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Journal articles on the topic 'Disney's'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Niu, Hao. "Walt Disney Company 2021 Strategy and Stock Price Analysis." BCP Business & Management 26 (September 19, 2022): 696–702. http://dx.doi.org/10.54691/bcpbm.v26i.2029.

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This article analyses Walt Disney Company's business strategy and stock price. Disney is currently the second largest media and entertainment firm in the world, behind Comcast, and the outbreak of Covid-19 in 2020 has had a constant impact on Disney's corporate growth. We need to investigate Disney's performance as well as strategy throughout this unique period. I utilised Porter five-force analysis, SWOT analysis, and PESTLE analysis to determine and illustrate Disney's strategy. Next, I individually reviewed the financial reports of Disney and its competitors. I divided Disney into two parts, the DMED department compared with Netflix, the DPEP department compared with Universal, and then Disney compared with Comcast as a whole. Furthermore, I analysed and compared Disney's price-earnings ratio and enterprise value ratio to those of Netflix, NBCUniversal, and Comcast, respectively. Finally, I analysed Disney's stock price and projected the company's free cash flow over the next five years. The analysis reveals that Disney will have good business ability in the future and generate revenue in the future. I hope to provide some enlightenment to stakeholders.

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2

Hao, Yihao, and Yuxiao Wang. "Disney business model research." BCP Business & Management 23 (August 4, 2022): 483–87. http://dx.doi.org/10.54691/bcpbm.v23i.1389.

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Disney's influence has been expanding worldwide, and has even set off a Disney storm, which has had an important impact on people's view of consumption and entertainment. Disney's great success is mainly due to its perfect business operation model, on the one hand, Disney's legendary classic cartoon works extracted cartoon characters and and animation scenes, and through sophisticated ideas, will be designed into all kinds of humane, realistic and fun theme scenes, to bring consumers a diverse and happy experience; second, Disney is very concerned about the emotional experience of consumers, in the design of various amusement Second, Disney is very concerned about the emotional experience of consumers, in the process of designing various amusement theme, always put the personalized experience of consumers in the first place, and is committed to the consumers to experience the realistic animation scene. Disney is very concerned about the Internet among consumers, which is also the main reason for Disney's great commercial success. This paper provides a brief overview of the research topic, followed by an overview of the relevant research on Disney's business model by domestic and international scholars, and a review of the research content. Finally, we summarize the research findings and propose the future research direction of Disney's business model. We hope that the research content of this paper can help people understand Disney's business model and development strategy more comprehensively, and provide reference for the development of related enterprises and urban theme parks in China.

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3

Lyu, Cuilin. "The Financial Analysis of Disney." BCP Business & Management 26 (September 19, 2022): 1140–46. http://dx.doi.org/10.54691/bcpbm.v26i.2079.

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Disney, as the world's biggest diverse entertainment firm, faces both possibilities and difficulties. The article will assess Disney's company state and the influence of the market environment using the 4Ps market analysis approach and the SWTO method. Apply the findings of the research to Disney's projected market development. In the last section of the essay, this part will look at Disney's financial status during the last two years, as well as other data, to determine the company's present operational situation and potential future development trends. In summary, by thoroughly evaluating Disney's data and conditions, this article aids relevant persons in understanding Disney from the standpoint of financial development.

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Pan, Shuwen. "Analyses of Shanghai Disneyland IP localization Strategy And Its Risks from the Perspective of Lina Bell- Based on SWOT Analysis Method." BCP Business & Management 23 (August 4, 2022): 755–62. http://dx.doi.org/10.54691/bcpbm.v23i.1437.

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‘Lina Bell’ is a new IP image that was exposed by Shanghai Disney in September 2021. From ‘new role’ to ‘online celebrity with a huge fan base’ in just one month, its popularity overwhelmed other famous Disney IPs, and the price of its doll has skyrocketed. However, in early December 2021, ‘Lina Bell’ was stuck in a ‘image crisis’, and there are still risks behind Disney's IP operation. This paper analyses Disney's IP localization strategy through a SWOT method and proposes possible countermeasures to address the potential risks. The study finds that the history of Disney's Duffy family is the epitome of Disney's IP localization strategy, and that Lina Bell is the best product of the IP localization strategy; Disney's strengths are its rich experience in IP operation and complete industry chain, while its weaknesses are mainly the lack of a true understanding of the target market’s culture; the external opportunities for Disney are the huge potential of the target market and the fact that Disney IP is in line with the pop culture trends of the target market, while the external threats are mainly public opinion and competition from similar products. This paper suggests that Disney should strengthen its research into the culture of its target markets and truly understand the local cultural habits; strengthen the training of its staff; standardize the behaviour of each staff member in line with the brand's mission and increase the local core competencies of the Disney IP.

