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Disneyfication !& Disneyzation: !

how they shaped !and influenced media !

and entertainment industry !in Croatia!!!!!!!

!!!!!!SAE Institute Ljubljana Hrvoje Hrsto Student number: 10280 Date of submission: 3 November 2014!BAP 1113 Word count: 15,149

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I hereby declare that I wrote this written thesis on my own and without the use of any other than the cited sources and tools and all explanations that I copied directly or in

their sense are marked as such, as well as that the dissertation has not yet been handed in neither in this nor in equal form at any other official commission.!

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....................................................... !Ljubljana, 03.11.2014

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Abstract!!When it comes to The Walt Disney Company, there is no deniability that it is a powerful entertainment and media entity. Its influences are extensive and there are almost no currently living people on Earth that have not identified “animated movie” with Disney at least once. Family values and kids entertainment are the core of Disney, and the general picture is lighthearted. Yet, behind all that stands a powerful machinery that controls every aspect of its production and nothing is coincidental. That is why two new expressions emerged in the media: disneyfication and disneyzation. So how does the machinery of dreams actually work?!!In this thesis, terms of disneyfication and disneyzation are explored, analysed and clarified because they are often merged or interchangeably used. It is an interdisciplinary approach that encompasses social and technological aspects with business philosophy. I have critically assessed positive and negative influences, actions and ramifications of the said concepts, both from the perspective of industry and customers. Then I have transferred and applied the findings on current Croatian market. I have also given a historical view of certain important events and made observational parallels between Croatian events and Disney proceedings. Research was purely academic and secondary in the nature, with the exception of several personally conducted interviews with the chosen professionals. All of the findings have helped me to establish how exactly Disney shaped the industry and if there are any effects in Croatian industry.!!!!!!!!!!!!!!

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Preface!!This project was taken on because of two reasons. First was pure love towards Disney animated movies and movies in general. Second reason was personal and professional curiosity of how exactly things work in movie industry. Although I am primarily audio guy, if sound is combined with moving pictures it can convey powerful messages and produce strong emotions. However, in order to understand what exactly is setting things in motion, I decided to look deeper and explore the business philosophy and there is no better example of long-lasting media entity than almost 100 years old Disney Company.!!After defining my ideas and calling it disneyfication in my head, I soon found out that there is already definition for that, and not only that, but for the disneyzation too. I proceeded with the already established terms, but now I had to apply them on Croatian situation. Task was a bit confusing, especially because there was no evident connection. As it goes, after some time of research, connections started to emerge but they were not clearly labeled or numerous. Some aspects of the research have left me with the hope of better movie and entertainment industry in Croatia, and others brought up the desire to move to Disneyland and stay there.!!There is some hope for Disney in Croatia and for businesses that want to be Croatian Disney but there are numerous financial, administrative and political obstacles. It is never good if everything is the same, but it is confusing if everything is different and unique. It is nice to have interests that you could discuss with anyone in the world, but some things are best if they are limited edition.!!!!!!!!!!!!!

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!Acknowledgments!!I would like to thank everybody without whom this project would be impossible, or much, much harder to do. Thank you from the bottom of my heart.!!First of all, my mentor Chantal von Mourik, Nataša Vidaković and Viktor Drnić that had connections in right places, Nikica Gilić, Hrvoje Turković, Krunoslav Lučić, Ankica Jurić Tilić and Ivica Drnić for their time and expertise, Igor Čorić and Dora Jelaković for simply being there, and every and each member of my family (Vesna, Zoran, Karmela, Marija) that suffered from my behaviour while researching and writing this project. !!!!!!!!!!!!!!!!!!!!!!!!!!

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Table of Content!Abstract! ! ! ! ! ! ! ! ! ! i!Preface! ! ! ! ! ! ! ! ! ! ii!Acknowledgments! ! ! ! ! ! ! ! ! iii!Table of Content! ! ! ! ! ! ! ! ! iv!1. Introduction!! ! ! ! ! ! ! ! ! 1!Part I! ! ! ! ! ! ! ! ! ! ! 3!2. Review of the existing concepts of Disneyfication and Disneyzation! ! 3!! 2.1 Defining Disneyzation! ! ! ! ! ! ! 3!! 2.2 Defining Disneyfication! ! ! ! ! ! ! 5!3. Activities that shaped disneyzation and disneyfication through history! ! 7!! 3.1 Early Disney! ! ! ! ! ! ! ! 7!! 3.2 Disney theme parks! ! ! ! ! ! ! 9!! 3.3 Digital Disney! ! ! ! ! ! ! ! 11!4. Disney and non-Disney animated films! ! ! ! ! ! 15!5. To Disnefy, discussion of pros and cons! ! ! ! ! ! 18!Part II! ! ! ! ! ! ! ! ! ! ! 23!6. Situation in Croatia!! ! ! ! ! ! ! ! 23!7. Yugoslavian years! ! ! ! ! ! ! ! ! 24!8. After Yugoslavia! ! ! ! ! ! ! ! ! 27!! 8.1 Cultural situation! ! ! ! ! ! ! ! 27!! 8.2 State of business and technology! ! ! ! ! 30!9. Disney in Croatia! ! ! ! ! ! ! ! ! 34!10. Industry and market overview through interviews with Croatian professionals! 35!11. Possible future developments of disneyfication and disneyzation in Croatia! 37!12. Conclusion! ! ! ! ! ! ! ! ! 38!!Appendix A - Interview Structure! ! ! ! ! ! ! 40!Appendix B - Interview with Nikica Gilić! ! ! ! ! ! 43!Appendix C - Interview with Hrvoje Turković!! ! ! ! ! 45!Appendix D - Interview with Krunoslav Lučić!! ! ! ! ! 48!Appendix E - Interview with Ankica Jurić Tilić! ! ! ! ! 51!Appendix F - Interview with Ivica Drnić! ! ! ! ! ! 54!!References list! ! ! ! ! ! ! ! ! 57!Bibliography! ! ! ! ! ! ! ! ! ! 69!!

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1. Introduction!!The concept of the project was to explore The Walt Disney Company and its influences in the industry of media and entertainment. The reason why I picked Disney as a company was because it is one of the most long standing entities that is, in spite its ups and downs in the past, now called one of the most powerful companies in the world. It is also one of the biggest companies with five main sections: Media Networks, Parks and Resorts, The Walt Disney Studios, Disney Consumer Products and Disney Interactive. Disney is so culturally rooted in the mind of the world population, especially when it comes to western hemisphere, that it spawned two definitions: disneyfication and disneyzation.!!I took upon exploring those two concepts and their positive and negative sides The main task was the definition and distinction of the two because they are often used interchangeably, and the main question to answer was if those two processes have influenced Croatia, and in what way.!!Paper is generally divided in two big parts. First big one is about Disney. I am explaining and exploring Disney Company and what are exactly disneyzation and disneyfication. Main starting points were two books, “The Disneyzation of Society” by Alan Bryman and “The Mouse Machine” by Jay P. Tellote. Upon reading them I explored other sources and analysed cultural, social, technical, historical and business aspects of the topic. First two chapters are explaining what disneyfication and disneyzation are. Next three chapters are showing historical and technical development of Disney: from the early days of developing sound and colour on film, over development of Disney theme parks, to modern days and digital technology. In the next part I analysed why is general public often attributing animated features to Disney, although they were not produced by them. In the last part I discuss pros and cons of disneyfication and disneyzation from the social and business point of view.!!Second big part is about Croatia. First chapter of this part is historical review of the cultural, technological and business state of Croatia while it was still part of Yugoslavia. That gives a in-depth perspective and explains certain aspects and the perception of the situation in Croatia today. Next two chapters are explaining current state of affairs in Croatia from cultural, business and technological perspective. They also give a view of political, administrative and financial situation. After that, next chapter analyses Disney and presence of its products. Next is overview of industry and market through

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summarised interviews with Croatian professionals. Last part before the conclusion is theoretical discussion about possible future developments of disneyfication and disneyzation in Croatia.!!Majority of the research was secondary in nature. Books, articles and journals were acquired through physical or digital purchase or read online. For the research of Croatian part of the project, I felt that it was necessary to have interviews with professionals in the fields that are connected to the project, and to have a survey of the general population. Interviews were conducted with several professionals in the industry and they were chosen because of their reputation and expertise. Hrvoje Turković, Nikica Gilić and Krunoslav Lučić are all members of the academic staff on Zagreb University with interests and papers with movie industry related themes. Ankica Jurić Tilić is one of the most respected and busiest Croatian movie producers, and she is also producer of “Koko” franchise. Ivica Drnić is award winning sound editor, composer and a colleague. After some time I found survey that covered general public and topic of movies in Croatia in a bigger extent that I planned, so I decided to drop my survey and concentrate on other parts of the research. Also, after finding out about already existing definitions about disneyfication and disneyzation I adapted my thesis title, but the essence of the topic and main question, stayed the same.!!In the end, hypothesis was that although Disney is present indirectly in Croatia, its influence is big, especially from cultural aspects. However, size of the Croatian market and bad monetary and administrative situation are preventing more technical and business aspects to progress.!!!!!!!!!!!!!!

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Part I!!2. Review of the existing concepts of Disneyfication and Disneyzation!!Disneyfication and disneyzation are concepts that are connected with The Walt Disney Company. They are not considered complete new inventions, but rather extensions and upgrades of already existing concepts. Very often they are mixed up or used interchangeably, but they mean two separate concepts. While disneyfication affects narrative and cultural aspects of the brand, disneyzation affects principles of transforming something to resemble Disney theme parks physically and in the way it works. !!! 2.1 Defining Disneyzation!!In his 2001 article Alan Bryman suggested Disneyzation as a complementary notion to McDonaldization, that was used by sociologist George Ritzman in his 1993 book “The McDonaldization of Society”. Methods in both Disneyzation and McDonaldization existed in other practices like bureaucracy or scientific method. In 1934 term Fordism was created by Antonio Gramsci as one of the first terms that encompassed certain practices with an influencing brand name in the certain industry. Disneyzation as such, not only affects visual parts of the brand, but also its key functioning elements that are working, very often behind the scene, unnoticed or blended with their environment. According to Bryman (2004) that is accomplished through four aspects: theming, hybrid consumption, merchandising and performative labour.!!Theming is first and of the more obvious elements. It infuses themes and symbols in one particular place, like theme parks, restaurants, malls, hotels, zoos and other places where services or products are offered by a certain brand. It can also build up services with defined routine, thus providing a unique experience and allowing providers to charge more for goods or services. That also builds up an artificial history and gives an enhanced appeal. It also provides psychological element by giving assurance to the clients that the service will always have a certain quality level. !!

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Hybrid consumption allows customers to consume more different goods on one place with more services. That way customers are encouraged to stay longer and spend more with appeal of more choices in one space. Beside Disney theme parks, malls are excellent examples where you can shop, eat or be entertained at one single relatively small and confined space.!!Merchandising is closely related to theming, with its promotion of logos and images. This allows brands to establish themselves even outside of its primary location, and mark their goods and services. That way they effectively distinguish themselves from the competition. With that, synergy of CDs, DVDs, books, movies, toys and other kind of mechanise is accomplished. Customers are reassured that they will get goods of the certain quality and nothing less. In the end, brands can expect higher consumption of their products and consequently, higher revenue.!!Performative labour upgrades regular employees’ obligations. It makes them not only providers of a certain service, but it also makes them entertainers. It establishes roles by which employees must behave and take care of themselves, meaning that they have to uphold their physical appearance. That is expressed through regulations that allow or restrict certain clothing, hairstyles and other customisable parts of the physical appearance. That way customers can be reassured in a stability of a brand, and trust in brand’s employees, through service and experience.!!Combining these elements, it is easily seen why Disney theme parks are flagships of Disneyzation. Everything in them is themed with brands that were created or bought by The Walt Disney Company. You can go on rides, buy souvenirs and toys, watch performance shows, eat and spend money in various ways. If you look, you will be able to see characteristic, three circle, Mickey Mouse logos everywhere, and there are even hidden ones. That way they are assured that you will notice the brand even if you are not actively looking for it. In the end, all employees are not just employees. They are named castmebers and they are performers that are constantly cheerful and friendly. Best example are employees that have a job to act as a characters from Disney movies. In any circumstances they are not allowed to break a character while they are on job. All of these elements can be seen in hotels, zoos, malls and other non-Disney places that are suitable for both of the processes. They serve to create an environment that can be safely controlled.!!

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The substitution of ersatz reality at that level seems to me kind of dangerous, but that’s a lonely voice in the wilderness now because you can’t walk into a restaurant or anything else without encountering some form of Disneyfication. Everybody has a theme and a damned Tiki Room or something. (Schickel, 2006, pp.15)!

!! 2.2 Defining Disneyfication!!Disneyfication defines more intangible aspects of the Disney influence. According to Bryman (2004) it defines transformation of something, most often narrative, into a simpler, family and child oriented product. It is closely related to Disney movies because they are products that have narration as one of their main elements. There are many examples of movies that were criticised or praised because of the changes that they have made to their narrative.!!In “The Little Mermaid” (1989), tragic ending of a Hans Christian Andersen’s fairytale is replaced with traditional Disney happy end with a wedding. In fairytale, Little Mermaid cannot will herself to kill the prince and in consequence return to the sea. She instead lets prince and his new wife to live, and throws herself into the sea. Then she dissolves into the sea foam and transforms herself into a spirit. In the Disney version, prince’s potential new wife is actually the Sea Witch that granted Little Mermaid legs. In the culmination, Little Mermaid looses her legs and Sea Witch’s disguise is revealed. Prince then kills the witch and Little Mermaid is once again granted legs by her father Triton, the king of the sea. She then marries the prince and the movie ends on the happy note. Although narrative starts to drift apart from its original source right from the beginning, it is the ending of a movie, versus ending of original fairytale, that many critics do not approve. !!That drifting from the narrative and the punch-line of the original story happened in other movies too. While original fairytales are often full of graphic violence, revenge tales and sometimes even sexual harassment, Disney always cut or heavily adapted graphic scenes to make them child appropriate in their movies. For example, “Cinderella” (1950) that was adapted from fairytale by Jacob and Wilhelm Grimm, is greatly sanitised. In Grimm’s Cinderella, there were three balls on three nights. That gave the prince enough time do devise a plant to smear pitch on the stairs on the last night so he could steal Cinderella’s shoe and look for her later. When he came looking for her, stepsisters cut parts of their feet to fit into the lost shoe and additionally,

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Cinderella’s father hid her from the prince and did not mention she was his daughter. In the end, stepsisters had their eyes poked out on Cinderella’s wedding day. In the Disney version, Cinderella’s shoe slipped by accident on the evening of the only one ball and stepsisters simply did not fit in the shoe. Additionally Cinderella’s father was dead, and the main antagonist was her stepmother. In the end, all eyes were in place on the wedding day.!!In many instances, Disney changed messages of the fairytales in order to put their values in the movies. In instance of “Frozen” (2013) that was adapted from Hans Christian Andersen’s “Snow Queen”, critical acclaim was universal and positive, but the differences between original source material and its Disney adaptation are so numerous that listing them would greatly defer from the topic. Although it can be argued that Disney “ruins” fairytales, especially those of the Brothers Grimm, one important argument must be included. Although Grimm’s fairytales are one of the best known fairytales and they are widely accepted, they are not originals, but mere collection of folklore tales. !!In instance of “Sleeping Beauty” (1959), the original source material is “Little Briar Rose” by Grimm Brothers. However, that was orally transmitted version that was previously written by Charles Perrault, which in turn was based on “Sun, Moon and Talia" written by Giambattista Basile, which in the end was based on a folk tale. There are many elements that vary between those versions such as: main heroine’s name which is most commonly Briar Rose or Aurora, her being married and already mother of two versus being single, being impregnated by the prince while sleeping or not, being woken up by one of her babies or the prince, and other variations. Another dimension to this traditional tale was added in another incarnation of this story by Disney. In live action movie “Maleficent” (2014), narrative focuses on the main antagonist from Disney’s version of the “Sleeping Beauty” and turns her in the anti-heroine. In this version Maleficent protects Sleeping Beauty, and she is awoken by Maleficent’s kiss, effectively substituting power of romantic love with the power of motherly love.!!It is understandable why Disney movies, animated or live action, are flagships of Disneyfication. Although they are not always the most profitable parts of the certain Disney franchise, they are the one that the franchise is most often identified with. They are able to tell a story like no other media form can. They go from point A to point B and they provide a stern base for potential upgrades of the transmedia story.!!

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3. Activities that propelled disneyzation and disneyfication through history!!! 3.1 Early Disney!!Both disneyfication and disneyzation would not succeed without many technological and creative advancements that were provided by Walt Disney himself, or his company. Some of the technologies and techniques were developed and used for the first time in Disney movies and theme parks. Other times they were adapted from the competition, and after Disney used them, they got widely used in the industry. However, there were inventions that were not so successful or ahead of their time, and in the end they were abandoned, most often because of the financial losses.!!One of the first innovations was “Alice’s Wonderland” (1923) where Walt Disney combined real actress with the animated world, instead of the more common practice at that time, animated character in the real environmnet. Although that short was not distributed, it spawned numerous Alice shorts that were produced during 1920’s. That recipe of mixing live-action with animation was successfully repeated many times, including long animated features like “Mary Poppins" (1964) and “Who Framed Roger Rabbit” (1988). However, 1920’s were marked with financial instability, pressure of fast production, eventual bankruptcy of Walt’s first Laugh-O-Gram Studio and many legal problems. That resulted in Walt’s eventual abandoning of Alice and Oswald the Lucky Rabbit, his first animated character. In 1923, together with his brother Roy Disney, Walt formed Disney Brothers Cartoon Studio, that three years later became Walt Disney Studio.!!In the early days of the film, Disney was one of the first adapters of sound on film and he was influenced by the synchronisation of “The Jazz Singer” (1928). Synchronisation is one of the reasons why Mickey Mouse got instantly popular with his third produced, but first released short “Steamboat Willie” (1929). Although sound on film was already present at that time for several years, it was one of the first animated movies that synchronised movement on the screen with the sound and music, and it was advertised as the first one, according to Lee and Madej (2012, p.39). That technique of mimicking every action on the screen with the accompanying score became so popular that it got its own name: Mickey Mousing. Soon after that first short, Mickey became one of the most popular cartoon characters. Other animated shorts incorporated

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Mickey Mousing, for example Disney’s “Silly Symphony” series, that eventually became a testing platform for Walt and his various techniques.!!There are other examples of successful combination of existing technology with business. “Lady and the Tramp” (1955) was the first animated feature that used popular CinemaScope technology developed by Fox. At the same time Walt Disney studios became first major Hollywood studio that produced regular programming, “Disneyland” (1954) for ABC, and regular colour programming, “Walt Disney’s Wonderful World of Color” (1961) for NBC, directly for television. Although both series had basically the same format, move from ABC to NBC was made because of NBC’s ability to transmit colour on television. At that time, colour television was more of a irregularity than common item in many households, but Walt pushed for it.!!One of the more famous Walt’s inventions was Fantasound, a pioneering multi-channel sound system that predated stereo and surround systems by couple of decades. It was created for “Fantasia” (1940) and it was almost instantly critically acclaimed. It is an important point in history of sound on film, however, there were several factors including transport, amount of equipment, film’s lukewarm public reception and eminent World War II crisis, that contributed to discontinued use of Fantasound and eventual dismantling of all systems but one.!!However, the biggest Disney influence and contribution to movie industry and history is “Snow White and the Seven Dwarfs” (1937). It was first full length animated feature and Walt won an honorary Oscar for it. He also perfected two-story multiplane camera that gave extra depth and more realistic “illusion-of-life” animation. It was used later in other movies, but before “Snow White” it was tested in “The Old Mill” (1937), a cartoon from Silly Symphonies series. Movie was an unprecedented thing in Hollywood and additionally, it was in Technicolor. Although colour was present for over a decade in Hollywood feature films, and Disney was already using it in his short movies, it was still a novelty. Movie’s production was a big risk, but it paid of financially. It was highest grossing film at the time, and a critical success that changed Hollywood’s look on animated features. Neupert (1994, chapter 7) argued that Disney helped Technicolor in equal amount that Technicolor helped Disney. It also established Technicolor as a feasible and cost effective technology, although years would pass before it becomes a standard in the industry. That movie was one of the main factors in pushing colour into the mainstream film production.!!

