CASA 2. This CASA builds on your CASA1 and has the potential to develop into your critical evaluation and analysis (the body and argument) of your Ass3/report. Most problems aren't new, they have usually been considered before by very smart people. Application of the management concepts in the unit to the problem you have identified in CASA1 will familiarise you with the range of theories and how they can be used in practical situations. For CASA2, you are to identify theory (concepts, frameworks etc covered in this unit) to start developing a critical thinking relative to the management problem statement you provided in CASA1 and the Disney case study.

In writing CASA2 consider these points:

- Same Case Study for CASA 1, 2 and 3 - DISNEY CASE STUDY.pdf

- Identify and discuss a theory/s (concepts, models, dimensions etc) related to your management problem (from CASA1)

- The theory/s (concepts, models, dimensions etc) should be from the unit topics (it is ok to read ahead, but not necessary)

- Have I used good grammar, formatting (APA), paragraph structure, is it logical

Only use the text book at this stage (it is ok to reference if you want, but it is not expected at this stage)

MY CASA 1:

Lack of new Characters, new Entertainment solutions like movies, cartoons, toys, serials, as per today’s different customer age group segments. Mickey Mouse & Pooh have aged, are less seen by today’s children, hence Disney needs to develop those characters that could entertain and synchronize with today’s modern children. In today’s fast digital, only toys can’t serve the entertainment purpose, hence entertainment categories- Comics/ App Stores/ Games/ Movies/ Short Serials/ Documentaries need to be built up, as they were missing with Disney before, and were not able to meet required financial goals.

Dedicated character franchises such as Marvel or Indiana Jones were missing before. Consumers want mixed bag and variety of characters such as Marvel, who individually can become brand icons for youth and each creates a distinct image in different consumers of different age group. At time of Pooh and Mickey, customer segment was more inclined towards children. Marvel/ Star war caters to more age groups now. Hence, Disney need to work on more segments parallel in order to meet it’s future financial targets.

DISNEY CASE STUDY:

Walt Disney Company Headquarters, Burbank, California Over two decades, your predecessor and boss, CEO Michael Eisner, accomplished much, starting the Disney Channel, the Disney Stores and Disneyland Paris, and acquiring ABC television, Starwave Web services (from Microsoft cofounder Paul Allan) and Infoseek (an early Web search engine). But his strong personality and critical management style created conflict with shareholders, creative partners and board members, including Roy Disney, nephew of founder Walt Disney. One of your first moves as Disney’s new CEO was to repair relationships with Pixar Studios and its then CEO Steve Jobs. Pixar produced computer-animated movies for Disney to distribute and market. Disney also had the right to produce sequels to Pixar Films, such as Toy Story, without Pixar’s involvement. Jobs argued, however, that Pixar should have total financial and creative control over its films. When Disney CEO Michael Eisner disagreed, relations broke down, with Pixar seeking other partners. On becoming CEO, you approached Jobs about Disney buying Pixar for $7 billion. More important than the price, however, was promising Jobs and Pixar’s leadership, President Ed Catmull and creative guru John Lasseter, total creative control of Pixar’s films and Disney’s storied but struggling animation unit. Said Jobs, ‘I wasn’t sure I could get Ed and John to come to Disney unless they had that control.’ Although Pixar and Disney animation thrived under the new arrangement, Disney still had a number of critical strategic problems to address. Disney was ‘too old’ and suffering from brand fatigue as its classic but ageing characters, Mickey Mouse (created in 1928) and Winnie-the-Pooh (licensed by Disney in 1961), accounted for 80 per cent of consumer sales. On the other hand, Disney was also ‘too young’ and suffering from ‘age compression’, meaning it appealed only to young children and not preteens, who gravitated to Nickelodeon, and certainly not to teens at all. Finally, despite its legendary animated films, over time Disney products had developed a reputation for low-quality production, poor acting and weak scripts. Movies High School Musical 3: Senior Year, Beverly Hills Chihuahua, Bolt, Confessions of a Shopaholic, Race to Witch Mountain and Bedtime Stories disappointed audiences and failed to meet financial goals. As you told your board of directors, ‘It’s not the marketplace: it’s our slate [of TV shows and movies].’ With many of Disney’s brands and products clearly suffering, you face a basic decision: Should Disney grow, stabilise or retrench? Disney is an entertainment conglomerate with Walt Disney Studios (films), parks and resorts (including Disney Cruise lines and vacations), consumer products (i.e. toys, clothing, books, magazines and merchandise) and media networks such as TV (ABC, ESPN, Disney Channels and ABC Family), radio and the Disney Interactive Media Group (online, mobile, and video games and products). Further, in 2009 Disney acquired Marvel Entertainment (including the Avengers franchises) and in 2012 it acquired Lucasfilm (Star Wars and Indiana Jones franchises).