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5

Spencer, Earl P. "Educator Insights: Euro Disney—What Happened? What Next?" Journal of International Marketing 3, no. 3 (September 1995): 103–14. http://dx.doi.org/10.1177/1069031x9500300308.

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In its first 18 months of operation, Euro Disney, a new theme park outside Paris, France, lost almost $1 billion. How could an improved version of a highly successful enterprise like Disneyland in California fare so poorly? This article attempts to highlight Disney's miscalculations in translating its theme park experiences from one culture to another, and suggests a possible course of action to address Euro Disney's problems.

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6

Xiong, Siyu. "Discussion and Evaluation of Disney: Does Disney Overvalued under COVID-19?" BCP Business & Management 26 (September 19, 2022): 1127–39. http://dx.doi.org/10.54691/bcpbm.v26i.2078.

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Disney, like many other international companies, was engulfed by the Corona virus disease (COVID-19). For a substantial portion of 2021, its Theme-park business saw a dramatic fall in revenue and visitor flow rate due to government limitations; the theme parks were shuttered or operated at significantly reduced capacity. Studio Entertainment parts have been rescheduled, shortened, or cancelled in several situations. However, as a result of the epidemic, Disney's revenue has been declining, and the floating share price, as well as some unfavorable headlines, have been a warning flag for investors. More doubts are raised, the most prominent of which being that Disney's value is lower than it was previously and that it is no longer worth investing in. The purpose of this article is to appraise Walt Disney's current worth, especially after the economic crush of pandemic, by different financial methods and give a prediction of its future development.

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7

Chytry, Josef. "Disney's Design." Boom 2, no. 1 (2012): 33–44. http://dx.doi.org/10.1525/boom.2012.2.1.33.

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8

Rozario, Rebecca-Anne Do. "Reanimating the Animated: Disney's Theatrical Productions." TDR/The Drama Review 48, no. 1 (March 2004): 164–77. http://dx.doi.org/10.1162/105420404772990754.

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Metamorphosis is the cornerstone of Disney animation. Princes are turned into beasts and lions into matinee idols. Accomplishing this filmic flexibility onstage is central to Disney's expansion into theatrical production. Broadway's Beauty and the Beast, and the productions that came after, show how the elasticity of film animation can be recreated live in the theatre.

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9

King, Jason. "Toni Braxton, Disney, and Thermodynamics." TDR/The Drama Review 46, no. 3 (September 2002): 54–81. http://dx.doi.org/10.1162/105420402320351477.

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Toni Braxton brought an unexpected and improvisational variable to the controlled, closed system of Disney's Broadway hit, Beauty and the Beast. The magical Braxton sultriness threatened to radically deconstruct the production, exposing the Disney project as a whole.

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10

Sheen, Erica. "101 and Counting: Dalmatians in Film and Advertising." Worldviews: Global Religions, Culture, and Ecology 9, no. 2 (2005): 236–54. http://dx.doi.org/10.1163/1568535054615385.

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AbstractIn both academic and animal welfare circles, Disney's live action films 101 and 102 Dalmatians have been criticised as a commercial exploitation of the breed. From this perspective, it was widely held that the Dalmatian has been subject to over-breeding and abandonment as a direct result of these films, and that Disney should be held responsible for this abuse. I question these assumptions. I discuss the Hollywood animal image as a form of intellectual property and provide a detailed account of negotiations between Disney and Dalmatian breed associations in America and the UK. In response to critics who described the films as "an advertisement for the breed", I suggest that Disney's animal imagery should be seen as a more complex cultural and economic negotiation between filmmaker and audience, and conclude that our understanding of the commercial deployment of the Dalmatian image must be situated in a more nuanced account of the relationship between advertising and film.