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! 3.2 Disney theme parks!!Setting aside movie industry and The Walt Disney Studios for a moment, another major Disney business segment, and contribution to the entertainment industry, are theme parks. Responsible for the vacation resorts and theme parks, Parks and Resorts part of the Disney Company manages everything from the concept to managing them. Although founded in 1971, the first Disney Theme park was open in 1955. Placed in Anaheim, California, Disneyland Park, originally just Disneyland, was designed under the Walt Disney himself. Influenced by Tivoli Gardens from Amsterdam, Walt wanted to make theme park that would be an upgrade from the usual american luna parks, like the one on Coney Island. In the following decades other theme parks were open: Lake Buena Vista in Florida in 1971, Tokyo in 1983, Paris in 1992, Hong Kong in 2005, with Shanghai currently in development and setting to open in 2015.!!According to Telotte (2008, p.119) Disney wanted to create an amalgam of amusement park and movie experience. It was important for Walt to connect the works from his movie studio with the various attractions in the park, so that they gave away a cinematic feel even outside the movie theatres. Although Disney theme parks are famous for implementing new attractions that are connected to the movies that the movie studio has released, there were successful adaptations of park rides into the movies, most prominently Pirates of the Caribbean franchise that was coincidentally the last ride that Walt has overseen himself before his death. Constant adaptation and dynamic change of ideas and concepts that are popular and valuable for the audience, is what makes Disney theme parks continuously successful.!!To develop these ideas for his first theme park, Walt founded WED Enterprises in 1952 that would later be renamed in the more popular Walt Disney Imagineering, or simply Imagineering. Forged from words imagine and engineering, Imagineering team is the creative force that manages all stages of all Disney theme parks, cruise ships and local entertainment venues worldwide, from creating to building. !!One of the first technological obstacles was bringing a two dimensional animated features into the real world. The first solution was in the field of primitive robotics, or how Disney trademarked it, Audio-Animatronics. It is a combination of electronic controls, recorded sound and movements for an animated three dimensional model that fits into the “illusion-of-life” philosophy that was implemented in animated features. One of the more famous early models is animatronic Abraham Lincoln that was

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presented at the New York World’s Fair in 1964-65. Later, it became a centrepiece in the Disneyland’s “Hall of Presidents” attraction, which was later filled with Animatronics versions of other USA presidents. Technology is in the centre of all Disney theme parks and most of it is not visible to the visitors because it serves as a working place for the castmembers and it is hidden underneath the park in the form of tunnels and operating rooms. !!Walt did not want Disney theme park to be the place just for entertainment. Just like in his television shows and animated movies, he wanted to include an educational dimension. By combining these two a term edutainment was created and it embodies both principles. This concept is well described in relatively new ride in Florida theme park called “Dinosaur”, previously named “Countdown to Extinction”. It was renamed after few years to inter-promote with the feature “Dinosaur” (2000). Attraction itself is relatively traditional indoors ride filled with animatronic characters, and it focuses on the modern theories about dinosaurs and their extinction. It offers education about prehistoric events, not only a joyride with twists and turns and surprises. It also shows Disney’s marketing and business side with the adapting and renaming process to fit it to the relatively popular movie. However, sometimes changes are necessary.!!ExtraTERRORestrial Alien Encounter, or abbreviated Alien Encounter attraction was not a ride, but a theatre attraction with special effects. It replaced Mission to Mars in 1995, and it was replaced by Stitch’s Great Escape in 2004 Mission to Mars was the original ride from the Disneyland in Anaheim that was open along with the park. It was first called Rocket to the Moon, then renamed Flight to the Moon and the name was finally settled after first successful Moon landing, to Mission to Mars, because the theme of the attraction was unexplored territory. Over time, attraction became outdated so the location was refurbished and attraction was replaced with science fiction themed Alien Encounter. However, the attraction was criticised for being too dark and sometimes violent in its content, and it was not intended for children under 12 years of age. Not even a decade later it was replaced with much more benign Stitch’s Great Escape! attraction. Although the story changed, the latter two attractions shared a lot of technology and sets. There was much less infrastructural changes between them, than between Mission to Mars and Alien Encounter. !!Attractions and rides are not the only parts of theme parks that are technologically advancing, shows and parades can get upgraded too. In 2014, Disney applied for three patents, invented by Stark, Trowbridge and Wong, that could potentially change parts

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of parades and all three of them are addressing some sort of aerial performance. Floating Projection Screens is for displaying images or lights on the screen in the sky. Marionettes Articulated and Supported by Airborne Devices is for the flying and floating marionettes and puppets that could potentially replace balloons with hot air that usually have no or very restrictedly movable parts. Floating Pixels or shortened “flixels” could potentially replace fireworks and laser lights. However, as this project is written, these patents still need to be approved or not, by the U.S Patent and Trademark Office, but nonetheless they show leaps in technology and its potential application.!!Even a visitor’s experience can be upgraded. Magic Bands are convenient gadgets, especially if you are staying in a Disney Resort. It replaces hotel room key, ticket for the rides, it will link your credit card so you can buy food, beverages and merchandise without credit cards, it allows you to get a FastPass+ which is a reservation for rides so you do not have to wait in line and it will link PhotoPass photos to your Disney account. Magic Bands are waterproof and implemented with RFID chips so when you order something in the restaurant, waiter will know your location instantly. This wearable technology collects data and it could potentially be implemented in museums, zoos, airports and other places where visitors could potentially need a crowd control service. Although this method is implemented to accommodate more visitors, there are some critics that are opposed to monitoring technology and scheduling their free time in theme parks. !!However, Disney Company has legacy in innovations, so in 2008 they launched Disney Research with slogan “Science at Play”. It is a network of research labs that are pursuing scientific and technological innovations in media and entertainment industry. Their research areas are in computer graphics, video processing, computer vision, robotics, wireless communication and mobile computing, human-computer interaction, behavioural sciences, materials research and machine learning and optimisation. !!! 3.3 Digital Disney!!With the many advances in entertainment technology, The Walt Disney Company became popular and influential entertainment entity, especially after opening its first theme park. However, somewhere around the time of death of Walt in 1966 and Roy in 1971, Disney sunk in a creative and financial slump and company struggled to maintain its traditional audience. According to Mills (1982, p.52) in 1981 Disney’s share at american box office was just 4%. That lasted about 20 years, from the late 1960’s until

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the end of the 1980’s. It ended with the publication of “Who Framed Roger Rabbit” and “The Little Mermaid”. !!At that time so called Disney Renaissance started and it marked 1990’s with several movies that got strong positive critics and that were financially very lucrative. Two best examples are “Beauty and the Beast” (1991) that was the first animated movie nominated for Academy Award for Best Picture, although it lost to “The Silence of the Lambs” (1991), and “The Lion King” (1994) that became the highest grossing traditionally animated film of all times. It is not coincidental that it was the time when digital technology was becoming more and more widespread, so producing traditional animation got faster with the help of digital technology. !!Disney experimented with digital technology in film in the late 1970’s, but one of the first most prominent examples of that experimentation was “Tron” (1982), first film that combined live action and computer animation. It is relatively late addition to science fiction and technology driven movies, considering that for example “Star Wars” (1977), “Close Encounters of the Third Kind” (1977), “Superman” (1978) or “Alien” (1979) were already established as modern classics, at the time when “Tron” hit the theatres. Today “Tron” has a cult status and it even spawned a sequel “Tron: Legacy” (2010), and according to Mills (1982, p.52) it was “the first Hollywood film dealing with electronic games”. However, film focused too much on technology and its story got criticised because of it. It was not a box-office success, although it covered its cost production. That did not encourage Disney to make similar live action movies, although it started to implement digital technology in its animated movies, starting with often forgotten “The Black Cauldron” (1985). Usage of digital technology became more apparent and critically praised in the 1990’s movies like “Beauty and the Beast”, where the technique is most visible in the ballroom scene, or “Aladdin” (1992), most apparent in the animation of magic carpet character, that was far too complex and time consuming for the traditional animation.!!However, 1995 brought us first fully computer animated feature film “Toy Story” and once again, shift in industry’s and audience’s perception of the animated movies changed. Although Disney bought Pixar some fifteen years later, in 1991 they signed co-production deal. Venturing in this kind of movie making was a relatively odd move for Disney, since it was famous for its “illusion-of-life” approach in all animated features, while Pixar had more caricature approach. Eventually, this relationship encouraged

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Disney to venture on its own computer animated journey, and a decade later they released “Chicken Little” (2005). !!Disney-Pixar relationship was either praised for its innovations and stories, or criticised that it is killing traditional animation. Although it certainly did not kill it, it most definitively damaged it a lot. Since “Chicken Little”, Disney released only two traditionally animated features: “The Princess and the Frog” (2009) and “Winnie the Pooh” (2011). Perhaps the future is in fusion of hand drawn animation and digital modelling, that was previewed in Academy Award winning “Paperman” (2012). !!In essence, “Paperman” applies a 3D technique that has no classic models, but rather painted models in the programme. Instead of giving away the feeling of obviously 3D rendered models, it gives a stylised 2D painted impression. It was not the first time that Disney experimented with mixture of 2D and 3D. For the first time in “Tarzan” (1999), Disney used Deep Canvas technique, which basically allows 2D characters to move in the 3D environment. Creating of a sequence would start with background modelling, then animation of the 2D characters, and then 3D environment would be manually painted. Although “Paperman” and “Tarzan” have a similar 2D feeling to them, unlike “Tarzan”, “Paperman” has no traditionally animated sequences, at least not in the traditional pen-on-paper or stylus-on-graphics-tablet sense. Coincidentally or not, for the whole traditional versus computer animation debate, “Tarzan” is considered the last movie that was produced in the Disney Renaissance era and in the following decade, computer animated movies would slowly outnumber traditionally animated ones. On 2013 annual meeting of shareholders (Child, B. 2013a) Disney CEO Bob Iger said: !!

To my knowledge we’re not developing a 2D or hand drawn feature animated film right now … There is a fair amount of activity going on in hand drawn animation but it’s largely for television at this point. We’re not necessarily ruling out the possibility [of] a feature but there isn’t any in development at the company at the moment.!

!A bit ambiguous statement that allows multiple interpretations, but it definitively proved that traditional animation is not dead at Disney, at least not yet. However, adding that statement to the 2014 news of studio Ghibli’s stop in production and restructuring, with rumours of possible closing, it can not be denied that 2010’s are a difficult time for the traditional hand drawn 2D animation on global plane.!!

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One of the biggest advantages of computer animation over traditional animation is the time used for production. It is much faster to produce computer generated 3D feature than traditional 2D feature. With advances in technology it was not only industry production that got faster. Audiences are now used to streaming, instead of renting or buying movies, music and other digitally available products. With internet and new on-demand providers like Netflix, online stores like iTunes or streaming services like Spotify, consumers do not have to leave the safety of their homes to enjoy latest digitally available media. That change was mirrored in the massive closing of physical stores of Blockbuster, the biggest USA-based movie and games rental service provider. !!For that purpose, in 2014 Disney launched Disney Movies Anywhere with technology called Keychest: a digital movie locker service that relays on cloud computing. Rather than owning a physical or downloaded copy of the movie, customer gets a unique key that allows him or her to stream the content on numerous devices and services. With Keychest, customers instantly update their services, such as on-demand providers, and with each purchase the movie is instantly available for viewing. !!This came as a response to the launch of UltraViolet in 2011, a digital rights library that was accepted as a industry standard by many studios, most notably the rest of the major film studios like Paramount, Columbia, Warner Brothers, Universal and 20th Century Fox. UltraViolet was accepted by other companies that are not necessarily involved in filmmaking, such as IBM or Microsoft that are working with digital services and products. Although this gives an easier and better customer service, it brought up new debates in the digital rights management that are still defining what rules are applicable when it comes to copyright and new media.!!!!!!!!!!!!!

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4. Disney and non-Disney animated films!!Disney animation has its historical value. It does not matter if it is realistic approach of “Snow White”, tripping world of “Alice in Wonderland” (1951) or anthropomorphism of “The Lion King”. Disney animated feature films left long and lasting influence on other movie makers and movie studios. In a same manner that Google became synonymous with internet search or Jeep with off-road vehicles, “Disney movie” became a synonymous with “animated movie”. Silvestar Mileta (2008, p. 30) said “…everything that was created in animation after Disney was necessarily compared to it.” and he was repeating what many others said before him, like Paul Welles or Giannalberto Bendazzi. Very often animated features from other studios are given a “Disney” etiquette, and some venture in that area more than others.!!One of the movies that most often gets a “Disney movie” mark is “Anastasia” (1997) by Fox Animation Studios. Out of the many elements, the most prominent is Anastasia, heroine and the princess that fits the standards for The Disney Princess Collection franchise perfectly. It is an adaptation of the Russian urban legend that the Grand Duchess Anastasia Nikolaevna of Russia, daughter of Tsar Nikolai II, survived the family execution. In the Disney manner, story distorted several key elements, brought new characters and a villain with magical powers in a form of Grigori Rasputin. It also features several musical numbers, of which “Journey to the Past” and the whole soundtrack were nominated for the Academy Award, an honour that many Disney movies songs and soundtracks had. “If imitation is indeed the sincerest form of flattery, then the folks at Disney should feel royally complimented by Twentieth Century Fox's new animated feature about Tsar Nicholas II's youngest daughter. Anastasia has all the new-Disney trademarks” (Gantz, 1997)!!However, the biggest reason why it looks so Disney-like is behind the scenes. Don Bluth and Gary Goldman were directors of the movie, but they were also former Disney animation directors that previously worked together on “Winnie the Pooh and Tigger too” (1974), and “The Rescuers” (1977). They left Disney in 1979, along with John Pomeroy, to start their own animation studio “Don Bluth Production”. That studio alone is responsible for several Disney-esque movies that more or less stood the test of time, but most prominently “The Land Before Time” (1988), ”All Dogs Go to Heaven” (1989), both under the Sullivan Bluth Studios name, and ”Thumbelina” (1994) under Don Bluth Entertainment name. Besides “Anastasia”, during their time in Fox Animation Studios, they also worked on “Titan A.E.” (2000) that was often compared with Disney’s

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“Treasure Planet” (2002) because of its implementation of 2D and 3D animation and location in outer space, although plots differ significantly. Not all of the mentioned movies were financially successful or were positively reviewed by the critics, but they were all described as Disney-esque.!!To get away from Bluth and Goldman, there are examples from other authors and studios. Most notable are “The Swan Princess” (1994) by Nest Family Entertainment and “The Prince Of Egypt” (1998) by Dreamworks, both from the time of so called Disney Renaissance that occurred during the 1990’s. They best showcase elements that are considered as parts of the “Disney movies”. !!“The Swan Princess” drew its source material from the ballet “Swan Lake” by Pyotr Ilyich Tchaikovsky. During the movie, main heroine princess Odette gets cursed and there is an abundance of comic relief animal sidekicks. The curse can be overthrown by the act of love and there is a villain that will not stop before he reaches his goal or, in this and many other cases, his demise. Although it was considered a box-office flop, it spawned four direct to video sequels and Odette is often on the lists of popular non-Disney princesses, alongside Anastasia.!!“The Prince of Egypt” draws its source from the Bible, more precise the life of Moses, whose destiny is revealed to him during the movie. With male main character, it is aligned with boy oriented values, like heroism and strength, like it is in “Hercules” (1997), and love, is a secondary theme, unlike in animated features with princesses. Main villain and his sidekicks do not stop until the casualties are too big, which happens at the climax of the movie when the main character’s destiny is fulfilled. However, “The Prince of Egypt” does not escape major Disney connection, because executive producer Jeffrey Katzenberg, was a former chairman of The Walt Disney Studios. !!“The Swan Princess” and “The Prince of Egypt” are disneyfied in a sense that the plots got changed drastically from its source materials so they could be adapted to be child appropriate. Major complicated conflicts are simplified and graphic violence is avoided as much as it could be. Happy end is achieved wether by changing the end, like in “The Swan Princess”, or stopping the story at the right time, like in “The Prince of Egypt”. However the main element in both movies is the animation that can be described as “illusion-of-life” that Disney is famous for.!!

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When it comes to animated movies, 2D and 3D, there are rare examples of movies or franchises that have a clear distinction for being non-Disney. Perhaps financially most successful is DreamWorks with several movies l ike “Shrek” (2001), “Madagascar” (2005), “Kung Fu Panda” (2008), “How to Train Your Dragon” (2010) and their sequels, but they are very often compared to Pixar animation, which is a Disney company, so the difference argument is not so solid. !!Artistically most distinctive are movies by Japanese studio Ghibli and its now retired director Hayao Miyazaki. However, Ghibli is influenced by Japanese school of animation which is widespread in Asia, so there is abundance of other relative similarly animated movies like “Akira” (1988), “Steamboy" (2004) or “Paprika” (2006). Additionally, there is a Disney connection, because Ghibli made a deal in 1996 that Disney will distribute all of their movies internationally. !!Another distinctive animation studio, famous for its stop-motion animation is British Aardman Studios, with movies like “Chicken Run” (2000), “Wallace & Gromit: The Curse of the Were-Rabbit” (2005) and “Flushed Away” (2006). That is a unique animation technique that Disney was not particularly involved or successful with, with the exception of “The Nightmare Before Christmas” (1993), but that particular movie is associated primarily with the aesthetics of Tim Burton, rather than Disney. !!When it comes to other international animated features and studios, that are critically acclaimed and financially feasible, examples are far and few in between and they are mostly european movies like “Persepolis” (2007). It is not an easy task to make a non-Disney movie that will have a Disney-like numbers, financially or audience wise.!!!!!!!!!!!!!

