between the CEO of the time, Michael Eisner and Roy E.
Load more

Recommended publications
  • A Totally Awesome Study of Animated Disney Films and the Development of American Values
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice.
    [Show full text]
  • Download-To-Own and Online Rental) and Then to Subscription Television And, Finally, a Screening on Broadcast Television
    Exporting Canadian Feature Films in Global Markets TRENDS, OPPORTUNITIES AND FUTURE DIRECTIONS MARIA DE ROSA | MARILYN BURGESS COMMUNICATIONS MDR (A DIVISION OF NORIBCO INC.) APRIL 2017 PRODUCED WITH THE ASSISTANCE OF 1 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Acknowledgements This study was commissioned by the Canadian Media Producers Association (CMPA), in partnership with the Association québécoise de la production médiatique (AQPM), the Cana- da Media Fund (CMF), and Telefilm Canada. The following report solely reflects the views of the authors. Findings, conclusions or recom- mendations expressed in this report are those of the authors and do not necessarily reflect the views of the funders of this report, who are in no way bound by any recommendations con- tained herein. 2 EXPORTING CANADIAN FEATURE FILMS IN GLOBAL MARKETS Executive Summary Goals of the Study The goals of this study were three-fold: 1. To identify key trends in international sales of feature films generally and Canadian independent feature films specifically; 2. To provide intelligence on challenges and opportunities to increase foreign sales; 3. To identify policies, programs and initiatives to support foreign sales in other jurisdic- tions and make recommendations to ensure that Canadian initiatives are competitive. For the purpose of this study, Canadian film exports were defined as sales of rights. These included pre-sales, sold in advance of the completion of films and often used to finance pro- duction, and sales of rights to completed feature films. In other jurisdictions foreign sales are being measured in a number of ways, including the number of box office admissions, box of- fice revenues, and sales of rights.
    [Show full text]
  • Vodafone Idea and Starz Strike Strategic Alliance; Launch Lionsgate Play in India
    VODAFONE IDEA AND STARZ STRIKE STRATEGIC ALLIANCE; LAUNCH LIONSGATE PLAY IN INDIA ~ VIL customers will have easy access to popular content from Lionsgate library ~ Portfolio includes movie premieres and blockbuster films across genres ~ A seamless viewing experience of customised and differentiated content Mumbai, Aug 19, 2019: Vodafone Idea Limited, India’s leading telecom operator and STARZPLAY, the international premium subscription platform from STARZ, a Lionsgate (NYSE: LGF.A, LGF.B) company, have joined hands to launch Lionsgate’s premium service Lionsgate Play in India. This partnership will enable Vodafone Idea customers’ access to a broad portfolio of celebrated blockbusters and award-winning feature films from the studio. Video is the new growth driver in the digital content consumption today. Vodafone Idea’s partnership with STARZPLAY is a step towards boosting the growth of the digital ecosystem in India. The partnership will capitalize on this huge potential by offering viewers with an array of premium content across genres. Lionsgate Play will be available to Vodafone Play and Idea Movies & TV subscribers as a part of this strategic collaboration between the two companies. The offering includes multibillion-dollar global blockbuster franchises The Hunger Games and The Twilight Saga, multiple Academy Award ® winner La La Land and the international breakout hit Wonder, with much of it available in four local languages. The content library will be spread across genres like horror, comedy, drama, action, thriller, documentaries to name a few. Following the launch, the offering will boast an illustrious line up of digital premieres of Lionsgate films coming to the service in the first year including Robin Hood, Crank, Sahara, Redcliff, Jersey Shore Attack, Killers, Grudge, Letters to Juliet, American Pyscho 2, Nerve, Facing Ali, Down A Dark Hall and American Assassin.