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11

Hebert-Leiter, Maria. "Disney's Cajun Firefly: Shedding Light on Disney and Americanization." Journal of Popular Culture 47, no. 5 (October 2014): 968–77. http://dx.doi.org/10.1111/jpcu.12182.

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12

NEWMAN, SIMON P. "Disney's American Revolution." Journal of American Studies 52, no. 3 (April 4, 2017): 682–715. http://dx.doi.org/10.1017/s0021875817000391.

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This essay adopts an innovative interdisciplinary approach to the analysis of Disney's representations of the American founding in television and movie productions as secondary works; that is, as works of historical interpretation. “The Liberty Story” (1957),Johnny Tremain(1957) andThe Swamp Fox(1959–60) are analysed in the context of contemporaraneous historiographical trends. The essay demonstrates that despite certain flaws and weaknesses, Disney's representations sometimes presented innovative themes and insightful interpretations, which at the height of the Cold War influenced popular understanding of the American founding and the society that it produced.

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13

CAMP, GREGORY. "Mickey Mouse Muzak: Shaping Experience Musically at Walt Disney World." Journal of the Society for American Music 11, no. 1 (January 16, 2017): 53–69. http://dx.doi.org/10.1017/s1752196316000523.

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AbstractThe academic assessment of the products of the Walt Disney Company is usually highly negative, drawing out their sexist, racist, and mercenary factors. Although such views are not easily denied, their strong ideology often hides how Disney texts actually operate and how their audiences interact with them. This article explores how recorded music is used in the Disney theme parks to condition audience response, finding a middle ground between an ideological view, exploring the part music plays in social control, and a hermeneutic view, seeing how music functions in articulating and enhancing the experiences in which Disney's guests participate. Disney's Imagineers draw on the language of film music to create a wide variety of narrative musical spaces that give guests the impression that they navigate through these carefully staged narratives as protagonists. Film-musicological models show that guests are encouraged to feel that they control the respective spaces, although filtering the model through critical theory will demonstrate that the spaces can actually be seen as controlling them. While critical theory and structuralist hermeneutics might seem at first like strange bedfellows, analyses of both the narratives themselves and of their social effects can usefully reflect each other, together providing a more nuanced view of Walt Disney World's experiential texts than has been presented either in the academy or by Disney itself.

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14

Harvey, Kate. "Dressing Disney's children in the twenty-first century." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 23–42. http://dx.doi.org/10.1386/ffc_00010_1.

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Abstract This article is concerned with the clothing and costuming of children in the Disney Princess transmedial universe. This extends to the fictional children who grow into their 'princesshood' within the film, as well as the nonfictional children who are the implied audience both for the films and for their associated merchandise. Since Disney acquired Pixar in 2006 and John Lasseter was made creative director of both companies, there has been an increased focus on childhood in Disney's output, and this is particularly notable in the 'princess' films produced under Lasseter: The Princess and the Frog (Clements and Musker, 2009), Tangled (Greno and Howard, 2010), Brave (Andrews and Chapman, 2012), Frozen (Buck and Lee, 2013) and Moana (Clements and Musker, 2016). This article first explores the films' use of costume simultaneously to establish the childness of the characters and visually foreshadow the 'princesses' they will become. It then turns to the implied child audience of these films, considering the Disney Princess line of merchandise and the role of clothing and costume within it.

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Griszbacher, Norbert, Ildikó Kemény, and Ákos Varga. "Echoes of Our Favourite Childhood Figures." GiLE Journal of Skills Development 2, no. 2 (October 12, 2022): 51–72. http://dx.doi.org/10.52398/gjsd.2022.v2.i2.pp51-72.