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5. To Disnefy, discussion of pros and cons!!Disneyfication and disneyzation are most often used in a negative and a devaluating way, to describe something that is dumbed down. “To Disnefy means translate or transform the object into something superficial, or even simplistic.” (Bryman, 2004, p.5)!!To say that these processes have only negative or obtuse connotations is over simplistic. They have shaped industry and the audience in positive and negative ways. However, when it comes to discussing Disney and its influence, first thing that most people think of are children in general. Disney products are generally family oriented, but most discussions are children oriented because they are easier to influence. Although movies are the most prominent Disney products, they are consumed in movie theatres few times a year on average, at least until they get their home release. Disney’s biggest American influence comes in the form of television programme, most prominently specialised channels that are aimed at preteens and adolescents. Media Networks is one of the five major business segments of The Walt Disney Company.!!After “Disneyland” on ABC in 1954, Disney’s second television venue was in the form of “The Mickey Mouse Club” (1955). It eventually got two revivals and with occasional breaks, it lasted until 1995. Castmembers from the show were called Mousketeers and accordingly, everything revolved around Disney and Mickey Mouse. Television series was an extension of the Mickey Mouse Club, an actual club that held its meetings in theatres. It started in 1930 in California as a theatre club that had its meetings on saturday afternoons with organised activities and watching of the latest cartoons. Eventually other clubs were founded and they grew in numbers. They spread internationally, until with time they were phased out by technology and television series. !!On television, Disney Channel and ABC are the most recognisable stations of the Walt Disney Television division, but Disney is also present in the worldwide capacity with Disney-ABC Television Group. There are several other stations that are also aimed at kids in USA solely, and they have precise marketing strategies. Disney adapts to its market and that is the best shown in the rebranding of cable network Toon Disney to Disney XD in 2009. Team of researchers, with now Disney cable networks senior Vice President Kelly Peña, did a 18 month research to find emotional, psychological and sociological hooks for boys aged 6-14. According to Brooke Barnes (2009) that demographic was responsible for the $50 billion in spending worldwide, and Disney wanted to find a way to capitalise that. Although cable television rating numbers were

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not bad, it was shown that exactly that demographic group was alienated from the Disney production in the 2000’s. At that time, Disney had more girl oriented media franchises like Disney Princesses and shows like “Lizzie McGuire” (2001), “That’s so Raven” (2003) or “Hannah Montana” (2006). They were perfectly crafted as powerful, but still innocent franchises that fit the Disney mold. !!However, when it comes to Hannah Montana, precisely Miley Cyrus as a performer, and term performer is used because Disney stars were often singers and actors, the allure of innocence sometimes falls apart after the artist’s departure from Disney. While kids in the audience enjoy the shows, Disney kids stars are under the spotlight of Disney and the press. It is often attributed to the constant work and press obligations, that the underaged stars had no time to mature properly. They were always under continual observation by the audiences and industry. Over the time, multiple former Disney stars were in the press for their bad or illegal behaviour, most often while in their 20’s. !!Lindsay Lohan, star of “The Parent Trap” (1998) and “Freaky Friday” (2003) became more popular for her DUIs and court proceedings than acting. Shia LaBeouf of the “Even Stevens” (2000) fame, had more successful career than Lohan, but is also famous for trespassing and assault allegations. Previously mentioned Miley Cyrus continued her singing career successfully, acting little less successfully, but she is often criticised for hyper-sexual appearance and usage of marijuana. Former Mouseketeer Britney Spears, had a slow public meltdown that escalated in her shaving her head in 2007, but eventually she regained her public image and career.!!There are other examples of troubled ex Disney stars, and some of them recovered like Spears, but legally and morally speaking, Disney can not be blamed for their actions after their departure, at least not completely. However, if Disney could have partial responsibility in the behaviour patterns of bad stars, then it could have partial responsibility for the good behaviour and non scandalous stars too. !!Selena Gomez from “Wizards of Waverly Place” (2007) continued her singing and acting career quite successfully. Raven-Symoné of “That’s so Raven” continued acting on film, television and Broadway. Hilary Duff from “Lizzie McGuire” also continued with acting on film and TV, and she also had some music success. Zac Efron, from High School Musical franchise, continued working on film and became one of the most successful ex-Disney stars and is now considered A-list Hollywood actor. Although

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Disney can not be held for the whole success or failure of certain ex employees, it can be partially responsible for their success as an excellent starting point, or it can be partially responsible for their failure for adding extra psychological pressure on them.!!

The company's approach makes Disney a particularly useful case for understanding corporate strategies directed at youth in the new media environment. At the same time as Disney represents nostalgia and tradition, it has become a global leader in transforming digital technologies into profit-making platforms and developing a consumer-centered discourse that deflects criticism away from, while it softens, what can only be called boldly commercial self-promotion. (Giroux. 2011)!

!In the end Disney will, as any other corporate company, think about its own benefit first. With disneyfying, they are choosing the safest route that offers pretty product, but that is not always the case. An example that combines technological and cultural aspects of disnefying is the 2013 controversy, of design and animation of the female heroines in “Frozen” and retroactively, “Tangled” (2010). Lino Di Salvo, head animator for “Frozen”, told Fan Voice’s Jenna Busch:!!

Historically speaking, animating female characters are really, really difficult, ’cause they have to go through these range of emotions, but they’re very, very - you have to keep them pretty and they’re very sensitive to - you can get them off a model very quickly. So, having a film with two hero female characters was really tough, and having them both in the scene and look very different if they’re echoing the same expression; that Elsa looking angry looks different from Anna being angry.!

!The article with the statement was removed from “Fan Voice”, but others quickly reported the quote, like Laura Stampler (2013). Disney spokesperson later stated that quote was taken out of context and that it was more of a statement of technical issues in CG animation, rather than animating male versus female characters. But with or without the statements, there is undeniable similarity between physical appearances of Elsa and Anna, and additionally Rapunzel from “Tangled”. With characteristically round heads, very big eyes, relatively small noses and mouths, and tiny waists, there is no denying that their physical features are very similar, intentionally or not.!!Another similar controversy that happened the same year, involved Disney/Pixar heroine Merida from “Brave” (2012). While inducting her in The Disney Princess

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Collection, a teenage tomboy that was introduced in the movie got a makeover where her figure was more curvaceous, but skinnier and generally more mature looking. That backlashed and petition was launched on Change.org. It reached over 100,000 signatures in a little over a week and gained the support of Brenda Chapman, creator of Merida (Child, B. 2013b). In the end, petition got 262,296 signatures and the new revamped image of Merida was removed and replaced with the original one from the movie.!!To move beyond the social influence and look of the princesses, Disney is well known known for its acquisitions, especially post 2000. Most prominent were the ones of Pixar, Marvel Entertainment and Lucasfilm. Those brands already have had established identities and formed audiences. There were no major financial problems and there was no problem of brand establishing. !!Pixar and Disney had a long business relationship prior to the acquisition. However, that buy-out was very significant for the animation department. Pixar, and its 3D oriented animation, allowed Disney to revive its animation department. Since the end of Disney Renaissance, Disney animated features had no major box office successes, with exception of “Lilo & Stitch” (2002). After acquiring Pixar, only two major animated features were produced by Walt Disney Animation Studios in the traditional 2D animation: “The Princess and the Frog” and “Winnie the Pooh”. From that point 3D releases were more lucrative, starting with “Bolt” (2008). Many critics proclaimed Disney’s acquisition of Pixar as a move that killed traditional animation and Pixar’s creativity, since “Toy Story 3” (2010) was the last Pixar movie that got positive reviews from critics. !!Unlike Pixar, Marvel had no major critical or financial misses in the movie department so far. It’s biggest creative contribution to the movie industry is the construction of the so called Marvel Cinematic Universe. Although the origin and development of that creative and business model predates Disney acquisition, thanks to the Disney distribution network it gained worldwide influence and it even spread on the television with “Marvel’s Agents of S.H.I.E.L.D.” (2013) and, at the point of writing this text, yet to be broadcasted “Marvel’s Agent Carter” (2015) on ABC. Additionally four other shows that are part of the Marvel Cinematic Universe will premiere on Netflix. In short, it is a strategy that entangles multiple superhero franchises and characters in one fictional universe. !!

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It was virtually unprecedented model in Hollywood and it spread over to other major movie studios, mainly to those that have ownership of other comic book characters. 20th Century Fox and Sony Pictures have their own Marvel properties that they acquired before the Disney buy-out, and Warner Bros. has ownership of DC characters, Marvel’s biggest rival in comic book industry. Fox will focus on development of X-Men and Fantastic Four franchises. Their universe is already in production and it will include movies that were released after “”X-Men: First Class” (2011). Sony, with its Amazing Spider-Man franchise (not to be confused with 2000’s Spider Man trilogy), is currently developing movies based on other Spider-Man characters like Sinister Six and Venom. However, the biggest expectations are on Warner Brothers and DC that started their own cinematic universe with the “Man of Steel” (2013). With Superman, Batman and Wonder Woman, they have some of the most popular comic book characters in general, and they are expected to rival Marvel’s Avengers superhero team-up with their own Justice League movies.!!What is also left to be seen is the development of the Star Wars universe. With Lucasfilm, Disney bought Star Wars, another franchise that has worldwide popularity. After acquisition, it was quickly announced that the new trilogy will go in the production, with the first film scheduled for release in December of 2015. Unlike Pixar, whose target audience are kids, or Marvel whose target audience are teenagers and young adults, Star Wars franchise has longer cinematic history and its target audience is much bigger, comprehending older audiences. That automatically brings wider customer margin, but its own history can become its own enemy. Audience expectations are big and if the first film is not financially feasible, it can stop the development of the rest of the trilogy.!!In the Marvel manner, Disney decided to have one universe, but this time in the gaming industry. Although Toontown Online, a massively multiplayer online role-playing game that had multiple famous Disney characters in it, is now defunct, in 2013 Disney Interactive Studios, released “Disney Infinity”. It is action-adventure sandbox video game that also utilises physical figurines that could be additionally bought, and it started with Disney and Pixar characters. Sequel “Disney Infinity: Marvel Super Heroes” was released in 2014 and it adds Marvel characters to the game, while there are still some allegations about Star Wars characters in its still unannounced third “Disney Infinity” instalment. Considering the popularity of Star Wars, it is not unreasonable assumption and, in my personal prediction, its publication will probably happen somewhat parallel with the publication of the new Star Wars movie.!

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Part II!!6. Situation in Croatia!!When it comes to Croatia and its history and influence in the entertainment industry, there are not many influences on other markets, but there are several critical examples and points in history. Of course, those can not be put on the same level with the global giant like Disney, but there are some areas, especially in the animation, that show a different school of thought and technique. However, just like the certain political situations in the USA influenced Disney production, most prominently World War II, Croatian political situation influenced its own entertainment industry, most notably Homeland War in the 1990’s.!!!!!!!!!!!!!!!!!!!!!!!!!

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7. Yugoslavian years!!Before the World War II, there were no big movie productions in Croatia, so there is no reason to talk about Disney’s influences. In a global sense, even after the War finished, movie industry was still in its infancy. There were always years of latency between first technical breakthroughs in the USA and coming of the same technologies in Croatia, then part of Yugoslavia. First Croatian movie “Brcko u Zagrebu” (1917) was not preserved, and it was filmed two to three decades after the first movies ever. First Croatian sound movie “Šešir” (1937) came almost a decade after the first sound motion picture, but that period can be considered even longer if we take in account that the first feature length Croatian movie “Lisinski” came out in 1944. Although movie and media industry started to develop, World War II set back Croatian production that was still in its early stages.!!Consistent movie production starts with establishing state firm Hrvatski Slikopis in 1942. Just like Disney at the time, its primary production was for propaganda and the movie industry suffered worldwide because of War. At that time, most influence and technology came to Croatia from Germany and according to Kruno Heidler (2007, p.12) movie professionals were in small numbers. Bigger movie business started in 1944 with establishment of Yugoslavian state movie business firm, but the actual Croatian movie production started in 1946 with the establishment of Jadran Film. It was the first movie firm that was modelled with Hollywood studios in mind. So called “movie city” was built in Zagreb between 1953 and 1955 and it was modernised and upgraded in the following decades. Around 1980 it was one of the best production houses in Yugoslavia and Europe in general, especially if we consider numerous co-productions with foreign studios from other Europen countries and United States. However, the big difference between so called East and West was that the Yugoslavian movies, unlike American ones, were state funded. That changed in 1956 when the law about financing cultural products changed, and movies were now only partially funded by the state. Perhaps because of the state funding, or the cult of Tito, the most funded and distributed were movies with war and antifascist themes like “Bitka na Neretvi” (1969). !!During Yugoslavian years, Jadran Film produced number of movies in different genres and a lot of them became Yugoslavian classics. For example “Plavi 9” (1950) was a first comedy that also has sports elements, “Ciguli Miguli” (1952) became first banned movie and it was shown in movie theatres decades later, “Vuk Samotnjak” (1972) is dramatic move for children and “Glembajevi” (1988) is adaptation of the turn of the

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century novel by Miroslav Krleža. Foreign co-productions were also successful, with examples from B-productions like “Winetou” (1963) and its numerous sequels, and “The Dirty Dozen: The Series” (1988). There were also critically acclaimed examples, like Orson Welles’ adaptation of Franz Kafka’s “The Trial” (1962) and Oscar winning “Sophie’s Choice” (1982). !!There was another successful movie company that was founded in 1946. Named Poduzeće za Raspodjelu Filmova, it was the sole distributor and importer of foreign movies until 1970. In 1954 it was renamed to its current name Croatia Film, and it begun with movie production in the 1960’s. Its most prominent movies are both from the 1970. Children oriented “Družba Pere Kvržice” was the most viewed Croatian film in foreign markets for a long time, and musical “Tko Pjeva Zlo Ne Misli” is still considered by critics and the audiences as one of the best, if not the best Croatian movie of all times. Croatia Film also released first two Croatian animated features, “Čudesna Šuma” (1986) and “Čarobnjakov Šešir” (1990).!!When it comes to animation in Croatia the most prominent establishment is Zagreb Film. Founded in 1953, in 1956 it opened studio for animated movies. With authors like Nikola Kostelac, Vatroslav Mimica, Dušan Vukotić and Vladimir Kristl, Zagreb School of Animated Films, as it was called, quickly became internationally recognised and critically acclaimed. Animation was very often experimental, avant-garde and not always aimed at children. It was invented out of necessity for more cost effective movies and it thrived as a friendly competition between authors. Its crown jewel is “Surogat” (1961) from Vukotić that became first non American winner of Academy Award in the category of Short Subjects, Cartoon, which is now known as Best Animated Short Film category. It is also the good example of why Zagreb School became popular and recognised. Its animation is geometrical in character and its theme is nature versus artificial which ends in tragedy. Another successful, but children oriented, example is animated series “Profesor Baltazar” (1967) by Zlatko Grgić. It has vibrant colours, flat and geometric style, there is no “illusion-of-life” animation, and according to Luigi Scarpa (2011) it influenced movies like “Yellow Submarine” (1968). Baltazar became one of the few animated series that were distributed internationally, including UK, USA, Australia, Germany and many other countries. Its character is still internationally recognisable and it became the mascot of Zagreb Film.!!Zagreb School of animation was welcomed as a refreshing alternative to Disney animation, but to say that there were no Disney advocates would be a lie, especially

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because brothers Walter and Norbert Neugebauer, duo of brothers that were cartoonists and animators, were avid advocates of Walt and his animation. However, according to Jurica Starešinčić (2007, p.38) Vukotić, as the most prominent member of Zagreb School, felt necessary to distance himself from Disney. It can be said that Zagreb School tried to avoid Disney animation on purpose, so in a way, that is still a Disney influence, in a sense of wittingly avoiding it. However, this generation of authors did not generate equally capable future generations, although there were respectable names of so called second and third generation, so during the 1970’s the potential for continuing international success stopped. Even Zagreb Film as a studio fell in debts during 1980’s and virtually collapsed in the early 1990’s.!!However, before the total dissipation of influence of Zagreb School, The World Festival of Animated Film Zagreb, or better known as Animafest Zagreb, or simply Animafest, was founded in 1972. It is the second oldest European animated film festival, next to 1960’s founded Annecy International Animated Film Festival. The latter two were held interchangeably every second year,. According to Gunnar Strøm (2002, p.9) Animafest was “important in bringing the animators from both sides of the Iron curtain together” since it was in Yugoslavia, a state that was, and at the same time that was not, a communist. state Since 2005, Animafest is held annually and it is still very often listed as one of the top 10 worldwide animation festivals. !!!!!!!!!!!!!!!!!!

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8. After Yugoslavia!!1980’s were marked world-wide as politically unstable period that culminated in the fall of communistic regime on the turn of 1990’s with symbolic fall of the Berlin Wall. Yugoslavia as a socialist federal state was not an exception, and the sovereign Croatian state emerged in its dissipation. However, separation was not peaceful and 1990’s were marked in Croatia and other ex-Yugoslavian countries with a war that would become known as a Homeland War in Croatia. In accordance with that, all entertainment and movie business was abruptly stopped, and all media interest was shifted toward social and war themes.!!! 8.1 Cultural situation!!During the 1990’s, Croatian cinematography and media went tough the same motions that many transitional countries went through. Fall of communism brought the fall of censorship, although its weakening could have been felt couple of decades earlier, but the official fall of Yugoslavia brought official shift in censorship ideals. That did not necessarily brought more critically acclaimed, watched or audience loved movies in general. According to Tomislav Kurelec (2008, p.25) ability of authors to directly express their ideas, that until then have been hidden behind metaphors and symbols in Yugoslavia, have degraded the artistic values of many movies and works in general. However there are two exceptions embraced by the audience. First was “Kako je Počeo Rat na Mom Otoku” (1996) by Vinko Brešan that had Homeland War theme mixed with a lot of black humour, which established a pattern for a lot of later movies. That was proved as a mix which Croatian audience loved and went to movie theatres for. Brešan tried to repeat the success with “Maršal” (1999), which was planned as the first Croatian blockbuster, and although it can be considered as a success, it did not meet financial expectations, so further attempts at Croatian blockbusters were stopped. The other exception is the most successful Croatian animated feature “Čudnovate Zgode Šegerta Hlapića” (1997) which remains the only Croatian animated feature to the date.!!Over time, Croatian audience developed a certain animosity towards its media products, most prominently movies. Majority of producers and investors are not planning movies as blockbusters, in a sense that they have planned out strategy from the beginning to promotion, distribution and expected box office. Financed at least

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partially by the state or national television, Croatian movies are, like the majority of European movies, seen as cultural products, rather than commercial ones like the Hollywood movies are. However, even when it comes to foreign blockbusters, numbers are often underwhelming even for Hollywood standards. The main reason is very small market, which for effect has a small chance for profit. Even the critically acclaimed and most viewed movies in Croatia rarely reach 250,000 viewers, which is considered as extremely high number of viewers. Igor Saračević (2004, p.21) said that only seven movies crossed that number in the 1998-2003 period, which averages one movie per year. If the criteria is lowered to 100,000 viewers, that will bring up number up to 30 blockbusters, which makes average of four movies a year. Although these numbers are showing the state before the construction of first Croatian multiplex CineStar in Zagreb, the mind set of the audience and producers are very much alike some ten years after. !!In a recent study (HAVC, 2013, pp.49), 61,4% of the examinees stated that they never watch Croatian movies in movie theaters. Five top reasons for not watching were as follows: ‘they are not interesting’, ‘foreign movies are better’, ‘I rarely go to the movie theatre, and then I do not watch domestic movies’, ‘I am waiting for them to come to television’ and ‘they are bad’. Top three associations for “Croatian movies” were that they are ‘bad’, ‘boring’ and contradictory to second one, ‘good’. Although one of the main conclusions is that slight majority of Croatian audience is associating Croatian movies with negative statements, another important conclusion was that slight majority of Croatian audience is thinking that Croatian movies have made a positive shift towards better quality in recent years.!!The latter statement is also reflected in another part of the study. According to it, the best Croatian movie of all times is already mentioned “Tko Pjeva Zlo Ne Misli”, while on second place is also mentioned “Kako je Počeo Rat na Mom Otoku”. However, next four entries in order are “Svećenikova Djeca” (2013), “Što je Muškarac Bez Brkova?” (2005), “Sonja i Bik” (2012) and “Metastaze” (2009), which are all fairly new movies, even without considering ones that were made during Yugoslavian years. The rest of the movie list is mix of new Croatian movies and old classics from the Yugoslavian era.!!Another trend emerged in recent years: movies with children and for children. It started with “Duh u Močvari” (2006) although the big boom came in the next decade with titles like “Koko i Duhovi” (2011), “Duh Babe Ilonke” (2011), “Zagonetni Dječak” (2013), “Šegrt Hlapić” (2013) and “Ljubav ili Smrt” (2014). “Šegrt Hlapić” became the most

