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Acknowledgements

With Heartfelt thanks to Sean Holmes,

Yvonne Stone and Greg Hayes for unrelenting

support and influence throughout the last year.

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Hypothesis

“How the Disney Corporation exemplifies key trends in new Hollywood.”

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Contents

Acknowledgements Hypothesis 0 Introduction 1 Chapter One Main Street, U.S.A 3 Chapter Two Mickey’s TeenTown 12 Chapter Three Tomorrow Land 20

Conclusion 29

Bibliography 31

Filmography 34

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Introduction

The subject that this Special Project is focused on is that of the Disney Corporation.

The Disney Corporation is going to be discussed as a contemporary economic

institution, a pure example of what is happening in Hollywood today. This facet will

be conveyed with regards to a close textual analysis of Disney texts, products and

projects. This focus will help to shape a discussion around Disney’s newest initiative

on the integration of its entertainment fortés.

The analysis has been particularly intrigued by a statement made by Disney’s CEO,

Michael Eisner in 2000;

We have no obligation to make history. We have no obligation to make art.

We have no obligation to make a statement. To make money is our only

obligation. (http:// www. Wildwilderness.org…)

It can be suggested that this statement is at the pinnacle of what this project is

attempting to discuss, it simply seems to highlight the drive of the perpetually

newfangled Disney Corporation and also precisely conveys the money hungry

ideology of Hollywood style entertainment.

This statement will aid further to a discussion on how Disney has transformed

itself, from a small-scale animation studio in the depths of Los Angeles, to

undisputedly, a major entity in the contemporary industry. Particularly drawing on

this conception, along with the idea that Disney’s dominant role in its assertion on the

American media and the entertainment institution is a discipline onto itself.

However, Disney’s role in the domination of the entertainment industry can

also be contended to be very much a familiar venture in this day and age, with regards

to new Hollywood and its giant corporate entities and mergers.

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The hypothesis that will be worked towards constitutes ‘How the Disney Corporation

exemplifies key trends in new Hollywood’. However, the aim in some ways is also to

prove that, more or less, Disney is aiming to be considered as part of the major

oligopoly that today controls our society to an exceptional level. This analysis aims to

demonstrate that Disney is attempting to achieve this, through not only its ever

growing contour of products, but also through its billion dollar take-overs and

mergings with other immense corporations such as Pixar.

Another lead discussion around this topic will be somewhat linked with the fact that

Disney is seemingly venturing out of the entertainment business per se; out of its

original arena of animation. Its theme parks have been willingly discussed as a very

important domain of revenue for the company and a place in which Disney can

combine all of its commodities.

The financial stability of the theme parks division have served as a critical

counterweight to the volatility at its network and movie studio business.

(http:// wwwp. Providence.edu…)

However, it can be asserted that Disney’s newest, most important and influential

system of revenue is the development of it as a ‘teen machine’, for example in terms

of its Hannah Montana (2006) and the High School Musical (2006) franchises and its

complex development of the star image of the teenagers involved.

Furthermore, this analysis is essentially aiming to discuss the economics of the

Disney institution in concordance with state of New Hollywood, and also the

commercial industry today. It can be considered that the way in which the company is

working at this present time is not only the pinnacle of the contemporary industry, but

also a metaphor for our contemporary hegemonized and commodified lifestyle.

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Chapter One

Main Street, USA

Since the beginning, the Disney Company has developed and changed enormously

along with the industry (http:// studioservices.go.com…). It went from being merely a

small-scale animation studio to a full-scale multi-venture conglomerate. However,

this did not happen over night and it has not all been ‘jelly and ice-cream’ for Disney,

there has been a lot of volatility.

The Walt Disney Company began as The Walt Disney Brothers Studio in

1923 in a small office in Los Angeles. It was created by Roy and Walt Disney as they

began to produce a series of short, live-action/animated films called The Alice

Comedies. Within 4 months of production the Disney Brother’s staff grew so

significantly that they had to move to a bigger office next door, which led to them

officially naming their company The ‘Disney Brothers’ Studio. In 1925 the Brothers

made a deposit on a Hyperion Avenue Lot in the Silver Lake District of LA, soon

after this venture was established, Mickey Mouse was born (1928).

Disney’s first feature length animation was Snow White and the Seven Dwarfs

(1937). Via Snow White’s success, Walt Disney considered that if he wanted to

continue to meet audience expectations and desires he would have to increase the size

of the studio in order to enable the Disney company to expand and flourish. Disney

therefore used the profits from Snow White to put a deposit down on a 51-acre plot in

Burbank, California, for a studio specifically designed to make animations, and this is

where it all took off. Over 1,000 accomplishments later, Disney even developed its

own distribution company, Buena Vista, in 1953 (http:// studioservices.go.com…).