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Since its founding, Disney has become the symbol of values such as joy, magic, entertainment, and family in our lives through loveable stories, characters, and unique experiences. Disney also has had a significant impact on youth culture with its ability to appeal to universal human experiences through its versatile character portfolio. Disney's recent tendency to reproduce their earlier success in modern adaptations (e.g., The Little Mermaid and Snow White coming in 2023) is the focus of this paper. It aims to examine the influence of Disney's representation of the mechanisms of our world on youth character development by comparing the responses given for the ‘classic’ and the ‘modern’ versions. For this reason, in addition to explicit measures (survey), an Implicit Associations Test (IAT) was used to discover those attitudes which would generally be hidden from explicit methods of analysis due to their subversive nature (e.g., deep affective content like nostalgia). The analysis revealed a significant correlation between IAT-measured implicit attitudes and explicit measures of attitudes and behaviour toward modern and classic (our target) categories. The results also indicate the significance of these scenes (especially the childhood ‘classic’ ones) as they can form strong bonds with the young audience, affecting their preferences, values, worldview, and, thus, their character development.

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Amernic, Joel H., and Russell J. Craig. "ACCOUNTABILITY AND RHETORIC DURING A CRISIS: WALT DISNEY'S 1940 LETTER TO STOCKHOLDERS." Accounting Historians Journal 27, no. 2 (December 1, 2000): 49–86. http://dx.doi.org/10.2308/0148-4184.27.2.49.

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In 1940, Walt Disney was faced with crafting a message of corporate accountability under duress. His company, the product of his creative genius, had been forced to submit to public accountability. It had a pressing need to raise preferred equity finance for a major expansion during a period of market uncertainty, war, and reported losses. This paper conducts a “close reading” of the “Letter to Stockholders” in Walt Disney Productions' 1940 annual report, the first such letter signed by Walt Disney. The letter's rhetorical features, including metaphor and ideology, are examined in the context of the times. What is revealed is an accountability document skillfully crafted with the exigencies faced by Disney's company firmly in mind. The letter offers suggestive insight to the world as Disney made sense of it. The paper contributes to understanding the use of rhetoric by top management in activities related to aspects of financial accountability and reporting. It also helps to understand better a significant public persona of the 20th century, Walt Disney.

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17

Ding, Yilun. "The Effect of Social Media Marketing on Customer Relationship Management at Disney in USA." Highlights in Business, Economics and Management 2 (November 6, 2022): 348–52. http://dx.doi.org/10.54097/hbem.v2i.2385.

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The main goal of this project is to critically assess how social media marketing has affected Disney's US customer relationship management. It critically assesses the benefits, constraints, and challenges of social media marketing. It analyses how customer relationship management is impacted by social media marketing. It presented suggestions that could help Disney use social media marketing effectively to strengthen its consumer ties. Research involving 100 Disney customers in the USA helped collect the primary data. According to the results of the survey, social media marketing can have a beneficial impact on customer relationship management if Disney uses it wisely to cultivate long-lasting relationships with customers, inform them about products and services, and comprehend how to best serve them.

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18

Allen, Paul J. "Disney's Enterprise Energy Management Systems." Strategic Planning for Energy and the Environment 27, no. 2 (September 2007): 51–64. http://dx.doi.org/10.1080/10485230709509739.

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19

Allen, David. "Seeing double: Disney's Wilderness Lodge." European Journal of American Culture 31, no. 2 (July 31, 2012): 123–44. http://dx.doi.org/10.1386/ejac.31.2.123_1.

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20

Wardaniningsih, Agustin Diana, and E. Ngestirosa Endang Woro Kasih. "DELINEATION OF WOMEN IDENTITY IN THE DISNEY ANIMATED FILM ECANTO (2019)." Lire Journal (Journal of Linguistics and Literature) 6, no. 2 (October 31, 2022): 209–29. http://dx.doi.org/10.33019/lire.v6i2.160.

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Disney's animated films is produced not only to provide entertainment but also to deliver messages in it. Most Disney animated films have a target audience of children. The element of persuasion that includes every message will be one of children's character-building in real life, including how the film constitutes gender identity in children, which will affect the development of their lives. One of Disney's animated films is Encanto film which was released in 2021. The purpose of this research is to describe the moral values of the characters in Encanto film, especially observing the identity of the women depicted in this film. The research method uses a qualitative narrative approach to analyze Encanto film. This study uses Stuart Hall's representation theory and Christian Metz's Semiotic Analysis Method (MAS), or cinematographic semiotics. By the critical paradigm, this MAS is qualitatively interpretive. A method that focuses on signs and texts as objects of study and how researchers interpret and understand the code (decoding) behind the signs and texts. The study revealed the women's identity on the main character, Mirabel in the film Encanto. This identity is mainly found from the stereotypical Mirabel identity as a woman. The other marginalization, subordination, power, and workload differentiate Mirabel’s identity as a woman from men in Encanto film

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21

Zhu, Xingyu. "Use SWOT to Analyze and Study the Enterprise of Disney." BCP Business & Management 34 (December 14, 2022): 48–52. http://dx.doi.org/10.54691/bcpbm.v34i.2863.