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watched Croatian live action movie for children and according to Box Office Mojo (2014), it was the 5th most grossing movie in Croatia that year. It wold be the most watched motion picture for children if it was not for 1997 animated feature that coincidentally had the same literary template. Unfortunately, besides that animated example, according to Hrvoje Turković (2006, p.3) “there is no concentrated creative animation milieu and no recognisable artistic movement anywhere in Croatia today.” But to get back to live action, more interesting is series of movies that revolve around Koko, another well known literary character created by Ivan Kušan.!!“Koko i Duhovi”, “Zagonetni Dječak” and “Ljubav ili smrt” are one of the rare examples of Croatian movie franchise. They all follow the same characters, that are impersonated by the same actors, with the same crew behind the camera. Just like perviously mentioned “Šegrt Hlapić” they are all relatively faithfully adapted from their source materials. Although filming with kids has its own setbacks, and according to Juraj Lerotić (2013, pp.28) casting agencies are not of much help in Croatia when it comes to kid actors, this particular franchise is good example of successful and well executed business model. Ankica Jurić Tilić (2014), producer of Koko movies, stated that she was generally satisfied with the development and success of the movies, but the biggest obstacle were finances, and if they could they would film all the sequels in a tighter schedule. However, they did not want to pressure kid actors and mess with their education and mental health, especially when it came to promotion. Company wanted to protect them from the potentially aggressive media and, although they knew they were doing a disservice to themselves, they had personal and moral problem with exploiting kid actors for profit. That did not mean that there was no promotion, or that audience was not acquainted with this incarnation of Koko. Since it is a kids franchise, promotion was sometimes even done by the kid from different schools and their journalistic groups. In some instances, like premiers, there was a need for a crowd control to protect kid actors from their kid fans. !!However, that franchise is an exception to the rule. Although there are ceremonial premiers for majority of big Croatian movies, the reason why there are no attempts at romantic comedies or movies with similar lighter themes is the absence of genuine Croatian movie stars. In previously mentioned study (2013), when it comes to the main criteria in picking which movies to watch, for Croatian audience most important are actors. Without Croatian actors that would have the effect of attracting the audience in movie theatres just by their name, Croatian filmmakers are relying on the narrative elements, which often results in two extremes: comedies that are powered with

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regional humour or socially heavy themed dramas. In that way, disneyfication perhaps influenced Croatian movie making, but its influence is not big or obvious like in Hollywood. Croatian audience and move makers still like Croatian movies when they are not too disneyfied, or in this instance, simple.!!! 8.2 State of business and technology!!When it comes to disneyfication and disneyzation in Croatia, there are some severely restricting factors that allow us to observe them mostly through the prism of movie business. Perhaps the most successful disneyzation example outside of the movie scope, is the chain of City Center One malls. With three malls, two in Zagreb and one in Split, it is a popular place for shopping. It has constant thematic image that combines logo with yellow and black colours in the malls, online and in their magazine. They successfully combine all four elements that Bryman defined in his book. However, in most cases Croatian business and production simply can not reach the Disney level, because of financial, historical and political reasons. !!The biggest obstacle in Croatian movie production was already mentioned Homleand War. It did not only shift the interest of the audience and industry, but it also influenced many of the mentioned production houses and studios. During the 1990’s, Zagreb Film, as the main animating studio went virtually bankrupt, Croatia Film slowly stopped their live action production, although it had a spark of success with animated “Čudnovate Zgode Šegrta Hlapića” and Jadran Film became a victim of bad business decisions, laws and privatisation. They all started to recover in the next decade. Zagreb Film avoided disappearance with merger with Filmoteka 16, and it still has the best technical infrastructure for animation. However, it passed the title of the most prominent institution, when it comes to animation in Croatia, to Animafest. Croatia Film had their animated success with “Hlapić” which spawned sequel in a form animated series from 2000. In 2008 they started with broadcasting of the first Croatian channel for kids Dječja Televizija. Unfortunately, the most successful Jadran Film did not recover to its former glory. Majority of equipment was sold, part of the “movie city” land was sold in controversial transaction for construction of “Garden Mall” and most of the staff either quit or got fired during the years. Financial malversations combined with bad leadership destroyed Jadran Fillm’s reputation and ability to be the best production company in the region for the foreseeable future. Many critics are sceptical if it is possible to repair it at all.!!

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Today, the main difference between European and American movie making is financing. Disney and Hollywood are operating on a system of investors and producers, which gives movies a commercial character. It is an investment that is carefully calculated and it is expected to pay off. In Croatia, as in most of the Europe, majority of the movies are financed partially by the state because they are considered primarily as a cultural products. There are independent exceptions, like “Show Must Go On” (2010) by Nevio Marasović, which was the first SF Croatian feature, but they are rare and less powered by finances, and more by the enthusiasm and the free time of the people involved in their production. Until 2008, audiovisual creations could get the money if the creators applied for the Ministry of Culture’s announced public bid for the financing, and that money was collected from the taxpayers. In 2007 the Law for audiovisual businesses was changed and modernised, and for a consequence in 2008, HAVC, Croatian Audiovisual Centre, was created. From that point, HAVC became the organisation that is responsible for the announcing of the public bids for financing. However, that change is major, since the majority of filmmaking money is still coming from taxpayers.!!That law change did not only benefit domestic audiovisual production, but the foreign too. The main point that brought foreign investors in Croatia was the change that allowed foreign investors to get tax return. The biggest business and tourist investment that was brought in its second season, was the production of HBO’s “Game of Thrones” (2011). Series concluded shooting its fourth season in Croatia in the moment of writing of this text. Other companies recognised the opportunity too, so among others, BBC shot several projects, most prominently part of the series five of “Doctor Who” (2005 ) in Trogir in 2009. There were also productions from France, Germany, Switzerland, Finland, Denmark and Sweden. That not only gave financial boost to production in Croatia, but it also gave boost to tourism in a form of film tourism, but that for of tourism is still in its beginning stages.!!That does not mean that Croatian production suddenly got better financed. There are still financial problems, especially for marketing and promotion. While A-production American movies spend half or more of its budget on marketing, Croatian A-movies spend their whole money on production, and sometimes, even that is not enough to cover it. Promotion in Croatia is strictly conservative, with couple of billboards, advertisements in more popular newspapers and possibly TV commercials that are most often on HTV, Croatian National Television, and they are usually part of the co-production deal. According to Oremović (2012, p.110) 1-2% of the movie budget is

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spent on promotion, and it is mostly spent on secondary promotion activities like design of posters, promotional photographs, creating trailers and others activities that are considered as a promotional minimum. There is also the problem of distribution, because distributors are getting more money from foreign movies, so they are not particularly interested in distributing domestic movies. !!Another factor is the way that domestic audiences are consuming the media. Domestic movies are mostly watched on television while movie theatres are reserved for foreign high budgeted movies. There was also a crisis with movie theatres during the 1990’s and early 2000’s. Besides outdated technology, there was big time discrepancy between international and domestic premiers of the same foreign movie titles. That problem started to resolve in 2003 with the construction of the first big Croatian multiplex CineStar in Zagreb. During the following years, other multiplexes were built in other cities and another chain of multiplexes emerged, Cineplexx. Those multiplex chains are another example of the disneyzation in Croatia because they follow all four points that were established in Bryman’s book. In 2011 first IMAX was built and in the following years other technical advances were implemented in movie theatres , like 3D projectors, Auro 3D surround and 4K standard of 60 frames per second. Today, cinematic technology in Croatia is on par with the worldwide standards.!!However, when it comes to home consumption, there is a big problem of piracy. A lot of television programmes and movie titles are downloaded, torrented or streamed online on or from illegal sites. With the easier access to internet, rental places started to go out of business. While there was 1500 video stores in Croatia in 2005, in 2010 only 150 were open according to Maja Posavec (2010). However, there is rise of number of legal services in recent years. Cable televisions like MAXtv have VOD, Video on Demand, libraries, and national televisions have them too, for example OYO for Nova TV, or an online archive of their shows, like HRT. The first independent video streaming service, Pickbox.tv came in 2014.!!As for the children’s programme, besides already mentioned Dječja Televizija by Croatia Film, another specialised channel for younger kids, RTL Kockica, started with broadcast in 2014. This need for specialised programmes for children emerged because of the lack of quality in the children programming on the national television channels. Although there are educational and entertainment shows, good ones that are acclaimed by parents, educators and critics are few and far in between. There is also lack of kid performers, although there have been and there are several kid and teenage

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performers that are popular, and that term is used loosely, among kid audiences. For example, actor Antonio Parač that embodied previously mentioned Koko, or Endi that is a popular teenage singer. However, there are no kid performers in the sense that they sing and act, but there are also no grown up examples in Croatia, if we disregard actors in musical theatres. !!Domestic production of original television programme for children is almost non existent, and the majority of those that are broadcasted are either imported, or mosaic shows that are made out of short features. During Yugoslavian years, Televizija Zagreb had several hit programmes like “Mendin Program” (1958), “Zlatna Nit” (1976), or series like “Jelenko” (1980) or “Ne Daj se Floki!” (1985). 1990’s brought two HRT hits, an educational kids game show “Turbo Limač Show” (1991) and “Briljanteen” (1994) which is aimed at teenagers. Both of them were made as a mix of education and entertainment, a recipe whose success was not repeated post 2000. !!That lack of interest in edutainment is one of the reasons why there are no major theme parks in Croatia. Krunoslav Lučić (2014) said it adequately, that here is a common misconception among Croatian educators that learning should not be fun. Walt started Disneyland, both television show and theme park, as a place where kids could have fun and learn something. While Croatian schools are educational without much fun, contradictory they want kids to have fun. That is best shown in excursions to Gardaland, a major theme park in north of Italy. They are offered, and often mandatory, in majority of elementary and high schools at some point during education in Croatia. !!There were also rumours about building big theme parks in Croatia. For example Kraš, company that is in business of sweets confection, planned to build Krašograd in Zagreb around 2006, but the plan fell through. In 2013 there were rumours for theme park by Mirnovec, company in pyrotechnic business, near Biograd na Moru that would have roller coaster and other rides typical for big theme parks, but for now there are no news or developments.!!For now, the only theme park in Croatia is Dinopark Funtana near Poreč that was opened in 2009. It has performers, shows and a lot of educative elements about dinosaurs that include numerous life sized robotic models of dinosaurs. However, it has no big thrilling roller coaster rides, so it can not be put in the same category as any of the Disney theme parks, but instead it can be seen as an advanced luna park.!!

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9. Disney in Croatia!!During Yugoslavian years, Croatian television with its most prominent Televizija Zagreb, was more influenced by Warner Bros. then Disney. For political, distributional and language reasons, Televizija Zagreb did not want to go through Televizija Beograd for Disney cartoons, so they were buying the rights for Warner Bros. cartoons. Instead of Mickey Mouse, Croatian generations became more acquainted with Bugs Bunny and the rest of characters created by Tex Avery. Croatian synchronisation was very well executed, so the other Yugoslavian televisions started to copy it too. That tradition was brought over to sovereign Croatia. According to Vanja Došen (2010) Disney commended Croatian synchronisation of their movies as the best in Europe. As for the Disney on television, many television houses broadcasted Disney movies, animated and live action, and RTL had a whole day marathon on 8.4.2014 called “Disney dan” which no other media company ever had on any Croatian national broadcasting network. There are also local versions of Disney Channel and Disney DX on cable provider MAXtv.!!When it comes to merchandising, the first Disney influences came in the form of comics, mainly “Mikijev Almanah”. It was first published in 1967, but that publication was in Serbian and although it was distributed through Yugoslavia, it was printed in Serbia and it can not be considered Croatian publication. First Disney publication in Croatian language was comic magazine “Miki Maus i prijatelji” that started with publishing in the 1994 and eventually it branched out to other editions, mostly by Egmont publishing house. Other Disney products, licences and original are available through various dealers and resellers, most often toy and media through companies like Algoirtam or Sophoslab, because there is no official Disney store in Croatia. !!However, not all Disney products and cooperations were approved by the public. In 2006, PIK Vrbovec, a meat industry company, launched several products with Mickey Mouse on their design and one dish for deep frying in the iconic shape of Mickey’s head. That provoked campaign by Animal Friends Croatia, an animal rights group, to stop this promotion which eventually lead to cease in production of the mentioned food items. However, in general, Disney and its products are positively received and consumed in Croatia, either directly through media, or indirectly by the products in retail.!!

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10. Industry and market overview through interviews with Croatian professionals!!When it comes to recognisability of terms disneyfication and disneyzation, majority of interviewees did not heard of them. If they did, they were not sure about their definitions and they connected them to cultural trends in a sense that they simplified and dumbed down things. After explaining the terms, they agreed with them, but they also noted that they are not Disney exclusive, and they attributed them to globalisation and commercialism.!!While some of them noticed some ramifications of them in Croatia, and some explicitly said that there are no ramifications, nobody said that they were big changes in Croatian media and business industries. Biggest reasons for that were often mentioned finances and different, subsided, type of financing Croatian movies. There are also complications with administration and partially politics and laws, but they are changing, which brought new wave of interest from foreign investors. Marketing strategies are almost non existent for Croatian movies and media franchises.!!When it comes to Croatian franchises, and especially media franchises, they agreed that there is potential and some attempts, but they are not financially cost effective and they are not expected to be successful. Major problem is the small size of the market and the big expenses that do not pay off in majority of the cases. Another problem is the way that audiences are seeing domestic media and movies. Although audiences are seeing rising trend in quality of Croatian movies, they are still binding mostly negative associations with them. Additionally, Hollywood movies are percept as commercial products, while domestic movies are percept as cultural product and in general they are thought as boring. Foreign movies can overshadow domestic ones to a degree and there is a lack of genuine movie stars in Croatia, but in general Disney rises standards, which is a good thing. However, buy outs and mergers are mostly seen as a negative thing that results in homogenised and boring products.!!As for the technology and consuming the media, during the 2000’s Croatian providers and distributors caught up to western standards and today the latency between premiers of big features is noticeably smaller then it was during the 1990’s. Television is underused for the children’s programme and there is no interest in edutainment. That, combined with small market and financial and administrative problems, is the

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reason why there are no major theme parks in Croatia, although there is consumer’s interest for them.!!While there is no clear or simple explanation why is Disney synonymous for animation, it is clearly a leader that set standards in the field. While Zagreb School of Animated Film had some success in Yugoslavian years and was not primarily influenced by Disney, its influence is now only historical. As for the production and the state of production houses in Croatia, situation is bad, which is best reflected in the collapse of Jadran Film.!!In conclusion, presence of disneyfication and disneyzation got mixed estimates. Hrvoje Turković said that they are not present, Nikica Gilić said that they are coming, but slowly, Ankica Jurić Tilić and Krunoslav Lučić said that they are partially present, and Ivica Drnić said that they are mostly present. However, the main conclusions were that the processes could never reach their full potential because of the financial restrictions, size of the market and the perception of the domestic audience towards domestic products. !!!!!!!!!!!!!!!!!!!

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11. Possible future developments of disneyfication and disneyzation in Croatia!!When it comes to disneyfication in Croatia, there is room for some improvements, which can primarily be observed through movies. Croatian movies are generally separated in two categories: those for adults and those for children. While children movies are somewhat disneyfied, they are aimed at adults too. Big percentage of them is adapted from the already well known literary templates and they are pretty faithful to the original works, but they are never simplified to the point where the majority of adults would loose interest. Additionally, there are no major changes in the stories, like it is in the instance of “Frozen”, so even if they are very disneyfied, they are not mutilated to the point of no recognition, and that is a good thing. Croatian children movies are still retaining their independence and intelligence, so when they are disneyfied, they are disneyfied enough for Croatian and European audiences, and they should not be disneyfied more. !!However, when it comes to disneyzation in Croatia, there is much more room for improvement, but there are also a lot of restrictions. Mainly for the financial reasons, small market and lack of interest in edutainment, commercial products are destined to aim at very small number of audience. With some investments in media, marketing and promotion, potential franchises could grow more. They should also aim at international markets and try to spread in that direction. There is great potential in literary works of Ivana Brlić Mažuranić, which could be transferred to big screen in animated form, since, in most cases, fantasy genera requires a bigger budget in live-action form, than animated one. There should also be further education and investment in the 3D animation, which could potentially expand on the popular Animafest. Considering Jadran Film, there is potential for revitalisation on account of its rich history, but it is in need of big investments and right leadership. As for the theme parks, there is much room for improvement. Dinopark is great start, but it is lacking thrilling roller coaster rides so its improvement should be in that direction. !!Of course, the main obstacles for any kind of advancement are administration and finances, and both of those are not in favour for domestic products. However, while administration laws are getting more complicated, financial laws are improving and modernising, which is reflected in newly found investments by foreign companies. !!

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12. Conclusion!!

As one of the most influential corporations in the world, Disney does more than provide entertainment: it also shapes in very powerful ways how young people understand themselves, relate to others and experience the larger society. (Giroux, 2011)!

!Disneyzation and disneyfication are two strategies that are integral parts of The Walt Disney Company and most often are targeted at younger audiences. They are complete processes that work on multiple levels when it comes to media and marketing. To say that Disney had no influence in Croatia, would be unreasonable. It is a global company that has been an active media franchise for almost a century, and a powerful and influential media conglomerate, especially in the post 1990 era. Disney provoked some kind of reaction in Croatia as a media space, either by embracing its influence, or actively resisting to it. From the gathered data it can be established that D!disneyfication and disneyzation have left at least partial mark in Croatia.!!However, since they are a wholesome strategies that extend beyond the realm of movie making, and go to merchandising, online presence, theme parks and other elements that were mentioned previously, they have not reached its full potential in Croatia. One of the main elements that is missing is theme parks. Without presence of Disney theme park, or other local imitation that could develop a local franchise, disneyzation can not be fully developed. Theme parks are one of the backbones of The Walt Disney Company and there is no example in Croatia that could serve the same purpose. With that, hybrid consumption is very restricted and it is related to events, rather than brands and places. Another element where Disneyzation is failing is merchandising. Although there are attempts in branding, they can be considered more of a marketing tools, than strategy that will help to establish a brand and bring a profit.!!Unlike disneyzation, disneyfication is a bit more present. Today, its process of simplifying the narrative is present and characteristic not only to Disney, but it is also trending in so called western media. There have been, and always will be opposing currents to powerful trends, but disneyzation in its core has family values, which is something that majority of the world nations, including America and Croatia, and industries are deeming valuable in their own ways. For professionals and industry, targeting wide audience is profitable and the best way to achieve that is to not offend anyone. Family values are values that are not aligned with only very small number of

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worldwide population. On the other hand, simplified stories catch customer’s attention much easier than stories that require longer attention and involvement in the story.!!When it comes down to quantifying disneyzation and disneyfication in Croatia, it can not be said that they completely failed or completely succeeded. As all round strategies for a brand or a franchise that includes multiple levels of marketing and media presence, there are no Croatian equivalents to any of those from the Disney production. There are some attempts in creating complete strategies for certain examples like animated Hlapić from 1990’s or Koko from 2010’s, but they do not extend to such Disney-like lengths, even on the national level. Main factors that inhibit them are finances, small market and audience’s different perception of domestic products versus Disney products.!!From those standpoints of view, movies and their accompanying products are treated in Disney as a capitalist products that need investors and justification for the money invested them. If they do not seem financially cost effective, there will not get a green light for production. In Croatia, and Europe generally, audiences think of the majority of domestic movies and their accompanying products as cultural goods. That is also reflected in a way where Croatian movies are almost always financed in the majority by the state and taxpayers. Croatian audiences and movie makers simply do no think of domestic movies as potential franchises. There are few examples to that, most notably Hlapić and Koko. When it comes to finances, there is also a question of market size. Croatian, or even ex Yugoslavian, market is much smaller in size, compared to USA market, so there is much smaller potential of payoff and returning the investment.!!In short, disneyzation and disneyfication have some partial ramifications in Croatia, but they can also be considered consequences of consumerism or similar processes like McDonaldization. In Croatian media there are almost no transmedia franchises and Disney as media brand has big presence. Basic layouts for some parts of the processes are present, but as a thorough and complete processes, disneyzation and disneyfication have failed, or to form less harshly, have not reached their fulfilment, yet.!!!!!!!