    [Show full text]
  • Upholding the Disney Utopia Through American Tragedy: a Study of the Walt Disney Company’S Responses to Pearl Harbor and 9/11
    Upholding the Disney Utopia Through American Tragedy: A Study of The Walt Disney Company's Responses to Pearl Harbor and 9/11 Lindsay Goddard Senior Thesis presented to the faculty of the American Studies Department at the University of California, Davis March 2021 Abstract Since its founding in October 1923, The Walt Disney Company has en- dured as an influential preserver of fantasy, traditional American values, and folklore. As a company created to entertain the masses, its films often provide a sense of escapism as well as feelings of nostalgia. The company preserves these sentiments by \Disneyfying" danger in its media to shield viewers from harsh realities. Disneyfication is also utilized in the company's responses to cultural shocks and tragedies as it must carefully navigate maintaining its family-friendly reputation, utopian ideals, and financial interests. This paper addresses The Walt Disney Company's responses to two attacks on US soil: the bombing of Pearl Harbor in 1941 and the attacks on September 11, 200l and examines the similarities and differences between the two. By utilizing interviews from Disney employees, animated film shorts, historical accounts, insignia, government documents, and newspaper articles, this paper analyzes the continuity of Disney's methods of dealing with tragedy by controlling the narrative through Disneyfication, employing patriotic rhetoric, and reiterat- ing the original values that form Disney's utopian image. Disney's respon- siveness to changing social and political climates and use of varying mediums in its reactions to harsh realities contributes to the company's enduring rep- utation and presence in American culture. 1 Introduction A young Walt Disney craftily grabbed some shoe polish and cardboard, donned his father's coat, applied black crepe hair to his chin, and went about his day to his fifth-grade class.
    [Show full text]
  • Lions Gate Entertainment Corp. Fiscal 2018 Fourth Quarter Year End
    Lions Gate Entertainment Corp. Fiscal 2018 Fourth Quarter Year End Earnings Call Thursday, May 24, 2018, 5:00 PM Eastern CORPORATE PARTICIPANTS Jon Feltheimer - Chief Executive Officer Jimmy Barge - Chief Financial Officer Michael Burns - Vice Chairman Chris Albrecht - President, Chief Executive Officer, Starz Jeff Hirsch - Chief Operating Officer, Starz Brian Goldsmith - Chief Operating Officer, Lionsgate Joe Drake - Chairman, Motion Picture Group Kevin Beggs - Chairman, Television Group Laura Kennedy - Chief Operating Officer, TV Group Rick Prell - Chief Accounting Officer James Marsh - Senior Vice President, Head of Investor Relations 1 PRESENTATION Operator Ladies and gentlemen, thank you for standing by. Welcome to the Lionsgate Fiscal 2018 Fourth Quarter Year End Earnings Call. At this time, all participants are in a listen-only mode. Later, we will conduct a question and answer session and instructions will be given at that time. If you should require assistance on today’s call, please press star then zero. And as a reminder, this conference is being recorded. I would now like to turn the conference over to Senior Vice President and Head of Investor Relations, James Marsh. Please go ahead. James Marsh Thanks, Noah. Good afternoon, everyone. Thanks for joining us today for the Lionsgate’s fiscal 2018 fourth quarter call and year-end earnings conference call. We’ll begin with opening remarks from our CEO, Jon Feltheimer; followed by remarks from our CFO, Jimmy Barge. After their remarks, we’ll open the call up for questions. Also, joining us on the call today are Vice Chairman, Michael Burns, Starz’ President and CEO, Chris Albrecht, Starz’ Chief Operating Officer, Jeff Hirsch, Lionsgate’s Chief Operating Officer, Brian Goldsmith, Chairman of the Motion Picture Group, Joe Drake, Chairman of Television Group, Kevin Beggs, Chief Operating Officer of the TV Group, Laura Kennedy, and Chief Accounting Officer, Rick Prell.
    [Show full text]
  • The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?
    9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934.