Today, when one considers Disney, you primarily think of the company’s entertainment fortés surrounding the Mickey Mouse icon and his new and ever expanding group of ‘friends’. From new-venture animation style films such as Lilo and Stitch (2002) and Up (2009), to theme parks, Disney stores and most importantly, for the younger generation, The Disney channel and its franchises such as Hannah

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Chapter Two

Mickey’s TeenTown

Disney’s prosperity rests largely on its investment within the television industry, this

is primarily what this chapter is going to focus on. Not only is television important to

Disney on an entertainment level, but also on an economic level. For example, the

aiding of star construction and brand extension to the extent of multi-million dollar

franchises and tie-ins.

TV has been considered to have played a particularly influential part in

Disney’s corporate cultivation; Disney’s media networks brought in $15.857 million

in revenue in 2008 (http:// amedia.disney.go.com…).

Disney was the first Hollywood executive during the 1950s to envision a

future built on televisions achievements, the scope of its signal, the access it

provided the American home. For Disney, network television arrived as an

invitation to reinvent the movie business, to explore horizons beyond the

realm of filmmaking. (Anderson, 2000:17-22)

Although Disney’s involvement with TV can simply be argued as corporative ‘synergised brand extension’, essentially the permissible way in which Disney fortified its company through a careful process of diversification (Maltby, 2003: 205-212). It should also be recognized that this is a strategy that all of Hollywood seem to have bought into in this new corporate era. For example, MTV Networks is a division of media conglomerates Viacom. MTV was established in 1984 after Warner Communications and American Express decided to divest the basic cable assets of Warner-Amex Satellite Entertainment and set up MTV Networks, Inc. . The basic cable assets that they created were TV networks; Nickelodeon, MTV, VH1 and The Movie Channel. With regards to this, Nickelodeon is working on its own TV series, a CGI animation of Teenage Mutant Ninja Turtles (1990). In order to push this revenue

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Chapter Three

Tomorrow Land Something that should always be remembered is that The Walt Disney Company is a

business, penetration into society and culture is its primary aim. Its theme parks,

movies, TV channels and so forth, are simply part of an extensive conglomerate,

whose raison d’être is to sell commodities to us as consumers.

This chapter aims to shed light on alternative paths of revenue and

cultural influence that Disney is involved in outside of the entertainment business,

touching upon the current globalisation and post-modernisation of the world around

us.

Multi-media corporations constantly attempt to ‘blanket’ our perceptions, trying to

disguise the fact that the thousands of products and entertainment opportunities that

go along with their movies, are not entirely for our entertainment, but have simply

been generated to make as much profit as possible.

Richard Maltby argues that “the true value of the film business

is…the synergies that movies provide with other areas…” (Maltby, 2003: 205-212),

this statement efficiently signifies the way new Hollywood works, in the way that

multiple revenue streams generate serious amounts of money. The new markets and

commercial relationships in the industry today have shattered Hollywood cinema, as

it used to be, as it can be argued that the majors are no longer in the film business, or

arguably, even in the entertainment business, but the business of synergistic brand

extension (Maltby, 2003: 205-212). Multi-revenue streams can range from anything

from TV, radio and merchandising to theme parks and catering. An integration of

entertainment fortés has lead to the creation of the ‘mega-brand’; an all encompassing

and all powerful revenue stream. An example of a Corporation somewhat outside of

the entertainment sphere, but still a ‘mega-brand’, can be considered to be Coca Cola.

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Conclusion

It is clear that throughout this analysis the working hypothesis ‘How the Disney

Corporation exemplifies key trends in new Hollywood’ has been effectively validated.

The extent to which it has been validated is particularly analytical in the fact that

many areas of the Disney Corporation have been taken into consideration, comparing

and contrasting as to how the rest of the industry operates as a whole.

It has been conclusively made clear that the Disney Corporation does

exemplify the key trends apparent in many of the large-scale corporations operating in

the entertainment industry and the world over, even those such as Viacom and News

Corp.. Along with the consideration that the Disney Corporation exemplifies key

trends in the New Hollywood institution, what is next for Disney has also been

deliberated upon. For example, the way in which the industry seems to be shifting,

and recent takeovers and mergings.