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Appendix A - Interview Structure!!Interviews were conducted one on one. Every interviewee was informed that the interviews will be used in this project and will not be published anywhere else. All interviews were semi-structured, meaning that the flow of the interview was following the topics that emerged during discussion. However, all of the questions were answered in the way that was satisfying to me, the interviewer. First question always was:!!1. Jeste li upoznati sa Diznifikacijom i Diznizacijom? Ako niste, što mislite da znače?!translation:!1. Are you familiar with Disneyfication and Disneyzation? If you are not, what do you think they are?!!After interviewee answered, I explained terms in short, in the approximately following description:!!Disneyfication and Disneyzation are two concepts that are used interchangeably. They mean either transformation of something, like product, society in large or something else to physically look like a Disney theme Park, and it is also a transformation of something to be appropriate for children and family audience, most often a narrative of the story. That is accomplished through five stages: theming, meaning that something will be given a theme or a symbol; hybrid consumption, meaning multiple products could be bought at one place; performative labour, meaning that employees are not offering just services and products, but they are also performers; and lastly control over employees and to certain extent consumers.!!That way, even if they were not familiar with the terms, they could put following questions in the contexts of Disney and its influence. Questions were not always asked in this form, but the essence was not changed and the area of interest was always covered. Te rest of the questions are:!!2. Primjećujete li posljedice u Hrvatskoj?!3. Disney gura medijske franšize, zašto toga nema u Hrvatskoj?!4. Potencijalne franšize se vide na primjer u obliku Koka, Hlapića i Baltazara, ali se ne iskorištavaju njihovi potencijali, zašto mislite da je tako?!

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5. Disney koristi filmove kao najjače predstavnike u svojim transmedijskim pričama, zašto na primjer Koko, Hlapić i Baltazar ne iskorištavaju taj potencijal?!6. Koji su problemi vezani uz to: politički, administrativni, financijski i tako dalje?!7. Kako objašnjavate ponovno otkriveno zanimanje za Hrvatsku kao lokaciju za strane filmove i investitore?!8. Rast produkcije u hrvatskim filmovima je očit, no zašto to ne rezonira kod publike u većem broju prodanih ulaznica?!9. Walt Disney i Disney kompanija su poznati kao veliki inovatori, što mislite koliko utječe vremenski odmah tenhološkog napretka na hrvatsku produkciju?!10. Koliko je Disney imao utjecaja na hrvatsku školu animacije?!11. Mickey Mouse klub je bio popularan u USA, postojali su hrvatski pandani, no zašto televizija nije općenito više iskorištena za dječji program?!12. Što mislite koliko utječe popularnost Disneya na nedostatak hrvatskih medijskih franšiza i brendova?!13. Jadran Film je bio jedan od najjačih filmskih studija i investitora na ovim prostorima, što mislite zašto je propao unatoč bujnoj produkcijskoj prošlosti?!14. U Hrvatskoj nisu zaživjeli tematski parkovi koji su bitni za Disney, pa ipak je popularno odlaziti na školske izlete u inozemne parkove poput Gardalanda. Što mislite zašto nema Disnijevskih tematskih parkova u Hrvatskoj?!15. Kako objašnjavate pripisivanje ne-Disney filmova Disneyu, poput npr. Anastazije ili Princa od Egipta?!16. Smatrate li da je kupovina brendova poput Pixara, Marvela ili Ratova Zvijezda dobra za te brendove ili loša? Koji bi bio hrvatski pandan?!!translation:!!2. Are you noticing consequences of that in Croatia?!3. Disney is pushing media franchises, why is there lack of that in Croatia?!4. Potential franchises are seen in the form of Koko, Hlapić and Balthazar, but their potentials are not fully use, why do you think is that?!5. Disney is using its movies as the flagships in their transmedia stories, why for example Koko, Lapitch and Balthazar are not used in that way?!6. What are the problems that are stopping that: political, administrative, financial, and so on?!7. How do you explain renewed interest for Croatia as a shooting location and investing place?!

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8. Growth of production in Croatian movies is obvious, but why that is not resonating in the bigger number of sold tickets in the cinema? !9. Walt Disney and the Disney company are known as big inventors, how do you think that time latency between technological advancement is influencing Croatian production?!10. How much Disney had on Croatian school of animation?!11. Mickey Mouse club was popular in USA, there were Croatian doubles, but why television in general is not used more for children programming?!12. How do you think that presence of Disney is influencing the absence of Croatian media franchises and brands?!13. Jadran Film was one of the biggest and most influential film studios and investors in this region, why do you think it collapsed in spite of fruitful production pas?!14. Important for Disney, theme parks never flourished in Croatia, however it is popular for schools to send their students on excursions abroad in theme parks like Gardaland. Why do you think that there are no Disneyesque theme parks in Croatia?!15. How do you explain attribution of non-Disney movies like Anastasia or The Prince of Egypt to Disney?!16.Do you think that acquisition of brands like Pixar, Marvel and Star Wars is good for them or bad? What would be a Croatian double?!!!After those questions were answered in the satisfying manner, the last question would always be:!!17. Mislite li da su Diznifikacija i Disnizacija prisutne, ili ne u Hrvatskoj i ako mislite danisu, jesu li uopće moguće?!translation:!17. Do you think that Disneyfication and Disneyzation are, or are not already present in Croatia, and if not, do you think that they are possible?!!In the next appendices are summarised versions of the interviews with summarised main points!!!!!!

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Appendix B - Interview with Nikica Gilić!!Available at: https://www.dropbox.com/s/isv8z1ssvz085us/Nikica%20Gilic%20interview.mp3?dl=0!!Familiarity with terms: heard of the terms as influences in cultural trends, thinks that they are present in Croatia, but they are not used as much as consumerism and capitalism. Everything is simplified and faceless for public. That for example destroyed institution of music editor, so there are now corporative lists.!!Domestic franchising: there have been attempts of franchising like The Little Flying Bears or Balthazar. Animated Šegrt Hlapić is a terrible move, and the new action movie is from different studio so there’s no possibilities of transmedia. Synergy of Koko - had movies and republished books with cover pictures from the movies. There were promotional plans for the targeted demographic (children), but thought that it could produce better results. Not sure where is the problem, potentially monetary crisis, but franchise is considered successful.!!Foreign VS Domestic: it was possible that Disney and foreign movies overshadowed domestic products. That could be blamed on Disney acquisitions and spreading with Pixar, Star Wars, Marvel and others.!!Rise in domestic production: in the 1990’s there was established connection between domestic production and going to the cinema in general. The bigger domestic production, bigger consuming and other way around. Lately production is revived but maybe that exhausted potential for new hits. !!Croatia as a shooting location: several factors, from political to financial that drove out foreign investments during 1990’s. It revived lately with Game of Thrones. However, there is bigger competition with countries like Romania, Czech, Romania etc.!!Jadran Film and Yugoslavia: war and privatisation killed production. There is some production but not nearly close to what it used to be. Potential is not used.!!Administration: complicated for foreign and domestic production. It is not inhibiting domestic production on purpose but there is not enough interest plus there is lack of

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competent working force. Networking is underused, for example Branko Lustig, but his knowledge is maybe not suitable for Croatia.!!Perspective on film: unlike Hollywood, Croatian movie is considered as a cultural product, not a business endeavour. !!Technology: there is bigger influence of Lucas and Spielberg than Disney Company on today’s production, proposes term “Lucasization”. More important it philosophy of business than technology. For example VHS was analogue medium, but it set standards for digital business model: home made and home consumed movies. There will always be new technology, but bigger shifts are when business changes than when technology changes. That philosophy occurred when movies became subservient to corporations.!!Television and children’s programme: There was time of numerous imitations of foreign programmes and child stars, around 2000’s, for example Bojan Jambrošić. Today is almost non existent. Turbo Limač Show was good example but it was not matched later. Commercial televisions also went into recession.!!Theme parks: knew of Dinopark and popularity of Gardaland. Not sure why there are no more theme parks in Croatia, probably because the market is too small.!!Transmedia: it is not used because it is still used to think of movies as art, rather than investment and majority of money comes from state.!!Disney and non-Disney: Disney is a synonym for animated movie. Other productions often imitate and ride Disney coattail. It is common practice in capitalism.!!Consuming the media: public model of financing, that is more typical for Europe, is influencing popularity and consumption more than the production. There is little to no connection between advancing technology and volume of consuming the product.!!Conclusion: disneyfication and disneyzation are coming to Croatia, but slow. Croatia can be a marginal market. Domestic products will never function in the same way, but Croatia can be and already is a good follower and consumer of Disney products.!!!

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Appendix C - Interview with Hrvoje Turković!!Available at: https://www.dropbox.com/s/0sg6o0haici5pqf/Hrvoje%20Turkovic%20interview.mp3?dl=0!!Familiarity with terms: not familiar with the terms. After explaining the terms states that it is not something that is just characteristic for Disney, but the whole entertainment industry that cultivates the environment to suit and popularise the movie. Thinks that those processes aren’t connectable with Croatia, especially during the time while Disney wasn’t present in Croatia during the Yugoslavian years. There was some time of perception of domestic movie as a “Hollywood” movie, but that was before the television era, before 1960’s. Disney was less familiar as a movie force, but comic and political/satirical media.!!Problem with the distribution law: it was difficult to pick movies since the law was dictating the buy out of movies in a bundle and it did not allow buy out of one movie. After that changed, in the late 1980’s there were some moves but it all stopped with the war.!!Movie as concept: it is not an industry in Croatia. There is no systematic production or consumption. !!Finances: financed by the subventions from the state. Movies had bigger profit in Yugoslavia because there was a bigger market, but it was also smaller number of movies. !!Jadran Film and Yugoslavia: Jadran Film was more of a service than production company. It got services, space and equipment that could cover regional needs. It got financed because it was a well oiled machine, but the part of the industry bypassed Jadran Film. After 1960’s it got weaker. However it was relatively cheap for foreign co-productions which was the main source of money. Today is ruined.!!Croatia as a shooting location: since services are cheap, that is why Croatia is again after the war attractive to foreign investors. However, we do not have cheap working force, so HAVC and Ministry of culture is giving tax refund to foreign companies. That is administratively complicated but it is cost effective. It also brought movie tourism, especially Dubrovnik because of Game of Thrones, but it is in the early stages.!

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!Theme parks: there is no organisation and domestic products are missing that aura of specialty like the excursions to another country have. There is a lack of mysticism. Financial crisis is not helping. Good things are treated like a bizarre anomalies and they are rare so there is no atmosphere for building good parks.!!Domestic franchising: it is possible, but they must target specific public with the specific material that is known to all, which are books that are obligatory reading assignments for school. Children can be grateful audience and for now are the safest bet, although that is not 100% financial secure. Financing is becoming more versatile so there is sort of boom of children movies. It helps if something has educational note. Outside that children realm, there is no audience so it is harder to get financing. !!Rise in domestic production, technology and consuming the media: there is huge latency for domestic movies to come from cinema to home. There is a small number of people who are using modern technology and internet services. Pirating is not influencing going to cinemas in great numbers, it is more influenced by demise of cinemas during 1990’s and 2000’s. Competition was movie rentals and later were commercial televisions that started to show movies. After multiplexes opened it revived the culture of going out to cinema a bit. There should be added some myth around domestic movies so they get another boost. There are a lot of dispersive factors and there is no solution. There is also the problem of cost effectiveness because domestic audience is not enough to pay back investments and there is no interest in distributing to foreign markets.!!Domestic standard VS foreign standard: cinemas followed technical standards with little latency. However, production, especially sound, was not on par with Hollywood. After the war there was no chance for equal movie production. Some production survived on the television and commercials. Good movies were exemption and often technically perfected abroad. Audience always had high standards and a lot of domestic movies did not met them, however, there were few exceptions. There are certain prejudices toward domestic movies. There are rare independent moviemakers. Crews and directors are those that are pushing better standards in production that audience expects, but the conditions are not always appropriate to realise them. !!Television and children’s programme: there is chaos in TV production, there is no concept of market system, so there are only sporadic individual creations. In

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Yugoslavia Television Zagreb had broad spectrum, including educational and fun children shows. HTV had war interests, there was no educational programme, and when commercial televisions came, Marija Nemčić proclaimed entertainment programme the main one. Most of production went on licence shows. !!Animation: Disney had influenced Zagreb School of Animated Film, especially in the early stages. However, then they developed style into opposition of Disney. It was praised in the foreign countries for not begin commercial or for children only. !!Disney and non-Disney: animated features are usually continuing Disney tradition in story, gags, animation, humour, sentiment and psychology. Industry accepted Disney as standard. !!Conclusion: there is no disneyfication or disneyzation in Croatia, not even partially. There are no basic elements, we are too small market, but we are extended market for Disney. We are reacting, but we are not doing our own versions of products.!!!!!!!!!!!!!!!!!!!!!!

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Appendix D - Interview with Krunoslav Lučić!!Available at: https://www.dropbox.com/s/yiy6cze5xfh734m/Krunoslav%20Lucic%20interview.mp3?dl=0!!Familiarity with terms: not familiar, but thinks that they are related to commercialisation and americanisation, never seen them in literature.!!Ramifications in Croatia: there is no big influence on live action movies because film is still thought of as an art form in Croatia and Europe. Big names have bigger audiences. Animated features are a bit more influenced, but not too much. Type of financing is a big factor.!!Domestic franchising: there is merchandising of Lapitch, Koko is successful. However, exportation abroad is impossible if product is not established on domestic market. There should be some rebranding, especially in countries where Croatian literature and media is not studied. There is big influence of American animated movies. European animation wants to be successful as American, but they do not want to take over business model or aesthetics because they consider American movies foolish and banal and that that makes audience passive. However, core of both movie practices is the same. There is also lack of idea of free market in Croatia. One of the reasons why Koko is successful is because it is mandatory reading assignment, so there is cultivated culture for that particular franchise. There is excellent potential in works of Ivana Brlić Mažuranić.!!Foreign VS Domestic: foreign can overshadow domestic, but there are different standards for viewership. While same numbers for domestic movies are excellent, for foreign movies do not have to be.!!Finances: all movies get at least partial subvention form the state. !!Marketing: Disney has strong marketing that is not existent in Croatia. There is no brand equivalents. There is no Croatian brand that constantly bombards with its image like Disney does. !!Theme parks: the lack of parks has two reasons. First is that Croatian education does not think of education as entertaining, so there in no interest from the institutions for the

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edutainment. Second reason is complications with administration and investments. Potentially there is no interest from the audience for the domestic park and investors think that it would take too long to get paid back. However, if there was Disney theme park in Croatia, there would be no lack of interest.!!Croatia as a shooting location: part of the touristic branding. There was also South Korean tourist boom interest for Zagreb because of the documentary with famous actresses. There is potential for movie tourism but locations must be branded first.!!Television and children’s programme: there is a lack of investments in children’s programme, especially education. Big emphasis is on politics.!!Rise in domestic production and consuming the media: although there is rise in production results are a bit underwhelming, but every movie is paid off. Cinematography did not match the market expectations. Older audience prefers television, younger prefer cinema. There should be put extra labour to present certain products to certain audiences. Although there is technology advancement, there is still disproportion between offering and demand. Often the public is demotivated to consume because of the unadapted supply.!!Technology: sluggishness and unadapted system that is not accepting new ways of thinking with the new technology or products. Administration and law are not pro consumer. Business model should be changed. Unregulated piracy and big taxes are problem. There is a lack of big library with a organised and labeled cultural products.!!Animation: Zagreb School of Animated Film is still known today. Disney influenced animation in two ways. One school was with full Disney-esque animation. Other school is the opposite and subversive reaction to Disney, best example is Surogat. More famous Croatian live action movies are those that are distanced from the classic Hollywood image. Disney indirectly influenced movie industry in two ways: movie makers either agree with them or go the opposite direction. Disney influence is inescapable. !!Jadran Film and Yugoslavia: most of the movies that were Yugoslavian blockbusters were from Jadran Film. It failed because of the malversation during the privatisation era. There is potential for new branding, especially considering the rich history.!!

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Disney and non-Disney: Disney became synonym for animated movie so any animated movie is subconsciously connected with Disney. There is also coat tailing because of the capitalism and there is a trend of publishing similar products at the same time.!!Conclusion: there is potential in theme parks, franchises and movies, although it is not certain how wide we can apply disneyfication and disneyzation on Croatian market. There is the question if that is desirable or not. American products are welcome, but domestic products that are americanised are not equally accepted.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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Appendix E - Interview with Ankica Jurić Tilić!!Available at: https://www.dropbox.com/s/86fxb9jvye1v0vu/Ankica%20Juric%20Tilic%20interview.mp3?dl=0!!Familiarity with terms: not familiar with terms!!Ramifications in Croatia: there are no ramifications because of the numbers, Croatia is too small market. Parts of them could be applied. There are some attempts, and domestic and Disney treating of the fairy tale is the same. It is not cost effective to have merchandise produced in Croatia.!!Domestic franchising: not possible because it is expensive and the market changed a lot from the 1990’s. You need partners, and most potential partners are sceptic. Moral side for Koko is that production did not want to use, exploit and promote kid actors in the media, although they were popular among younger audience.!!Croatia as a shooting location: rediscovery is 70% to be blamed on HAVC and tax returns. It benefits not only industry but also tourism and it educates professionals.!!Rise in domestic production: one reason is better financing models although the model is not capitalistic, so there is no way that movies can get back their investments only by box office. Other reason is advancement in technology that became cheaper. Third is wakening of professionals in industry and following trends. However movies are not and could not be shot in studio and that is big disadvantage.!!Technology, consuming the media and Foreign VS Domestic: there is no big influence of foreign production on domestic production of movies for children. Children love movies in their native language and from familiar environments. Koko and the Ghosts was admired by children for having “hollywood” sound and music. Foreign live action children movies are not making too much damage to domestic live action children movies. For marketing, there are no equivalents or even attempts to emulate Disney.!!Adaptation of Koko tales: it is playing safe by adapting famous characters from Croatian literature. Out of 7 books, 5 were chosen, 1 was financial too costly (Koko u Parizu), so 4 will be produced with “Uzbuna na Zelenom Vrhu” as a prequel. Ideally, sequels would be produced faster but they were not because of the finances!