    [Show full text]
  • Keeping the Score the Impact of Recapturing North American Film and Television Sound Recording Work
    Keeping the Score The impact of recapturing North American film and television sound recording work December 2014 [This page is intentionally left blank.] Keeping the Score Table of Contents Acknowledgments 2 Executive Summary 3 Introduction 5 Precarious work in a shifting industry 7 From full-time to freelance 7 A dignified standard set by decades of organizing 9 Musicians in a Twenty-First Century studio system 12 What is a “major studio” anyhow? 12 Composers squeezed in the middle: the rise of the “package deal” 15 Chasing tax credits 17 A profitable industry 19 The “last actors” feel the pain 21 Recording employment slipping away 21 Where has recording gone? 24 Recording the score as “an afterthought” 25 Hollywood provides quality employment – for most 26 Bringing work back: the debate thus far 28 A community weakened by the loss of music 33 Case Study: Impact on the Los Angeles regional economy 33 Impact on the cultural fabric 35 Breaking the social compact 36 Federal subsidies 36 Local subsidies 37 Cheating on employment 38 Lionsgate: a new major roars 39 Reliance on tax incentives 41 Wealth – and work – not shared 41 Taking the high road: what it could mean 43 Conclusion and Recommendations 44 Recommendations to policy makers 44 Recommendations to the industry 46 Endnotes 47 laane: a new economy for all 1 Keeping the Score Acknowledgments Lead author: Jon Zerolnick This report owes much to many organizations and individuals who gave generously of their time and insights. Thanks, first and foremost, to the staff and members of the American Federation of Musicians, including especially Local 47 as well as the player conference the Recording Musicians Association.
    [Show full text]
  • Gideon Ponte Production Designer
    ECHO ARTISTS LTD UNIT 3 DE BEAUVOIR BLOCK 92-96 DE BEAUVOIR ROAD LONDON N1 4EN +44 (0) 203 567 0777 WWW.ECHOARTISTS.COM GIDEON PONTE PRODUCTION DESIGNER FILM/TELEVISION FILTH + WISDOM Director: Madonna Producer: Semtex Films, HSI London + IFC Films Nominated, Best Feature, Berlin International Film Festival (2008) NACHO LIBRE Director: Jared Hess Producer: Paramount Pictures + Nikelodeon Movies THE NOTORIOUS BETTIE PAGE Director: Mary Harron Producer: HBO Films + Killer Films Nominated, Best Feature, Berlin International Film Festival (2006) THE DANGEROUS LIVES OF ALTAR BOYS Director: Peter Care Producer: Egg Pictures, IEG + Trilogy Entertainment Group Winner, Best First Feature, Film Independent Spirit Awards (2003) HAMLET Director: Michael Almereyda Producer: Double A Films, Channel Four Films + Miramax Nominated, Sutherland Award First Feature Competition, London Film Festival (2018) AMERICAN PSYCHO Director: Mary Harron Producer: Lionsgate Films, Muse Productions + Universal Pictures BUFFALO ‘66 Director: Vincent Gallo Producer: Lionsgate Films + Muse Productions Nominated, Best Foreign Independent Film, BIFAs (1999) Nominated, Best Feature Film, Film Independent Spirit Awards (1999) Nominated, Grand Jury Prize – Dramatic, Sundance Film Festival (1998) I SHOT ANDY WARHOL Director: Mary Harron Producer: Playhouse International Pictures, The Samuel Goldwyn Company + Killer Films Nominated, Golden Camera, Cannes Film Festival (1997) Nominated, Best First Feature, Film Independent Spirit Awards (1997) Nominated, Grand Jury Prize – Dramatic, Sundance Film Festival (1996) DIRECTORS / COMMERCIALS GLEN LUCHFORD Fenty x Puma, Gucci Ouverture, Gucci Bloom, Gucci Memoire, Gucci Guilty, Hugo Boss DAVID SIMS Palace x Machino, Balenciaga, Alexander McQueen STEVEN KLEIN Gucci Tailoring FW16, Dolce & Gabana STEVEN MEISEL Dolce & Gabana, Balenciaga KARL LAGERFELD Chanel DIRECTORS / MUSIC VIDEOS STEVEN KLEIN Lady Gaga “Marry The Night”, Lady Gaga “Alejandro” BIG TV Lauryn Hill “Doo Wop (That Thing” Winner, Best Art Direction in a Video, MTV Video Music Awards (1999) .