It has become clear, not only from the analysis, but from general shifts in our

economy, that we now live in an extensively conglomeratised society. It can be

believed, that to a certain extent, Disney has taken this to the extreme in the fact that it

does not only sell to us the Disney image and ideology, but it also sells back to us our

dreams, memories, wants and needs that have over the years become intertwined in

our minds with the Disney institution. It has been discussed that Disney will

perpetually continue to produce massive revenue pulls, competing with the best in the

line. It will also attempt to merge with other successful corporations, like many other

businesses will, to create a proportionate amount of super-power, for example the

significance of globalisation.

However, it could also be considered that in a few years from now Disney will

have lost its charm and edge. Perhaps the generation that have become accustomed to

Disney will die out, and another corporation and iconography will take its place.

On the other hand, this does not appear to be going to happen any time soon,

with its power and vigilance, Disney markets its products to all age groups to ensure

children, even in this day and age, grow up with Disney and associate Disney with

childhood and happy memories. Moreover, Disney’s current work with Apple, to

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reinvent their Disney stores, effectively brings Disney’s technological creations very

predominantly into the 21st century, as Apple are very vigilant indeed.

The stance of which the Disney Corporation has taken can be considered as

postmodernist. Meaning that it has collected ideas, inferences and images from every

part of culture, and also from all over the world, and melded them into essentially one

ideological memento. The fact that Disney has taken what other companies are doing

in this corporate era to the utmost, is a fine example of this venture. The merging of

its entertainment fortés is perhaps a key movement of this idea, as it has taken arenas

that would not have previously been linked, and drawn them together to make ‘one’,

for example food merchandise and film.

Revenue is and always will be, the primary factor to which entertainment

businesses work, and it has become clear in this new era of the Hollywood institution

that it is ever more affluent. Capitalism is beginning to drive us more and more, and

Disney, although caught up in it, are also professional at providing for our

requirements, and seem to have a product for every one of out needs, whether it be a

mobile phone or a piece of candy.

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Bibliography

Primary Texts Corell Richard, O’Brien Barry, Poryes Michael (Dir.), Hannah Montana, Disney Channel, 2006. DeBolis Dean, Sanders Chris (Dir.) Lilo and Stich, DVD, Beuna Vista Pictures, 2002. Disneyland (The Wondeful World of Disney), Walt Disney Pictures, 1954-1990 Ortega Danny (Dir.), High School Musical, Disney Channel, 2006. Secondary Sources Alaswtari Pertti, Rethinking the Media Audience, UK: SAGE Publications Ltd, 1999. Bryman Alan, Disney and his Worlds, Routledge: UK, 1995. Bryman Alan, The Disneyization of Society, UK: SAGE Publications Ltd, 2006. Byrne Eleanor McQuillan Martin, Deconstruction Disney, USA: Pluto Press, 1998. Cyrus Miley, Miles to go, USA: Dysney Hyperion, 2009. Decordova, Richard. Picture Personalities: The Emergence of the Star System in America. USA: University of Illinois Press, 2001. Dyer, Richard. Heavenly Bodies: Film Stars & Society. USA: Routledge, 2004. Dyer, Richard, McDonald, Paul. Stars. UK: BFI Publishing, 1998. Fjellman M. Stephen, Vinyl Leaves: Walt Disney World and America UK: WestView Press Inc, 1992. Gamson, Joahua. Claims to Fame: Celebrity in Contemporary America. USA: University of California Press, 1994. Henrey A Giroux, ‘Memory and Pedagogy in the “wonderful World of Disney” ’, in Elizabeth Bell, Lynda Haas and Laura Sells (eds.) From Mouse to Mermaid: The Politics of Film, Gender and Culture, USA: Indiana University Press, 1995.