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!Foreign VS Domestic part 2: going to the cinema is expensive so people perhaps choose Disney over some domestic titles and there is always a Disney title in the cinema. However, that cultivates culture of going to the cinema and that possibly can bring audience.!!Disney buy-outs: negative trend that is killing competition and gives worse products. It is negative not only to companies that are acquired, but for Disney too.!!Disney and non-Disney: not sure why Disney is prevalent, perhaps because of the similar values. Not familiar with the topic.!!Theme parks: problem with size of market and finances. There could be smaller theme parks, but having similarly sized competition to Gardaland is illusion, just like attracting other markets from neighbouring countries. Administration is also problem.!!Animation: Zagreb School of Animated Film was more author oriented and it was not looking at Disney for similar examples. There is no big correlation to Disney animation.!!Foreign VS Domestic part 3: live actions are limited not only by production. There is lack of movie stars that would attract audiences to the movies like Hollywood actors. Television actors are familiar, but here are no movie-exclusive actors. Director name has some influence.!!Television and children’s programme: lack of financing, maybe 15% is spent on children programme. For example one teenage show would spend television’s two year budget for the whole children’s programme. There was bigger budget in Yugoslavia.!!Jadran Film and Yugoslavia: there is no coming back to the way it used to be, state should have protected Jadran Film. Name has some worth and there is archive of worthy Yugoslavian movies. Perhaps that should be the base for rebuild.!!Koko and marketing: there was interviews and promotions especially before the movies came to the theatres. There was need for crowd control on some projections. Kid actors were not overexposed and their education was put first, so they were never took out of school classes for promotion. It was also uncertain that aggressive promotion

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would ensure better ticket sales. If the finances were not problem, company would also shoot the 5th book, Koko u Parizu.!!Conclusion: there are parts and influences of disneyfication and disneyzation. Culture is different, although the situation and mentality is changing. That is partially to blame by aggressive marketing from the west.!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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Appendix F - Interview with Ivica Drnić!!Available at: https://www.dropbox.com/s/1ui0nmegxb5ld2y/Ivica%20Drnic%20interview.mp3?dl=0!!Familiarity with terms: familiar in a way. It is connected with globalisation and it is a process of marketing and making things more simple. !!Ramifications in Croatia: there are ramifications, even in shops or help services for telephone/service providers where they greet you with a certain form. News are not news anymore, but they are spins. Banks and big corporations produce unified forms because they care only about profit. In media, stars are not forming opinions and they are trying to be likeable to everyone. Studios are distancing themselves from the stars and their opinions.!!Domestic franchising: there are franchises, animated Hlapić for example. However, it was controversial because he was a mouse, but he was accepted by kids. It is still alive and the closest thing to Disney product. However, there is no continuity and presence in Croatian media like Disney has it. There is also no merchandising. Finances are the primary reason why there are no more franchises. Part of the problem are author’s rights. Koko is done with the people who have rights, but often it is not clear, for many literary works in Croatia, who has the rights. Movies are made for festivals and people are usually waiting for movies to come to television. There was also a problem of not distributing domestic movies, although that changed in the late years. Domestic movies do not have big audiences but there are exceptions like “Što je Muškarac bez Brkova”.!!Finances: problem is in the difference of financing movies. Hollywood is commercial and Croatia and Europe is state funded. USA movies are expected to return investments, domestic movies are not made with that in mind. State gives most of the money, but usually there are some external investments from the region. Unfortunately, themes are usually social, and those movies are not for the theatre audiences.!!Jadran Film and Yugoslavia: Jadran Film was ideal for the states that were behind the iron curtain. Co-productions were possible and fruitful for example Kelly’s Heroes. However, Jadran Film was privatised in a wrong way. Buildings were more appreciated than people. Zagreb School of Animated Film’s influence and name was overstated. It was a competition between several individuals that wanted to make cheaper and more

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provocative films. Jadran Film functioned on their own set of rules that would not work with today’s law and finance deprived market. Unfortunately it was not invested in working force and that is one of the reasons for failing. Professionals went abroad, for example people from Jadran Film were working on sound for “Gladiator”.!!Croatia as a shooting location: Croatia is rediscovered because it is cheap and from recently in the EU so the laws are standardised and that is suitable for foreign investors. However, there is little involvement of domestic people in less menial jobs like shooting or lightning, so domestic work force is now functional as a tour operator or extras. Jadran Film offered whole package during golden YU years. There is no possibility for new Tomislav Pinter. Zagreb lost its appeal as a background for socialistic cities. !!Animation: old Zagreb School of Animated Film wanted to be like Disney, but the technological and financial limitations forced them to be inventive. They did not cultivate new generation although there were some tryings. Baltazar’s failure to translation into 3D was to blame because the character could not handle it, it’s charm was in 2D.!!Television and children’s programme: biggest obstacle are finances. Turbo Limač Show was extremely successful even for its time. Commercial televisions are having some children’s programme but it is mostly imported. There is one specialised television and everything children related migrated there, including the merchandising. However, Croatia as a nation is too poor for consumerism of the western proportions.!!Theme parks: there is interest, but it is too small. Investors are skeptic because we are still in recession. There are cheaper educative alternatives for excursions like Plitvice. Disney-esque theme park will not happen in the foreseeable feature. !!Yugoslavia part 2: Yugoslavia Film had exclusive rights for Disney movies that were transferrer to Television Belgrade. After that in the first phase movies were forwarded to Zagreb Television and they were subtitled in Serbian. In second phase, movies were synchronised and Television Zagreb was successful. However, to avoid Belgrade as middle man, Zagreb started to buy Warner Brothers. Disney documentaries also suffered because they were bypassed in the favour of BBC documentaries. Slovenia was more Germany oriented. That remained even after Yugoslavia fell apart.!!

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Disney and non-Disney: it is the fault of education, because creators went to same schools. They lean on Disney just like Disney leans on other creators, like for example Tchaikovsky and his music for Sleeping Beauty. Disney was one of the first to use certain elements that are now associated with animated movies and that is not necessarily negative thing. However, it is negative when marketing takes over so fun and education fall behind merchandise. !!Buy outs and homogenisation: it is influencing people not to think with their heads. It also changes physical appearance of cities with aggressive marketing. The danger is not in creation of movies that are owned by the same company, but the spreading of the marketing industry that can overwhelm and overshadow the product. !!Foreign VS Domestic: Disney is not overshadowing domestic production. The good thing is that Disney raised standards. Problem is marketing that can not match Disney standards. Domestic marketing agencies will not have same approach to domestic and foreign products. There should be more orientation to foreign markets, for example Smogovci were successfully sold to Australia and they proved that language is not barrier with synchronisation. !!Consuming the media: Piracy brought faster distribution, there is no big latency in international premiere dates.!!Conclusion: disneyfication and disneyzation are present, and they will be even more influencing, but they are and will be severely limited with finances. They are not necessarily bad processes that are setting quality standards. Disney presence is not bad. It is our fault if we don’t produce, not Disney and his prevalence.!!!!!!!!!!!!

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References list!!Akira (1988) Directed by Katsuhiro Otomo [Film]. Tokyo: Toho!!Aladdin (1992) Directed by Ron Clements and John Musker [Film]. Burbank: Buena Vista Pictures Distribution!!Alice in Wonderland (1951) Directed by Clyde Geronimi, Wilfred Jackson and Hamilton Luske [Film]. New York: RKO Radio Pictures!!Alice’s Wonderland (1923) Directed by Walt Disney [Film]. Distributor N/A Available at: https://archive.org/details/AlicesWonderland (Accessed: 30 October 2014).!!Alien (1979) Directed by Ridley Scott [Film]. Los Angeles: 20th Century Fox!!All Dogs go to Heaven (1989) Directed by Don Bluth, Dan Kuenster and Gary Goldman [Film]. London: Goldcrest Films International!!Anastasia (1997) Directed by Don Bluth and Gary Goldman [Film]. Los Angeles: 20th Century Fox!!Barnes, B. (2009) ‘Disney Expert Uses Science to Draw Boy Viewers’, The New York Times, 13 April [Online]. Available at: http://www.nytimes.com/2009/04/14/arts/television/14boys.html?pagewanted=all&_r=1& (Accessed: 30 October 2014).!!Beauty and the Beast (1991) Directed by Gary Trousdale and Kirk Wise [Film]. Burbank: Buena Vista Pictures Distribution!!Bitka na Neretvi (1969) Directed by Veljko Bulajić [Film]. Zagreb: Jadran Film!!Bolt (2008) Directed by Chris Williams and Byron Howard [Film]. Burbank: Walt Disney Studios Motion Pictures!!Box Office Mojo (2014) 2013 Croatia Yearly Box Office Results, Available at: http://boxofficemojo.com/intl/croatia/yearly/?yr=2013&p=.htm (Accessed: 30 October 2008)!!Briljanteen (1994) HRT, no date!

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!Brcko u Zagrebu (1917) Directed by Arsen Maas [Film]. Zagreb: Croatia Film!!Bryman, A. (2001) ‘The Disneyzation of Society’, The Sociological Review, volume 47, issue 1 pp. 25-47, Wiley Online Library [Online]. Available at: http://onlinelibrary.wiley.com/doi/10.1111/1467-954X.00161/abstract (Accessed: 30 October 2008)!!Bryman, A. (2004) The Disneyzation of Society. London: SAGE Publications Ltd.!!Brave (2012) Directed by Mark Andrews, Brenda Chapman and Steve Purcell [Film]. Burbank: Walt Disney Studios Motion Pictures!!Change.org (2014) Disney: Say No to the Merida Makeover, Keep Our Hero Brave!, Available at: https://www.change.org/p/disney-say-no-to-the-merida-makeover-keep-our-hero-brave (Accessed: 30 October 2014).!!Chicken Little (2005) Directed by Mark Dindal [Film]. Burbank: Buena Vista Pictures Distribution!!Chicken Run (2000) Directed by Peter Lord and Nick Park [Film]. Universal City: DreamWorks Pictures!!Child, B. (2013a) ‘Disney turns away from hand-drawn animation’, The Guardian, 07 March [Online]. Available at: http://www.theguardian.com/film/2013/mar/07/disney-hand-drawn-animation (Accessed: 30 October 2014).!!Child, B. (2013b) ‘Brave Director Criticises Disney's 'Sexualised' Princess Merida Redesign’, The Guardian, 13 May [Online]. Available at: http://www.theguardian.com/film/2013/may/13/brave-director-criticises-sexualised-merida-redesign (Accessed: 30 October 2014).!!Ciguli Miguli (1950) Directed by Branko Marjanović [Film]. Zagreb: Jadran Film!!Cinderella (1989) Directed by Clyde Geronimi, Hamilton Luske and Wilfred Jackson [Film]. New York: RKO Radio Pictures!!

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Close Encounters of the Third Kind (1977) Directed by Steven Spielberg [Film]. Los Angeles: Columbia Pictures!!Čarobnjakov Šešir (1990) Directed by Milan Blažeković [Film]. Zagreb, Croatia Film!!Čudesna Šuma (1986) Directed by Milan Blažeković and Doro Vlado Hreljanović [Film]. Zagreb, Croatia Film!!Čudnovate Zgode Šegrta Hlapića (1997) Directed by Milan Blažeković [Film]. Zagreb, Croatia Film!!Dinosaur (2000) Directed by Ralph Zondag and Eric Leighton [Film]. Burbank: Buena Vista Pictures Distribution!!Dirty Dozen: The Series (1988) FOX, 30 April!!Disneyland (1954) ABC, 27 October!!Doctor Who (2005) BBC, 26 March!!Došen, V. (2010) ‘Disney Presudio: Njihovi Crtići na Hrvatskom Zvuče Najbolje u Europi’, Jutarnji List, 14 February [Online]. Available at: http://www.jutarnji.hr/template/article/article-print.jsp?id=561576 (Accessed: 30 October 2014).!!Drnić, H. (2014) Conversation with Hrvoje Hrsto, 06 October. Available at: https://www.dropbox.com/s/1ui0nmegxb5ld2y/Ivica%20Drnic%20interview.mp3?dl=0!!Družba Pere Krvžice (1970) Directed by Vladimir Tadej [Film]. Zagreb, Croatia Film!!Duh Babe Ilonke (2011) Directed by Tomislav Žaja [Film]. Zagreb: Blitz Film i Video!!Duh u Močvari (2006) Directed by Branko Ištvančić [Film]. Zagreb: Blitz Film i Video!!Even Stevens (2000) Disney Channel, 17 June!!

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Fantasia (1940) Direcred by James Algar, Samuel Armstrong, Ford Beebe Jr., Norman Ferguson, Jim Handley, T. Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, Paul Satterfield and Ben Sharpsteen [Film]. New York: RKO Radio Pictures!!Flushed Away (2006) Directed by David Bowers and Sam Fell [Film]. Universal City: DreamWorks Pictures!!Freaky Friday (2003) Directed by Mark Waters [Film]. Burbank: Buena Vista Pictures Distribution!!Frozen (2013) Directed by Chris Buck and Jennifer Lee [Film]. Burbank: Walt Disney Studios Motion Pictures!!Game of Thrones (2011) HBO, 17 April!!Gantz, J. (1997) ‘Anastasia’, Boston Phoenix, 20 November [Online]. Available at: http://www.bostonphoenix.com/archives/1997/documents/00524793.htm (Accessed: 30 October 2014).!!Gilić, N. (2014) Conversation with Hrvoje Hrsto, 30 September. Available at: https://www.dropbox.com/s/isv8z1ssvz085us/Nikica%20Gilic%20interview.mp3?dl=0!!Giroux, H.A. (2011) ‘How Disney Magic and the Corporate Media Shape Youth Identity in the Digital Age’, Truthout, 12 August [Online]. Available at: http://www.truth-out.org/opinion/item/2808:how-disney-magic-and-the-corporate-media-shape-youth-identity-in-the-digital-age (Accessed: 30 October 2014).!!Glembajevi (1988) Directed by Antun Vrdoljak [Film]. Zagreb: Jadran Film!!Gramsci, A. (1971) Selections From the Prison Notebooks. Reprint, London: The Electric Book Company,1999!!Hannah Montana (2006) Disney Channel, 24 March!!HAVC (2013) ‘Navike Gledanja Filmova i Doživljaj Domaćeg Filma’, Hrvatski Filmski Ljetopis, 19 (76), Winter, pp. 49-64!!

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Heidler, K. (2007) ‘Hrvatski Igrani Film u Europskom Kontekstu’, Hrvatski Filmski Ljetopis, 13 (49) April, pp. 12-19, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Hercules (1997) Directed by Ron Clements and John Musker [Film]. Burbank: Buena Vista Pictures Distribution!!How to Train Your Dragon (2010) Directed by Chris Sanders and Dean DeBlois [Film]. Universal City: DreamWorks Pictures!!Jelenko (1980) Televizija Zagreb, no date!!Jurić Tilić, A. (2014) Conversation with Hrvoje Hrsto, 02 October. Available at: https://www.dropbox.com/s/86fxb9jvye1v0vu/Ankica%20Juric%20Tilic%20interview.mp3?dl=0!!Kako je Počeo Rat na Mom Otoku (1997) Directed by Vinko Brešan [Film]. Zagreb: Kinematografi Zagreb!!Koko i Duhovi (2011) Directed by Daniel Kušan [Film]. Zagreb: Continental Film!!Kurelec, T. (2008) ‘Hrvatski Igrani Film u Europskom Kontekstu’, Hrvatski Filmski Ljetopis, 14 (53) April, pp. 16-25, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Kung Fu Panda (2009) Directed by John Stevenson and Mark Osborne [Film]. Universal City: DreamWorks Pictures!!Lee, N. and Madej, K. (2012) Disney Stories: Getting to Digital. New York: Springer!!Lerotić, J. (2013) ‘“Ne Radi Nikada s Djecom i Životinjama” - Dijete Kao Glumac u Filmu’, Hrvatski Filmski Ljetopis, 19 (76), Winter, pp. 27-48!!Lilo & Stitch (2002) Directed by Chris Sanders and Dean DeBlois [Film]. Burbank: Buena Vista Pictures Distribution!!

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Lisinski (1944) Directed by Oktavijan Miletić [Film]. Zagreb: Hrvatski Slikopis!!Lizzie McGuire (2001) Disney Channel, 12 January!!Lučić, K. (2014) Conversation with Hrvoje Hrsto, 01 October. Available at: https://www.dropbox.com/s/yiy6cze5xfh734m/Krunoslav%20Lucic%20interview.mp3?dl=0!!Ljubav ili smrt (2014) Directed by Daniel Kušan [Film]. Zagreb: 2i Film!!Madagascar (2005) Directed by Eric Darnell and Tom McGarth [Film]. Universal City: DreamWorks Pictures!!Man of Steel (1999) Directed by Zack Snyder [Film]. Burbank: Warner Bros. Pictures!!Marvel’s Agents of S.H.I.E.L.D. (2013) ABC, 24 September!!Marvel’s Agent Carter (2015) ABC, January!!Maleficent (2014) Directed by Robert Stromberg [Film]. Burbank: Walt Disney Studios Motion Pictures!!Maršal (1999) Directed by Vinko Brešan [Film]. Zagreb: Blitz Film i Video!!Mary Poppins (1964) Directed by Robert Stevenson [Film]. Burbank: Buena Vista Distribution Company!!Meet the Robinsons (2007) Directed by Steve Anderson [Film]. Burbank: Buena Vista Pictures Distribution!!Mendin Program (1958) Televizija Zagreb, no date!!Metastaze (2009) Directed by Branko Schmidt [Film]. Zagreb: Blitz Film i Video!!Mileta, S. (2008) ‘Crtani Filmovi Warner Brothersa Kao Ogledalo Hollywooda, Hrvatski Filmski Ljetopis, 14 (55) October, pp. 28-43, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!

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!Mills, B. (1982) “Disney Looks for a Happy Ending to Its Grim Fairy Tale”, American Film, volume 7, number 9, pp. 52-56!!Neupert, R. (1994) ‘Painting a Plausible World: Disney’s Color Prototypes’ in Smoodin, E. (ed.) Disney Discourse: Producing the Magic Kingdom. [e-book] New York: Routledge, chapter 7!!Ne Daj se Floki! (1985) Televizija Zagreb, no date!!Oremović, A. (2012) ‘Hrvatski Film i Marketing’, Hrvatski Filmski Ljetopis, 18 (72), Winter, pp. 93-114!!Paperman (2012) Directed by John Kahrs [Film]. Burbank: Walt Disney Studios Motion Pictures !!Paprika (2006) Directed by Satoshi Kon [Film]. Tokyo: Sony Pictures Entertainment Japan!!Persepolis (2007) Directed by Marjane Satrapi and Vincent Paronnaud [Film]. New York: Sony Pictures Classics!!Plavi 9 (1950) Directed by Krešo Golik [Film]. Zagreb: Jadran Film!!Posavec, M. (2010) ‘Videoteke Izumiru - od 1500 Prije Pet Godine, Danas Ih Radi 150!’, Večernji List, 04 April [Online]. Available at: http://www.vecernji.hr/ulovi-popust/videoteke-izumiru-od-1500-prije-pet-godina-danas-ih-radi-150-121751 (Accessed: 30 October 2014).!!Profesor Baltazar (1967) Televizija Zagreb, no date!!Ritzer, G. (2004) The McDonaldization of Society. London: SAGE Publications Ltd.!!Saračević, I. (2005) ‘Strani Blockbusteri u Hrvatskoj’, Hrvatski Filmski Ljetopis, 10 (40) December, pp. 21-24, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!