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The firm I am researching is a diverse global media corporation located in Walt Disney's Burbank Studios in Los Angeles, California, USA. SWOT analysis was used to research the Disney Company. During my investigation on the Disney Company, I discovered that around the start of the pandemic, the whole economic curve of the Disney Company collapsed, including total assets and earnings. However, due to the sluggish development of internet company, after adopting to the new strategy, it has gradually ushered in a pretty decent momentum, and its income has steadily returned over the last two years.If the Disney Company continues to grow at its current rate, it will become the world leader under the impact of the pandemic. This article examined the CAPM model's stability, and via my study on Disney, I discovered that the effect of two separate markets on the stock of the firm I investigated is beneficial to investors' investment decisions.

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22

Deng, Shuxin. "The Time-Varying Impact of Exchange Rate Changes on Disney Stock Returns and Volatility: Evidence from the Fed's Rate Hike." BCP Business & Management 31 (November 5, 2022): 369–77. http://dx.doi.org/10.54691/bcpbm.v31i.2652.

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In the world economy and financial markets, exchange rates fluctuate continuously over time. This paper assesses the effects of exchange rate fluctuations on the return and volatility of Disney's stock. A VAR model and an ARMA-GARCH model were developed to analyze the changes in stock prices in terms of value and volatility. This paper finds that changes in exchange rates have a limited impact on Disney stock prices and have no significant effect on the daily volatility of its returns. However, because the appreciation of the U.S. dollar triggered by the Fed's rate hike will offset this positive and negative effect, investors should keep their perspective elsewhere without caring about the volatility of Disney stock prices due to exchange rate changes.

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23

Willis, Susan. "Fantasia: Walt Disney's Los Angeles Suite." Diacritics 17, no. 2 (1987): 82. http://dx.doi.org/10.2307/464748.

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24

Giroux, Henry A. "Innocence and Pedagogy in Disney's World." International Journal of Educational Reform 2, no. 4 (October 1993): 425–28. http://dx.doi.org/10.1177/105678799300200410.

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An alarming defensiveness has crept into America's official image of itself, especially in its representations of the national past. Every society and official tradition defends itself against interferences with its sanctioned narratives; over time these acquire an almost theological status, with founding heros, cherished ideas and values, national allegories having an inestimable effect in cultural and political life.1

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25

Wood, Naomi. "Domesticating Dreams in Walt Disney's Cinderella." Lion and the Unicorn 20, no. 1 (1996): 25–49. http://dx.doi.org/10.1353/uni.1996.0003.

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Jackson, Kathy Merlock. "The Political Economy of Disney's World." Review of Communication 3, no. 2 (April 2003): 178–79. http://dx.doi.org/10.1080/0308390.

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27

Cypher, Jennifer, and Eric Higgs. "Colonizing the imagination: Disney's wilderness lodge∗." Capitalism Nature Socialism 8, no. 4 (December 1997): 107–30. http://dx.doi.org/10.1080/10455759709358768.

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28

Hodgkinson, John. "Disney's “Return to Oz.” and ECT." Biological Psychiatry 21, no. 5-6 (May 1986): 578. http://dx.doi.org/10.1016/0006-3223(86)90213-1.

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29

Holmes, Rayshad A. "Finding OB in Disney's Finding Nemo." Organization Management Journal 2, no. 2 (September 2005): 70–79. http://dx.doi.org/10.1057/omj.2005.15.

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30

Colahan, Hollie, and Chris Breder. "Primate Training at Disney's Animal Kingdom." Journal of Applied Animal Welfare Science 6, no. 3 (July 2003): 235–46. http://dx.doi.org/10.1207/s15327604jaws0603_08.