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Http:// amedia. Disney. Go. Com/ investorerelations/factbook_2008. Pdf – Accessed 14. 10.09. Http:// corporate.disney. go com/ corporate/ moreinfo/ digital.books.html. – Accessed 12.10.09. Http:// corporate. Disney. Go. Com/ - Accessed 02.10.09 Http:// corporateDisne yGo.com /news/corporate /2009/2009_0915_dimg_wideload_ html. (15.11.09) – Accessed 05.10.09 Http:// Disney.go.com/ hannahmontana/ - Accessed 03.10..09 Http:// home. Disney. Co. uk/ - Accessed 14.10.09. Http://Macobserver.com/tmoarticle/Disney_Buys_Pixar_For_7.4_Billion_Jobs_On_Disney_Board_Update/ ( Bryan Chaffin, 23.01.06) - Accessed 07.10. 09 http:// studioservices.go .com/ disneystudios/ history. Html – Accessed 01.10.09 Http:// tv.disney.go. com/ disneychannel/ Hannah Montana. – Accessed 03.10.09. Http:// www. Allheadlinenews.com/ articles/ 7017180104?kraft%20formalizes%20BID%20for%20OK%20candy%20maker%20cadbury. – Accessed 08.02.10. Http:// www. Finchannel. Com. Main_News/ Business/ 41657_Starbucks_Celebrate_Five_Years_with_the_Debut_of_a_Reinvented_Store_Experience/ (02.07.09) - Accessed 05.10.09 Http:// www. Kraftfoodscompany. Com/ Brands/ largest-brands/pages/index.aspx - Accessed 08.02.10 Http:// www. Nydailnews. Com/ entertainent/ arbs/ 2009-08-21_hey_mickey_be_gentle_with_spiderman_worried_over_disneys_4b_purchase_of_marvel_e. html ( David Hickley, 31.08.09) – Accessed 05.10.09 Http:// www. Nytimes .com/2004/02/13/business/bidding-for-disney-the-overview-valuing-disney-what-is-a-mouse-worth.html. (Laura M. Holson, Andrew Ross Sorkin, 13.02.04) – Accessed 14.10.09. Http:/www.Nytimes.Com/2009/10/13/business/media/13disney.htm?pagewanted=1&_r=4&ref+business – Accessed 14.10.09. Http:// www. Nytimes. Com/ 2009/ 10/ 06/ business/ media/ 06disney. Html. (Brooke Barnes, 05.10.09) – Accessed 10.10.,09. Http:// www. Providence.edu/ polisci/students/Disney/overview.htm – Accessed 04.10.09.

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Http:// www. Viacom. Com/ ourbrands/ medianetworks/ mtvnetworks/ pages/ default. Aspx. – Accessed 08.02.10. Http:// www. Wdwinfo. Com/news/Disney-new.htm – Accessed 14.10.09. Http:// www. Wildwilderness.org/ docs/Disney?.htm – Accessed 04.10.09. Http:// www. Wired .com/ wired/ archive/ 10.02/ Disney. Html. – Accessed 14.10.09. King Geoff, New Hollywood Cinema: An Introduction, USA: I.B Tauris & Co Ltd, 2002. Luscombe Belinda, “How Disney Builds Stars”, Time, Vol. 174 Issue 17. Mitsuhiro Yoshimoto, ‘Images of Empire: Tokyo Disneyland and Japanese Cultural Imperialism’, in Eric Loren Smoodin (ed.s), Disney Discourse: Producing the Magic Kingdom, USA: University of California Press, 1994. Moran Joe, American Studies Online Today. UK: American Studies Resource Center, 2003. Moya Luckett, ‘ Fantasia: Cultural Constructions of Disney’s Masterpiece’, in Eric Loren Smoodin (ed.s), Disney Discourse: Producing the Magic Kingdom, USA: University of California Press, 1994 Newcomb Horace (ed.) Televison: The Critical View 6th Edition, UK: Oxford University Press, 2000. Rojek, Chris. Celebrity. USA: Reaktion Books, 2001. Ross Andrew, The Celebration Chronicles: Life, Liberty, and the Pursuit of Property Value in Disney’s New Touch, UK: Verson 2000, 2000. Rover Ron G, The Disney Touch: Disney ABC and the Quest for the Worlds Greatest Media Empire, USA: Times Mirror Higher Education Group Inc:, 1997. Watts Steven, The Magic Kingdom: Walt Disney and the American Way of Life, USA: University of Missouri Press, 2001. Weber Jonathan, (2002) The Ever-Expanding Profit-Maximizing, Cultural-Imperialist, Wonderful World of Disney: The Serious Business of Selling all-American Fun, Wired Magazine, Archive 10.02. Febuary. Wee, Valerie. Teen Media: Hollywood & the Youth Market in the Digital Age. USA: McFarland & Co Inc, 2010. Wiggershaus, Rolf. The Frankfurt School: Its History, Theories and Political Significance. USA: MIT Press, 1995.

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Filmography

Barron Steve (Dir.), Teenage Mutant Ninja Turtles, New Line Cinema, 1990. Bird Brad (Dir.), The Incredibles, Walt Disney Pictures, 2004. Cameron James (Dir.), Ttianic, Twentieth Century Fox Film Corporation, 1997. Docter Pete (Dir.), Up, Walt Disney Pictures, 2009 Forbes Bryan (Dir.), The Stepford Wives, Palomar Pictures, 1975. Hand David (Dir.), Snow White and the Seven Dwarfs, Walt Disney Productions, 1937 Lasseter John (Dir.), Cars, Walt Disney Pictures, 2006. Verbinski Gore (Dir.) Pirates of the Caribbean: Curse of the Black Perl, Walt Disney Pictures, 2003.