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Scarpa, L. (2011) ‘Profesor Baltazar - Animirana Serija za Djecu na Način Zagreb Filma’, Hrvatski Filmski Ljetopis, 17 (65-66), Spring/Summer, pp. 7-23!!Schickel, R. (2006) The Life & Legacy of Walt Disney [Panel Discussion]. 15 November. Available at: http://www.learcenter.org/pdf/Disney.pdf (Accessed: 30 October 2014).!!Shrek (2001) Directed by Andrew Adamson and Vicky Jenson [Film]. Universal City: DreamWorks Pictures!!Sleeping Beauty (1959) Directed by Clyde Geronimi, Les Clark, Eric Larson and Wolfgang Reitherman [Film]. Burbank: Buena Vista Distribution Company!!Snow White and the Seven Dwarfs (1937) Directed by David Hand, William Cotrell, Wilfred Jackson, Larry Morey, Perce Pearce and Ben Sharpsteen [Film]. New York: RKO Radio Pictures!!Surogat (1961) Directed by Dušan Vukotić [Film]. Zagreb: Zagreb Film!!Star Wars (1977) Directed by George Lucas [Film]. Los Angeles: 20th Century Fox!!Stampler, L. (2013) ‘Do Animated Female Characters Need to Be ‘Pretty’?’, Time, 14 October [Online]. Available at: http://entertainment.time.com/2013/10/14/do-animated-female-characters-need-to-be-pretty/ (Accessed: 30 October 2014).!!Steamboy (2004) Directed by Katsuhiro Otomo [Film]. Culver City: Triumph Films!!Sonja i Bik (2012) Directed by Vlatka Vorkapić [Film]. Zagreb: Duplicato Media!!Sophie’s Choice (1982) Directed by Alan J. Pakula [Film]. Universal City: Universal Pictures!!Starešinčić, J. (2007) ‘Animirani Filmovi Dušana Vukotića’, Hrvatski Filmski Ljetopis, 13 (52), December, pp. 37-43, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!

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Steamboat Willie (1928) Directed by Walt Disney and Ub Iwerks [Film]. New York: Celebrity Productions. Available at: https://www.youtube.com/watch?v=BBgghnQF6E4 (Accessed: 30 October 2014).!!Strøm, G. (2002) ‘An Overview’, Hrvatski Filmski Ljetopis, 8 (31-32), November, pp. 9-15, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Superman (1978) Directed by Richard Donner [Film]. Burbank: Warner Bros. Pictures!!Svećenikova Djeca (2013) Directed by Vinko Brešan [Film]. Zagreb: Continental Film!!Šegrt Hlapić (2013) Directed by Silvije Petranović [Film]. Zagreb, Blitz Film i Video!!Šešir (1937) Directed by Oktavijan Miletić [Film]. Zagreb: Zora Film!!Što je Muškarac Bez Brkova? (2005) Directed by Hrvoje Hribar [Film]. Zagreb: Blitz Film i Video!!!Telotte, J.P. (2008) The Mouse and Machine: Disney and Technology. Champaign: University of Illinois Press !!Tangled (2010) Directed by Nathan Greno and Byron Howard [Film]. Burbank: Walt Disney Studios Motion Pictures!!Tarzan (1999) Directed by Chris Buck and Kevin Lima [Film]. Burbank: Buena Vista Pictures Distribution!!That’s so Raven (2003) Disney Channel, 17 January!!The Black Cauldron (1985) Directed by Ted Berman and Richard Rich [Film]. Burbank: Buena Vista Distribution Company!!The Jazz Singer (1927) Directed by Alan Crosland [Film]. Burbank: Warner Bros. Pictures!!The Land Before Time (1988) Directed by Don Bluth [1988] London: Goldcrest Films International!

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!The Lion King (1994) Directed by Roger Allers and Rob Minkoff [Film]. Burbank: Buena Vista Pictures Distribution!!The Little Mermaid (1989) Directed by Ron Clemets and John Musker [Film]. Burbank: Buena Vista Pictures Distribution!!The Mickey Mouse Club (1955) ABC, 03 October!!The Nightmare Before Christmas (1993) Directed by Henry Selick [Film]. Burbank: Buena Vista Pictures Distribution!!The Old Mill (1937) Directed by Wilfred Jackson [Film]. New York: RKO Radio Pictures!!The Parent Trap (1998) Directed by Nancy Meyers [Film]. Burbank: Buena Vista Pictures Distribution!!The Prince of Egypt (1998) Directed by Simon Wells, Brenda Chapman and Steve Hickner [Film]. Universal City: DreamWorks Pictures!!The Princess and the Frog (2009) Directed by Ron Clements and John Musker [Film]. Burbank: Walt Disney Studios Motion Pictures!!The Rescuers (1977) Directed by Wolfgang Reitherman, John Lounsbery and Art Stevens [Film]. Burbank: Buena Vista Distribution Company!!The Show Must Go On (2010) Directed by Nevio Marasović [Film]. Zagreb, Continental Film!!The Silence of the Lambs (1991) Directed by Jonathan Demme [Film]. Los Angeles: Orion Pictures!!The Swan Princess (1994) Directed by Richard Rich [Film]. Los Angeles: New Line Cinema!!The Trial (1962) Directed by Orson Welles [Film]. New York: Astor Pictures!!

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Thumbelina (1994) Directed by Don Bluth and Gary Goldman [Film]. Burbank: Warner Bros. Family Entertainment!!Titan A.E. (2000) Directed by Don Bluth and Gary Goldman [Film]. Los Angeles: 20th Century Fox!!Tko Pjeva Zlo Ne Misli (1970) Directed by Krešimir Golik [Film]. Zagreb, Croatia Film!!Toy Story (1995) Directed by John Lasseter [Film]. Burbank: Buena Vista Pictures Distribution!!Toy Story 3 (2010) Directed by Lee Unkrich [Film]. Burbank: Walt Disney Studios Motion Pictures!!Treasure Planet (2002) Directed by Ron Clements and John Musker [Film]. Burbank: Buena Vista Pictures Distribution!!Tron (1982) Directed by Steven Lisberger [Film]. Burbank: Buena Vista Distribution Company!!Tron: Legacy (2010) Directed by Joseph Kosinski [Film]. Burbank: Walt Disney Studios Motion Pictures!!Turbo Limač Show (1991) HRT, no date!!Turković, H (2006) ‘Croatian Animation Today’, Academia.edu, no date. Available at: https://www.academia.edu/5682772/Croatian_Animation_Today (Accessed: 30 October 2014)!!Turković, H. (2014) Conversation with Hrvoje Hrsto, 30 September. Available at: https://www.dropbox.com/s/0sg6o0haici5pqf/Hrvoje%20Turkovic%20interview.mp3?dl=0!!Wallace & Gromit: The Curse of the Were-Rabbit (2005) Directed by Nick Park and Steve Box [Film]. Universal City: DreamWorks Pictures!!Walt Disney’s Wonderful World of Color (1961) NBC, 24 September!!

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Winnetou (1963) Directed by Harald Reinl [Film]. Frankfurt, Constantin Film!!Who Framed Roger Rabbit (1988) Directed by Robert Zemeckis [Film]. Burbank: Buena Vista Pictures Distribution!!Winnie the Pooh (2011) Directed by Stephen J. Anderson and Don Hall [Film]. Burbank: Walt Disney Studios Motion Pictures!!Winnie the Pooh and Tigger Too (1974) Directed by John Lounsbery [Film]. Burbank: Buena Vista Distribution Company!!Wizards of Wawerly Place (2007) Disney Channel, 12 October!!X-Men: First Class (2011) Directed by Matthew Vaughn [Film]. Los Angeles: 20th Century Fox!!Yellow Submarine (1968) Directed by George Dunning [Film]. Beverly Hills: United Artists!!Zagonetni Dječak (2013) Directed by Dražen Žarković [Film]. Zagreb :2i Film!!Zlatna Nit (1976), Televizija Zagreb, no date!!!!!!!!!!!!!!!!

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Bibliography!!Agar, C. (2014) Is Spider-Man Joining the Marvel Cinematic Universe?. Available at: http://screenrant.com/amazing-spider-man-marvel-avengers-movie-crossover/ (Accessed: 30 October 2014).!!Agrokor (2006) PIK Vrbovec Introduces New Product Line For Children Under Brand Disney. Available at: http://www.agrokor.hr/en/news/pik-vrbovec-introduces-new-product-line-for-children-under-brand-disney/ (Accessed: 30 October 2014).!!Akira (1988) Directed by Katsuhiro Otomo [Film]. Tokyo: Toho!!Aladdin (1992) Directed by Ron Clements and John Musker [Film]. Burbank: Buena Vista Pictures Distribution!!Alice in Wonderland (1951) Directed by Clyde Geronimi, Wilfred Jackson and Hamilton Luske [Film]. New York: RKO Radio Pictures!!Alice’s Wonderland (1923) Directed by Walt Disney [Film]. No distributor. Available at: https://archive.org/details/AlicesWonderland (Accessed: 30 October 2014).!!Alien (1979) Directed by Ridley Scott [Film]. Los Angeles: 20th Century Fox!!All Dogs go to Heaven (1989) Directed by Don Bluth, Dan Kuenster and Gary Goldman [Film]. London: Goldcrest Films International!!Anastasia (1997) Directed by Don Bluth and Gary Goldman [Film]. Los Angeles: 20th Century Fox!!Animafest Zagreb (2014) Animafest.hr. Available at: http://www.animafest.hr (Accessed: 30 October 2014).!!Animal Friends Croatia (2007) 08/30/07 Mickey Mouse Promotes Unhealthy Meat Products and Animal Suffering. Available at: http://www.prijatelji-zivotinja.hr/index.en.php?id=830 (Accessed: 30 October 2014).!!

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Barnes, B. (2009) ‘Disney Expert Uses Science to Draw Boy Viewers’, The New York Times, 13 April [Online]. Available at: http://www.nytimes.com/2009/04/14/arts/television/14boys.html?pagewanted=all&_r=1& (Accessed: 30 October 2014).!!BBC News (2012) Disney Buys Star Wars Maker Lucasfilm From George Lucas. Available at: http://www.bbc.com/news/business-20146942 (Accessed: 30 October 2014).!!Beauty and the Beast (1991) Directed by Gary Trousdale and Kirk Wise [Film]. Burbank: Buena Vista Pictures Distribution!!Bedingan, L. (2012) Disney Bought Marvel at $4 Billion, Should You Buy Disney at $43?. Available at: http://www.forbes.com/sites/benzingainsights/2012/05/08/disney-bought-marvel-at-4-billion-should-you-buy-disney-at-43/ (Accessed: 30 October 2014).!!Bitka na Neretvi (1969) Directed by Veljko Bulajić [Film]. Zagreb: Jadran Film!!Bolt (2008) Directed by Chris Williams and Byron Howard [Film]. Burbank: Walt Disney Studios Motion Pictures!!Borison, R. (2014) Disney Might Be Building Drones To Use In Its Theme Parks. (Accessed: 30 October 2014).!!Box Office Mojo (2014) 2013 Croatia Yearly Box Office Results, Available at: http://boxofficemojo.com/intl/croatia/yearly/?yr=2013&p=.htm (Accessed: 30 October 2008)!!Briljanteen (1994) HRT, no date!!Brcko u Zagrebu (1917) Directed by Arsen Maas [Film]. Zagreb: Croatia Film!!Bryman, A. (2001) ‘The Disneyzation of Society’, The Sociological Review, volume 47, issue 1 pp. 25-47, Wiley Online Library [Online]. Available at: http://onlinelibrary.wiley.com/doi/10.1111/1467-954X.00161/abstract (Accessed: 30 October 2008)!!Bryman, A. (2004) The Disneyzation of Society. London: SAGE Publications Ltd.!!

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Brave (2012) Directed by Mark Andrews, Brenda Chapman and Steve Purcell [Film]. Burbank: Walt Disney Studios Motion Pictures!!Buena Vista (brand) (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Buena_Vista_(brand) (Accessed: 30 October 2014).!!Car, M. (2013) ‘Dječji Program - Mudra Televizija Koja Odgaja Klince’, Večernji List, 13 October [Online]. Available at: http://www.vecernji.hr/zvijezde/djecji-program-mudra-televizija-koja-odgaja-klince-625584 (Accessed: 30 October 2014).!!Chicken Little (2005) Directed by Mark Dindal [Film]. Burbank: Buena Vista Pictures Distribution!!Chicken Run (2000) Directed by Peter Lord and Nick Park [Film]. Universal City: DreamWorks Pictures!!Child, B. (2013a) ‘Disney turns away from hand-drawn animation’, The Guardian, 07 March [Online]. Available at: http://www.theguardian.com/film/2013/mar/07/disney-hand-drawn-animation (Accessed: 30 October 2014).!!Child, B. (2013b) ‘Brave Director Criticises Disney's 'Sexualised' Princess Merida Redesign’, The Guardian, 13 May [Online]. Available at: http://www.theguardian.com/film/2013/may/13/brave-director-criticises-sexualised-merida-redesign (Accessed: 30 October 2014).!!Ciguli Miguli (1950) Directed by Branko Marjanović [Film]. Zagreb: Jadran Film!!Cinderella (1989) Directed by Clyde Geronimi, Hamilton Luske and Wilfred Jackson [Film]. New York: RKO Radio Pictures!!Clark, S., Smith, D. (1999) Disney: the first 100 years, New York: Hyperion Books!!Close Encounters of the Third Kind (1977) Directed by Steven Spielberg [Film]. Los Angeles: Columbia Pictures!!

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Disneyland (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Disneyland (Accessed: 30 October 2014).!!Disney Renaissance (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Disney_Renaissance (Accessed: 30 October 2014).!!Doctor Who (2005) BBC, 26 March!!Don Bluth (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Don_Bluth (Accessed: 30 October 2014).!!Došen, V. (2010) ‘Disney Presudio: Njihovi Crtići na Hrvatskom Zvuče Najbolje u Europi’, Jutarnji List, 14 February [Online]. Available at: http://www.jutarnji.hr/template/article/article-print.jsp?id=561576 (Accessed: 30 October 2014).!!Drnić, H. (2014) Conversation with Hrvoje Hrsto, 06 October. Available at: https://www.dropbox.com/s/1ui0nmegxb5ld2y/Ivica%20Drnic%20interview.mp3?dl=0!!Družba Pere Krvžice (1970) Directed by Vladimir Tadej [Film]. Zagreb, Croatia Film!!Duh Babe Ilonke (2011) Directed by Tomislav Žaja [Film]. Zagreb: Blitz Film i Video!!Duh u Močvari (2006) Directed by Branko Ištvančić [Film]. Zagreb: Blitz Film i Video!!Even Stevens (2000) Disney Channel, 17 June!!Fantasia (1940) Direcred by James Algar, Samuel Armstrong, Ford Beebe Jr., Norman Ferguson, Jim Handley, T. Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, Paul Satterfield and Ben Sharpsteen [Film]. New York: RKO Radio Pictures!!Fantasia (2014) Wikipedia . Avai lable at : ht tp: / /en.wik ipedia.org/wik i /Fantasia_(1940_film) (Accessed: 30 October 2014).!!Filipović, J. (2013) Na proljeće kreće gradnja hrvatskog Gardalanda. Available at: http://www.tportal.hr/biznis/gospodarstvo/293117/Na-proljece-krece-gradnja-hrvatskog-Gardalanda.html (Accessed: 30 October 2014).!!

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Fjellman, S.M. (1992) Vinyl Leaves: Walt Disney World And America, Boulder: Westview Press!!Flushed Away (2006) Directed by David Bowers and Sam Fell [Film]. Universal City: DreamWorks Pictures!!Freaky Friday (2003) Directed by Mark Waters [Film]. Burbank: Buena Vista Pictures Distribution!!Frozen (2013) Directed by Chris Buck and Jennifer Lee [Film]. Burbank: Walt Disney Studios Motion Pictures!!Gabler, N (2006) Walt Disney: The Triumph of the American Imagination, [e-book] New York: Knopf Doubleday Publishing Group!!Game of Thrones (2011) HBO, 17 April!!Gary Goldman (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Gary_Goldman (Accessed: 30 October 2014).!!Gantz, J. (1997) ‘Anastasia’, Boston Phoenix, 20 November [Online]. Available at: http://www.bostonphoenix.com/archives/1997/documents/00524793.htm (Accessed: 30 October 2014).!!Gilić, N. (1997) ‘Televizija i Film’, Hrvatski Filmski Ljetopis, 3 (10) July, pp. 17-20, Hrva tsk i F i lmsk i L je top is [On l ine ] . Ava i lab le a t : h t tp : / /www.h fs .h r /nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Gilić, N. (2014) Conversation with Hrvoje Hrsto, 30 September. Available at: https://www.dropbox.com/s/isv8z1ssvz085us/Nikica%20Gilic%20interview.mp3?dl=0!!Giroux, H.A. (2011) ‘How Disney Magic and the Corporate Media Shape Youth Identity in the Digital Age’, Truthout, 12 August [Online]. Available at: http://www.truth-out.org/opinion/item/2808:how-disney-magic-and-the-corporate-media-shape-youth-identity-in-the-digital-age (Accessed: 30 October 2014).!!

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Giroux, H.A., Pollock, G. (2010) The Mouse that Roared: Disney and the End of Innocence, Amazon, [e-book] Lanham: Rowman & Littlefield!!Glembajevi (1988) Directed by Antun Vrdoljak [Film]. Zagreb: Jadran Film!!Gramsci, A. (1971) Selections From the Prison Notebooks. Reprint, London: The Electric Book Company,1999!!Hannah Montana (2006) Disney Channel, 24 March!!Hrvatski Audiovizualni Centar (2013) ‘Navike Gledanja Filmova i Doživljaj Domaćeg Filma’, Hrvatski Filmski Ljetopis, 19 (76), Winter, pp. 49-64!!Hrvatski Audiovizualni Centar (2014) HAVC. Available at: http://www.havc.hr (Accessed: 30 October 2014).!!Heidler, K. (2007) ‘Hrvatski Igrani Film u Europskom Kontekstu’, Hrvatski Filmski Ljetopis, 13 (49) April, pp. 12-19, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Hercules (1997) Directed by Ron Clements and John Musker [Film]. Burbank: Buena Vista Pictures Distribution!!How to Train Your Dragon (2010) Directed by Chris Sanders and Dean DeBlois [Film]. Universal City: DreamWorks Pictures!!Hribar, H. (1999) ‘Novi Hrvatski Film, Stari Produkcijski Rituali’, Hrvatski Filmski Ljetopis, 5 (17) April, pp. 17-20, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!INDUCKS (2014) ‘Inducks: Croatia’, International Network of Disney Universe Comic Knowers and Sources, [Online]. Available at: http://coa.inducks.org/country.php?c=hr (Accessed: 30 October 2014)!!