    [Show full text]
  • The Political Economy of Independent Film: a Case Study of Kevin Smith Films
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Political Economy of Independent Films: A Case Study of Kevin Smith Films Grace Kathleen Keenan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION THE POLITICAL ECONOMY OF INDEPENDENT FILMS: A CASE STUDY OF KEVIN SMITH FILMS By GRACE KATHLEEN KEENAN A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Arts in Media Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Grace Kathleen Keenan defended on April 9, 2009. ____________________________________ Jennifer M. Proffitt Professor Directing Thesis ____________________________________ Stephen D. McDowell Committee Member ____________________________________ Andrew Opel Committee Member __________________________________________________ Stephen D. McDowell, Chair, Department of Communication __________________________________________________ Gary R. Heald, Interim Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For my parents, who have always seen me as their shining star iii ACKNOWLEGEMENTS Dr. Proffitt: Without your dedication to learning and students, this thesis would have been impossible. You truly have the patience of an angel. Much love. Dad: How do you put up with me? Thank you for all your emotional and financial support. Mom: You are always striving to understand. I think I get that from you. Newton Hazelbaker: Again, how do you put up with me? Thank you for your absolute and unconditional love. Laura Clements: Perhaps the most fun person I’ve ever met.
    [Show full text]
  • Neocolonialism in Disney's Renaissance
    Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire by Breanne Johnson A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior (Honors Scholar) Honors Baccalaureate of Science in Sustainability (Honors Scholar) Presented June 7, 2019 Commencement June 2019 AN ABSTRACT OF THE THESIS OF Breanne Johnson for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior and Honors Baccalaureate of Science in Sustainability presented on June 7, 2019. Title: Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire. Abstract approved:_____________________________________________________ Elizabeth Sheehan The Walt Disney Company is one of the most recognizable and pervasive sources of children’s entertainment worldwide and has carefully crafted an image of childhood innocence. This wholesome image is contradicted by Disney’s consistent use of racist and sexist tropes, as well as its record of covertly using political themes in its media. Disney has a history of using its animated films to further a neocolonial ideology – an ideology that describes how current global superpowers continue to control the natural and capital resources of underdeveloped countries and to profit off of the unequal trading of these resources. The period of Disney’s history known as its animated Renaissance marked a clear return to the brand’s championing of American interventionism abroad.
    [Show full text]
  • 9781474410571 Contemporary
    CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance.
    [Show full text]
  • Jake Jensen† I. INTRODUCTION
    \\jciprod01\productn\T\TWR\3-2\TWR206.txt unknown Seq: 1 3-JAN-17 14:39 HOLLYWOOD BLACKOUT: IMPACT OF NEW ARCHITECTURAL COPYRIGHT LAW S ON THE FILMING INDUSTRY Jake Jensen† I. INTRODUCTION .......................................... 147 R II. OVERVIEW OF THE FILM INDUSTRY ..................... 148 R A. Importance of Filming Locations.................... 151 R 1. Cost-Effectiveness .............................. 151 R 2. Higher Quality.................................. 153 R III. OVERVIEW OF COPYRIGHT LAW ........................ 157 R A. Copyrights in General ............................... 157 R B. Architecture and Copyrights......................... 159 R C. De Minimis Solution and Its Problems .............. 160 R D. How Do Filmmakers Normally Go About Obtaining the Rights to Film Certain Monuments? ............. 161 R 1. Obtaining the Rights ........................... 161 R 2. Examples of Problems if Rights are Not Obtained........................................ 163 R IV. FREEDOM OF PANORAMA LAW S ........................ 165 R A. Freedom of Panorama Laws in General ............ 165 R B. What are the New Laws in Consideration? .......... 166 R C. Effect of New Laws on the Film Industry ........... 167 R 1. Tougher Enforcement........................... 168 R 2. Higher Prices ................................... 169 R V. SOLUTION ............................................... 170 R VI. CONCLUSION ............................................ 172 R I. INTRODUCTION Imagine a world where every movie has a black background instead of the beautiful scenery and architecture that is customary. Now imag- ine a world where every picture taken and posted on social media for friends to see has that same black screen. Unfortunately, these scena- rios are starting to become a reality. Several countries have started to enforce laws such as these on many of their national monuments through monuments copyright protections.1 † J.D. Candidate, May 2017, Texas A&M University School of Law; B.A., Latin American Studies, April 2014, Brigham Young University.
    [Show full text]