This is the second in a two-part exploration of the Disney-Fox deal. You can read part one here.
Though the Disney Company’s $71.3 billion bid to acquire 21st Century Fox has been met by pop-culture fans with rapturous glee, the threat of Disney establishing a modern monopoly on the entertainment industry may become a reality in this deal. There’s a logic to Disney purchasing the company that owns major stock in the streaming market plus intellectual properties closely tied to them, such as James Cameron’s Avatar (2009). The deal, however, will lead to Disney owning an estimated 30% of the film industry. Many may not mind a company like Disney owning so much stake in one industry, but there’s major concern when one considers the mediocre quality of the art Disney has produced in the last decade.
This is the first in a two-part exploration of the Disney-Fox deal. Part two can be found here.
In July of 2018, the Walt Disney Company acquired 21st Century Fox, as well as its many assets in film, television, and streaming services, for a reported $71.3 billion. This should be no surprise, as Disney has been a face for cold American corporatism for decades. The squeaky clean façade Disney desperately upholds in the face of their relentless pursuit of capital has made them an easy target for both harmless lampooning and legitimate criticism. Unfortunately, conversations about media are swamped by a nostalgia-fueled pop-culture, further amplified by social media echo chambers. Whereas many fans will worship Disney’s purchase in hopes of the Fox-owned X-Men getting name dropped in Avengers 7: The Quest for More Money (2026), this acquisition should instead be met with grave concern about the effect a modern monopoly may have on the quality of future art across the entertainment industry.
The January 6, 2019 deadline for the Panther Screenplay Competition is closer than you think! Thanks to our sponsor the Coral Gables Art Cinema, the winning screenplay of the competition will be awarded a 1-year membership to the CGAC’s After-Hours Program! To be considered eligible, screenplay submissions must be delivered no later than 11:59 PM on the day of the deadline, which is January 6, the Sunday before the Spring semester begins. Submit your screenplay in either PDF format to email@example.com or as a print copy to Dr. Strycharski’s mailbox in the English Department on the fourth floor of DM (Deuxieme Mansion MMC).
Join FIU film studies director Andrew Strycharski at Miami Beach Cinematheque tonight (11/14) at 7:00 PM for a screening of the classic film noir The Killers (1946). Andrew Strycharski’s introductory comments will focus on film noir story structure, the shock of the present and piecing together the past, and the experience of European (and especially Jewish) immigrants and exiles in the aftermath of World War II.
As Netflix tries to climb its way into the world of film legitimacy through theatrically-released Netflix originals, fans rush to defend the quality of the company’s works as on-par with other production companies. While Netflix has produced a handful of great shows and movies, like any new production company, they have a hefty number of unwatchable disappointments, and still have to prove themselves to go toe to toe with their larger competitors. In releasing David Mackenzie’s Outlaw King (2018), though this film is more watchable than most Netflix originals, the experience isn’t worth getting off the couch and buying a ticket at the theater.
Dr. Michael Gillespie of FIU’s English department, who is currently teaching a film noir course, describes it as a genre “that gives examples of individuals who succeed in resisting dominant authority and provides viewers with an example of someone who sustains his or her integrity.” In other words they are movies about rebels. Selfish, sexy people working for their own gain, these are slick talking, criminally clever characters who never fail to impress.