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31

Telotte, J. P. "Spatial Presence and Disney's Oswald Comedies." Journal of Popular Film and Television 39, no. 3 (September 12, 2011): 141–48. http://dx.doi.org/10.1080/01956051.2011.554920.

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32

Friedrich, Martin, and Thomas Matzelle. "Disney's View on the Atomic Level." Imaging & Microscopy 9, no. 2 (June 2007): n/a. http://dx.doi.org/10.1002/imic.200790163.

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Beveridge, Allan. "Images of madness in the films of Walt Disney." Psychiatric Bulletin 20, no. 10 (October 1996): 618–20. http://dx.doi.org/10.1192/pb.20.10.618.

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It has been demonstrated that images of madness in the media powerfully influence the general public and serve to perpetuate popular stereotypes of mental illness (Philo et al, 1993). While the cinema's treatment of psychiatric issues has received critical attention (Gabard & Gabard, 1987), there is one area of film-making that has, so far, been neglected: the work of Walt Disney. Perhaps, because it has been primarily regarded as entertainment for children, Disney's work has not been subjected to serious examination. This neglect, however, is surprising in view of the current debate about the influence of the media on children. When one also considers that Disney films are now available on video and are being seen by millions, it seems worthwhile to look at the images of madness they present.

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Suwastini, Ni Komang Arie, Made Ayu Wiranti, I. Ketut Supir, and Ida Ayu Made Istri Utami. "The Characterization of Hua Mulan in Disney’s 2020 Live-Action Mulan." Indonesian Journal of Religion and Society 4, no. 1 (June 30, 2022): 17–27. http://dx.doi.org/10.36256/ijrs.v4i1.244.

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Disney's 2020 live-action film Mulan is remade of the 1998’s cartoon version, with several changes, including the characterization of the main character. This study aims to investigate the characterization of Hua Mulan as the main female character in Disney's 2020 Live-Action Mulan. Using the qualitative interpretive method by Miles, Huberman, & Saldana (2014), the research was conducted in four simultaneous processes: data collection and condensation, data display, and conclusion drawing/verification. This research revealed that Mulan is a village girl who was reckless, brave, strong, and often acted like a boy. When Mulan grew up, she became a brave and tough person who made she could protect herself and her family. Moreover, it reflects Mulan's independence which is represented by her ability to survive and fight alone for the sake of her family and empire. Furthermore, Mulan also had an extraordinary "Chi" power that made her a strong warrior. Her family and society also respected Mulan for her honesty in revealing her mistakes. The depiction of Mulan, who has a masculine character, implies that Disney's 2020 live-action Mulan can be used as a role model by the audience in protecting and loving those around them.

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Adderley, Cedric. "Disney's World of Music Discovery, Volume 1." Music Educators Journal 92, no. 4 (March 2006): 16. http://dx.doi.org/10.2307/3401094.

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Jenkins, Eric. "Seeing Life in Disney's Mutual Affection-Images." Quarterly Review of Film and Video 30, no. 5 (October 2013): 421–34. http://dx.doi.org/10.1080/10509208.2011.575671.

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Wynns, Scarlet L., and Lawrence B. Rosenfeld. "Father‐daughter relationships in Disney's animated films." Southern Communication Journal 68, no. 2 (March 2003): 91–106. http://dx.doi.org/10.1080/10417940309373253.

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38

Calandro, Joseph. "Disney's Marvel acquisition: a strategic financial analysis." Strategy & Leadership 38, no. 2 (March 9, 2010): 42–51. http://dx.doi.org/10.1108/10878571011029055.

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39

Huebner, Andrew J. "The conditional optimist: Walt Disney's postwar futurism." Sixties 2, no. 2 (December 2009): 227–44. http://dx.doi.org/10.1080/17541320903346510.

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40

Zhou, Wenya. "Walt Disney’s Company SWOT Analysis." BCP Business & Management 34 (December 14, 2022): 77–80. http://dx.doi.org/10.54691/bcpbm.v34i.2867.