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Jadran Film (2014) Jadran Film. Available at: http://www.jadran-film.com (Accessed: 30 October 2014).!!Jelenko (1980) Televizija Zagreb, no date!!Jurić Tilić, A. (2014) Conversation with Hrvoje Hrsto, 02 October. Available at: https://www.dropbox.com/s/86fxb9jvye1v0vu/Ankica%20Juric%20Tilic%20interview.mp3?dl=0!!Kako je Počeo Rat na Mom Otoku (1997) Directed by Vinko Brešan [Film]. Zagreb: Kinematografi Zagreb!!Keyes, R. (2014) DC Movie Release Schedule Unveiled: Wonder Woman & Justice League in 2017. Available at: http://screenrant.com/dc-movies-justice-league-wonder-woman-release-dates/ (Accessed: 30 October 2014).!!Keyes, R. (2014) Mark Millar to Oversee Fox’s Marvel Cinematic Universe. Available at: http://screenrant.com/x-men-fantastic-four-movies-fox-mark-millar/ (Accessed: 30 October 2014).!!Koko i Duhovi (2011) Directed by Daniel Kušan [Film]. Zagreb: Continental Film!!Kurelec, T. (2008) ‘Hrvatski Igrani Film u Europskom Kontekstu’, Hrvatski Filmski Ljetopis, 14 (53) April, pp. 16-25, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Kung Fu Panda (2009) Directed by John Stevenson and Mark Osborne [Film]. Universal City: DreamWorks Pictures!!La Monica, P.R. (2006) Disney Buys Pixar. Available at: http://money.cnn.com/2006/01/24/news/companies/disney_pixar_deal/ (Accessed: 30 October 2014).!!Laugh-O-Gram Studio (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Laugh-O-Gram_Studio (Accessed: 30 October 2014).!!Lee, N. and Madej, K. (2012) Disney Stories: Getting to Digital. New York: Springer!!

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Leopold, T. (2013) Your late fees are waived: Blockbuster closes. Available at: http://edition.cnn.com/2013/11/06/tech/gaming-gadgets/blockbuster-video-stores-impact/ (Accessed: 30 October 2014).!!Lerotić, J. (2013) ‘“Ne Radi Nikada s Djecom i Životinjama” - Dijete Kao Glumac u Filmu’, Hrvatski Filmski Ljetopis, 19 (76), Winter, pp. 27-48!!Lilo & Stitch (2002) Directed by Chris Sanders and Dean DeBlois [Film]. Burbank: Buena Vista Pictures Distribution!!Lisinski (1944) Directed by Oktavijan Miletić [Film]. Zagreb: Hrvatski Slikopis!!Lizzie McGuire (2001) Disney Channel, 12 January!!Lučić, K. (2014) Conversation with Hrvoje Hrsto, 01 October. Available at: https://www.dropbox.com/s/yiy6cze5xfh734m/Krunoslav%20Lucic%20interview.mp3?dl=0!!Lulić, A. (2009) ‘Trogir Glumio Renesansni Grad za TV Seriju’, Jutarnji List, 02 December [Online]. Available at: http://www.jutarnji.hr/trogir-glumio-renesansni-grad-za-seriju--dr--who-/384211/ (Accessed: 30 October 2014).!!Ljubav ili smrt (2014) Directed by Daniel Kušan [Film]. Zagreb: 2i Film!!Madagascar (2005) Directed by Eric Darnell and Tom McGarth [Film]. Universal City: DreamWorks Pictures!!Man of Steel (1999) Directed by Zack Snyder [Film]. Burbank: Warner Bros. Pictures!!Marvel’s Agents of S.H.I.E.L.D. (2013) ABC, 24 September!!Marvel’s Agent Carter (2015) ABC, January!!Maleficent (2014) Directed by Robert Stromberg [Film]. Burbank: Walt Disney Studios Motion Pictures!!Maršal (1999) Directed by Vinko Brešan [Film]. Zagreb: Blitz Film i Video!!

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Marvel Entertainment (2014) Marvel.com. Available at: http://marvel.com (Accessed: 30 October 2014).!!Marvel Entertainment (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Marvel_Entertainment (Accessed: 30 October 2014).!!Mary Poppins (1964) Directed by Robert Stevenson [Film]. Burbank: Buena Vista Distribution Company!!Masnick. M (2009) ‘Disney's Keychest: Is Giving Back Your Fair Use Rights With More DRM Really A Step Forward?’, Techdirt, 23 October. Available at: https://www.techdirt.com/articles/20091022/1232356641.shtml (Accessed: 30 October 2014).!!Meet the Robinsons (2007) Directed by Steve Anderson [Film]. Burbank: Buena Vista Pictures Distribution!!Mendin Program (1958) Televizija Zagreb, no date!!Metastaze (2009) Directed by Branko Schmidt [Film]. Zagreb: Blitz Film i Video!!Mickey Mouse (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Mickey_Mouse (Accessed: 30 October 2014).!!Mileta, S. (2008) ‘Crtani Filmovi Warner Brothersa Kao Ogledalo Hollywooda, Hrvatski Filmski Ljetopis, 14 (55) October, pp. 28-43, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Miller, D. (2014) ‘Disney Launches Cloud-Based Film Service Disney Movies Anywhere’ , Los Angeles Times, 25 February [Online]. Available at: http://articles.latimes.com/2014/feb/25/entertainment/la-et-ct-disney-launches-cloudbased-movie-service-20140224 (Accessed: 30 October 2014).!!Mills, B. (1982) “Disney Looks for a Happy Ending to Its Grim Fairy Tale”, American Film, volume 7, number 9, pp. 52-56!!

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Neupert, R. (1994) ‘Painting a Plausible World: Disney’s Color Prototypes’ in Smoodin, E. (ed.) Disney Discourse: Producing the Magic Kingdom. [e-book] New York: Routledge, chapter 7!!Ne Daj se Floki! (1985) Televizija Zagreb, no date!!Oremović, A. (2012) ‘Hrvatski Film i Marketing’, Hrvatski Filmski Ljetopis, 18 (72), Winter, pp. 93-114!!Palmeri, C. (2014) ‘Disney Bets $1 Billion on Technology to Track Theme-Park Visitors’ , Bloomberg Businessweek, 07 March [Online]. Available at: http://www.businessweek.com/articles/2014-03-07/disney-bets-1-billion-on-technology-to-track-theme-park-visitors (Accessed: 30 October 2014).!!Paperman (2012) Directed by John Kahrs [Film]. Burbank: Walt Disney Studios Motion Pictures !!Paprika (2006) Directed by Satoshi Kon [Film]. Tokyo: Sony Pictures Entertainment Japan!!Persepolis (2007) Directed by Marjane Satrapi and Vincent Paronnaud [Film]. New York: Sony Pictures Classics!!Pixar (2014) Pixar. Available at: http://www.pixar.com (Accessed: 30 October 2014).!!Pixar (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Pixar (Accessed: 30 October 2014).!!Plavi 9 (1950) Directed by Krešo Golik [Film]. Zagreb: Jadran Film!!Polimac, N. (2004) ‘Hrvatski Blockbusteri’, Hrvatski Filmski Ljetopis, 10 (40) July, pp. 17-20, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Polimac, N. (2004) ‘Nakupci Filmova - Distribucija u Hrvatskoj’, Hrvatski Filmski Ljetopis, 10 (39) October, pp. 91-96, Hrvatski Filmski Ljetopis [Online]. Available at:

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http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Posavec, M. (2010) ‘Videoteke Izumiru - od 1500 Prije Pet Godine, Danas Ih Radi 150!’, Večernji List, 04 April [Online]. Available at: http://www.vecernji.hr/ulovi-popust/videoteke-izumiru-od-1500-prije-pet-godina-danas-ih-radi-150-121751 (Accessed: 30 October 2014).!!Primorac, D. (1999) ‘Novi Hrvatski Film, Stari Produkcijski Rituali’, Hrvatski Filmski Ljetopis, 8 (29) April, pp. 37-57, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Profesor Baltazar (1967) Televizija Zagreb, no date!!R.I. (2011) Rasplet Kutlinog Jadran Filma Možda Nećemo Nikada Gledati. Available at: http://www.index.hr/vijesti/clanak/rasplet-kutlinog-jadran-filma-mozda-nikad-necemo-gledati-/584008.aspx (Accessed: 30 October 2014).!!Ritzer, G. (2004) The McDonaldization of Society. London: SAGE Publications Ltd.!!Robertson, J. (2014) ‘Timeline of Shia LaBeouf's Most Shocking Moments: From Child Star to Troubled Actor’, Daily Mirror, 03 February [Online]. Available at: http://w w w. m i r r o r . c o . u k / 3 a m / c e l e b r i t y - n e w s / s h i a - l a b e o u f - t i m e l i n e - m o s t -controversial-3131093 (Accessed: 30 October 2014).!!RTL (no date) Disney Dan na RTL Televiziji!. Available at: http://www.rtl.hr/rtl-hrvatska/press/objave-za-medije/721499/disney-dan-na-rtl-televiziji/ (Accessed: 30 October 2014).!!Saračević, I. (2005) ‘Strani Blockbusteri u Hrvatskoj’, Hrvatski Filmski Ljetopis, 10 (40) December, pp. 21-24, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Scarpa, L. (2011) ‘Profesor Baltazar - Animirana Serija za Djecu na Način Zagreb Filma’, Hrvatski Filmski Ljetopis, 17 (65-66), Spring/Summer, pp. 7-23!!

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Schickel, R. (1997) The Disney Version: The Life, Times, Art and Commerce of Walt Disney, 3rd edn. New York: Simon & Schuster!!Schickel, R. (2006) The Life & Legacy of Walt Disney [Panel Discussion]. 15 November. Available at: http://www.learcenter.org/pdf/Disney.pdf (Accessed: 30 October 2014).!!Schultz, P. (2014) ‘New Attractions and New Technology Make Disney World More Fun and Easy’ , NY Dai ly News, 01 June [Onl ine]. Avai lable at: ht tp: / /www.nydailynews.com/life-style/new-attractions-new-technology-disney-world-fun-easy-article-1.1807470 (Accessed: 30 October 2014).!!Schweizer, P., Schweizer R. (1998) Disney: The Mouse Betrayed: Greed, Corruption and Children at Risk, Ann Arbor: Regnery Publishing!!Shrek (2001) Directed by Andrew Adamson and Vicky Jenson [Film]. Universal City: DreamWorks Pictures!!Singer, M. (2007) Timeline: Britney's Meltdown. Available at: http://www.cbsnews.com/news/timeline-britneys-meltdown/ (Accessed: 30 October 2014).!!Sleeping Beauty (1959) Directed by Clyde Geronimi, Les Clark, Eric Larson and Wolfgang Reitherman [Film]. Burbank: Buena Vista Distribution Company!!Sleeping Beauty (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Sleeping_Beauty (Accessed: 30 October 2014).!!Snouty Pig (2012) Paperman and the Future of 2D Animation. Available at: https://www.youtube.com/watch?v=TZJLtujW6FY (Accessed: 30 October 2014).!!Snow White and the Seven Dwarfs (1937) Directed by David Hand, William Cotrell, Wilfred Jackson, Larry Morey, Perce Pearce and Ben Sharpsteen [Film]. New York: RKO Radio Pictures!!Snow White and the Seven Dwarfs (1937 film) (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Snow_White_and_the_Seven_Dwarfs_(1937_film) (Accessed: 30 October 2014).!

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!Surogat (1961) Directed by Dušan Vukotić [Film]. Zagreb: Zagreb Film!!Star Wars (1977) Directed by George Lucas [Film]. Los Angeles: 20th Century Fox!!Stampler, L. (2013) ‘Do Animated Female Characters Need to Be ‘Pretty’?’, Time, 14 October [Online]. Available at: http://entertainment.time.com/2013/10/14/do-animated-female-characters-need-to-be-pretty/ (Accessed: 30 October 2014).!!Steamboy (2004) Directed by Katsuhiro Otomo [Film]. Culver City: Triumph Films!!Strukar, V. (2011) ‘'Igre Prijestolja' Stižu u Dubrovnik, Već Se Traži 200 Statista’, Jutarnji List, 22 August [Online]. Available at: http://www.jutarnji.hr/-igre-prijestolja--stizu-u-dubrovnik--vec-se-trazi-200-statista/967861/ (Accessed: 30 October 2014).!!Sonja i Bik (2012) Directed by Vlatka Vorkapić [Film]. Zagreb: Duplicato Media!!Sophie’s Choice (1982) Directed by Alan J. Pakula [Film]. Universal City: Universal Pictures!!Starešinčić, J. (2007) ‘Animirani Filmovi Dušana Vukotića’, Hrvatski Filmski Ljetopis, 13 (52), December, pp. 37-43, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Steamboat Willie (1928) Directed by Walt Disney and Ub Iwerks [Film]. New York: Celebrity Productions. Available at: https://www.youtube.com/watch?v=BBgghnQF6E4 (Accessed: 30 October 2014).!!Strøm, G. (2002) ‘An Overview’, Hrvatski Filmski Ljetopis, 8 (31-32), November, pp. 9-15, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Sullivan Bluth Studios (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Sullivan_Bluth_Studios (Accessed: 30 October 2014).!!Superman (1978) Directed by Richard Donner [Film]. Burbank: Warner Bros. Pictures!

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!Svećenikova Djeca (2013) Directed by Vinko Brešan [Film]. Zagreb: Continental Film!!Šegrt Hlapić (2013) Directed by Silvije Petranović [Film]. Zagreb, Blitz Film i Video!!Šešir (1937) Directed by Oktavijan Miletić [Film]. Zagreb: Zora Film!!Škrabalo, I. (1998) ‘101 Godina Filma u Hrvatskoj 1896.-1997.’, Hrvatski Filmski Ljetopis, 14, pp 3-22, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Škrabalo, I. (1999) ‘Novi Hrvatski Film, Stari Produkcijski Rituali’, Hrvatski Filmski Ljetopis, 5 (17) April, pp. 20-27, Hrvatski Filmski Ljetopis [Online]. Available at: http://www.hfs.hr/nakladnistvo_hflj_arhiva.aspx?pdf=1#.VFP2ob6rsy7 (Accessed: 30 October 2014).!!Šoštarić, T. (2014) Filmovi i serije donose milione u Hrvatsku. Available at: http://balkans.aljazeera.net/vijesti/filmovi-i-serije-donose-milione-u-hrvatsku (Accessed: 30 October 2014).!!Što je Muškarac Bez Brkova? (2005) Directed by Hrvoje Hribar [Film]. Zagreb: Blitz Film i Video!!Tadeo, M. (2014) ‘Miley Cyrus Strips Naked, Smokes Weed, Talks to Ronan Farrow For The Cover of W: 'I Like That I'm Associated With Sexuality'’, The Independent, 03 February [Online]. Available at: http://www.independent.co.uk/news/people/news/miley-cyrus-st r ips-naked-ta lks- to-ronan-farrow- i - l ike- that- im-associated-wi th-sexuality-9104790.html (Accessed: 30 October 2014).!!Taormina, A. (2013) Disney Plans to Use Marvel and StarWars Characters in ‘Infinity’. Available at: http://gamerant.com/disney-infinity-star-wars-marvel/ (Accessed: 30 October 2014).!!Taormina, A. (2014) ‘Star Wars’ is Coming to’Disney Infinity’. Available at: http://gamerant.com/star-wars-disney-infinity-2015/ (Accessed: 30 October 2014).!!

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Telotte, J.P. (2008) The Mouse and Machine: Disney and Technology. Champaign: University of Illinois Press !!Tangled (2010) Directed by Nathan Greno and Byron Howard [Film]. Burbank: Walt Disney Studios Motion Pictures!!Tarzan (1999) Directed by Chris Buck and Kevin Lima [Film]. Burbank: Buena Vista Pictures Distribution!!That’s so Raven (2003) Disney Channel, 17 January!!The Black Cauldron (1985) Directed by Ted Berman and Richard Rich [Film]. Burbank: Buena Vista Distribution Company!!The Jazz Singer (1927) Directed by Alan Crosland [Film]. Burbank: Warner Bros. Pictures!!The Land Before Time (1988) Directed by Don Bluth [1988] London: Goldcrest Films International!!The Lion King (1994) Directed by Roger Allers and Rob Minkoff [Film]. Burbank: Buena Vista Pictures Distribution!!The Little Mermaid (1989) Directed by Ron Clemets and John Musker [Film]. Burbank: Buena Vista Pictures Distribution!!The Mickey Mouse Club (1955) ABC, 03 October!!The Mickey Mouse Club (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/The_Mickey_Mouse_Club (Accessed: 30 October 2014).!!The Nightmare Before Christmas (1993) Directed by Henry Selick [Film]. Burbank: Buena Vista Pictures Distribution!!The Old Mill (1937) Directed by Wilfred Jackson [Film]. New York: RKO Radio Pictures!!

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The Parent Trap (1998) Directed by Nancy Meyers [Film]. Burbank: Buena Vista Pictures Distribution!!The Prince of Egypt (1998) Directed by Simon Wells, Brenda Chapman and Steve Hickner [Film]. Universal City: DreamWorks Pictures!!The Princess and the Frog (2009) Directed by Ron Clements and John Musker [Film]. Burbank: Walt Disney Studios Motion Pictures!!The Rescuers (1977) Directed by Wolfgang Reitherman, John Lounsbery and Art Stevens [Film]. Burbank: Buena Vista Distribution Company!!The Show Must Go On (2010) Directed by Nevio Marasović [Film]. Zagreb, Continental Film!!The Silence of the Lambs (1991) Directed by Jonathan Demme [Film]. Los Angeles: Orion Pictures!!The Swan Princess (1994) Directed by Richard Rich [Film]. Los Angeles: New Line Cinema!!The Trial (1962) Directed by Orson Welles [Film]. New York: Astor Pictures!!The Walt Disney Company (2014) Disney.com. Available at: http://disney.com (Accessed: 30 October 2014).!!The Walt Disney Company (2014) Disney/ABC Television Group. Available at: http://disneyabctv.com/division/index_worldwide.shtml (Accessed: 30 October 2014).!!The Walt Disney Company (2014) Disney Music. Available at: http://music.disney.com (Accessed: 30 October 2014).!!The Walt Disney Company (2014) Disney Princess. Available at: http://princess.disney.com (Accessed: 30 October 2014).!!The Walt Disney Company (2014) The Walt Disney Company. Available at: http://thewaltdisneycompany.com (Accessed: 30 October 2014).!

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Turković, H (2006) ‘Croatian Animation Today’, Academia.edu, no date. Available at: https://www.academia.edu/5682772/Croatian_Animation_Today (Accessed: 30 October 2014)!!Turković, H. (2014) Conversation with Hrvoje Hrsto, 30 September. Available at: https://www.dropbox.com/s/0sg6o0haici5pqf/Hrvoje%20Turkovic%20interview.mp3?dl=0!!Vincent, A (2014) ‘Studio Ghibli may stop making films’, The Telegraph, 04 August [Online]. Available at: http://www.telegraph.co.uk/culture/film/film-news/11001081/Studio-Ghibli-may-stop-making-films.html (Accessed: 30 October 2014)!!Von Glinov, K. (2012) Lindsay Lohan Legal Timeline: From Disney Darling To Jailbird. Available at: http://www.huffingtonpost.com/2012/06/24/lindsay-lohan-legal-timeline_n_1618579.html (Accessed: 30 October 2014).!!Wallace & Gromit: The Curse of the Were-Rabbit (2005) Directed by Nick Park and Steve Box [Film]. Universal City: DreamWorks Pictures!!Walt Disney Imageneering (2014) Wikipedia. Available at: http://en.wikipedia.org/wiki/Walt_Disney_Imagineering (Accessed: 30 October 2014).!!Walt Disney’s Wonderful World of Color (1961) NBC, 24 September!!Winnetou (1963) Directed by Harald Reinl [Film]. Frankfurt, Constantin Film!!Who Framed Roger Rabbit (1988) Directed by Robert Zemeckis [Film]. Burbank: Buena Vista Pictures Distribution!!Winnie the Pooh (2011) Directed by Stephen J. Anderson and Don Hall [Film]. Burbank: Walt Disney Studios Motion Pictures!!Winnie the Pooh and Tigger Too (1974) Directed by John Lounsbery [Film]. Burbank: Buena Vista Distribution Company!!Wizards of Wawerly Place (2007) Disney Channel, 12 October!!

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