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This article discusses the background of Disney by collecting their various materials from the Internet, and some of their marketing and business means. analyzed some methods and their recent financial statement information, can find each period has different stock prices related to the event and the new products and services as well as the results and findings also illustrated the future development and current strategy. This found that their strategies still have some problems and can be improved. Using the method of doing some real experiments such as some questionnaires given to strangers and writing their real ideas about the Walt Disney's lack and how this company can improve and something the consumers like also something they do not like is also very crucial This research significance can help Disney do better and stronger in the future, not only in the entertainment industry but also in other industries.

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Tahmahkera, Dustin. "“We're Gonna Capture Johnny Depp”: Making Kin with Cinematic Comanches." American Indian Culture and Research Journal 41, no. 2 (January 1, 2017): 23–42. http://dx.doi.org/10.17953/aicrj.41.2.tahmahkera.

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This article analyzes Comanche elder LaDonna Harris's adoption of actor Johnny Depp as a response to the cultural politics of Disney's casting him as a Comanche Tonto in The Lone Ranger 2013. In addition to onscreen performers and characters like Depp's Tonto, in my reading “cinematic Comanches” also include offscreen cultural critics and social actors who, like Harris, maneuver through thorny layers of representing the indigenous. Focusing my inquiry on how Harris and other cinematic Comanches created opportunities to make kin with Depp, engage Disney, and expand the convoluted discourse on producing Comanche representation and cultural knowledge, I discuss Lone Ranger's hype and protest, Harris's reframing of the adoption as captivity, and post-captivity collaborations between Comanches, Depp, and Disney. I suggest that by recreating a traditional Comanche mode of kinship in the twenty-first century, Harris took Depp in as a son to honor his onscreen efforts, to express Comanche self-determination in kinship, and to increase the cultural capital of the Comanche Nation.

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Zhou, Ziyue. "Review of the Disney Marketing Strategy Impact and contrast between new and classic characters." BCP Business & Management 34 (December 14, 2022): 554–59. http://dx.doi.org/10.54691/bcpbm.v34i.3064.

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This research aims at how the Disney marketing effect has affected marketing strategies in the Asian market. This paper offers an extensive examination of the various patterns that this strategy serves in the market in order to have a deeper grasp of how the strategy works and what are the impacts on them. The study paper also provides a thorough introduction to the development of both the character and Disney's buildings. Both positive and negative perspectives are included in this investigation. The majority of the controversy is directly related to Disneyland's use of hungry marketing strategies. Additionally, comprehensive statistics data is given, which is used to analyze the character and brand's recent development. The analytical part takes into account both the recent turnover and the entrance of cultural influence.

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43

White, Geoffrey M. "Disney's Pearl Harbor: National Memory at the Movies." Public Historian 24, no. 4 (2002): 97–115. http://dx.doi.org/10.1525/tph.2002.24.4.97.

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Buzbee, William W., and Richard E. Foglesong. "Accountability Conceptions and Federalism Tales: Disney's Wonderful World?" Michigan Law Review 100, no. 6 (May 2002): 1290. http://dx.doi.org/10.2307/1290443.

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Telotte, J. P. "Disney's cows, the mouse, and the modernist moment." Screen 51, no. 3 (September 1, 2010): 219–31. http://dx.doi.org/10.1093/screen/hjq016.

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46

Synnott, Marcia G. "Disney's America: Whose Patrimony, Whose Profits, Whose Past?" Public Historian 17, no. 4 (1995): 43–59. http://dx.doi.org/10.2307/3378384.

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White, Geoffrey M. "Disney's "Pearl Harbor": National Memory at the Movies." Public Historian 24, no. 4 (October 2002): 97–115. http://dx.doi.org/10.2307/3378924.

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DelRosso, Jeana. "De-tangling Motherhood: Adoption Narratives in Disney's Tangled." Journal of Popular Culture 48, no. 3 (June 2015): 520–33. http://dx.doi.org/10.1111/jpcu.12281.

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Tamaira, A. Mārata Ketekiri, and Dionne Fonoti. "Beyond Paradise? Retelling Pacific Stories in Disney's Moana." Contemporary Pacific 30, no. 2 (2018): 297–327. http://dx.doi.org/10.1353/cp.2018.0029.

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Bell, John. "Disney's Times Square: The New American Community Theatre." TDR/The Drama Review 42, no. 1 (March 1998): 26–33. http://dx.doi.org/10.1162/dram.1998.42.1.26.

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