The Empress Lilly
Well-Known Member
Classic Disney commonly used existing IP too. Just not cartoon / live action movie ones. But rather it played with existing notions of 'the Wild West', or 'New Orleans', or 'exotic adventure movies'. The Jungle Cruise, Treehouse, and the tropical village are the theme park representations of pre-existing orientalist imagery of the visitor too. (And in the case of the Cruise and Treehouse, indirectly and directly based on movie IPs too). Pirates plays on existing public imagery of Piracy in the West.
I would call these representations of existing 'Public IP'. As opposed to 'Private IP'. The former feel more broad, encompassing, free. The latter feel constraint, boringly self-referential, almost claustrophobic when dominant.
Disney shouldn't be afriad that it can not make Public IP its own. You can Disneyfy public IP into something entirely your own too. Disney's New Orleans (existing public IP) is as much Disney as Disney's Snow White (existing public domain IP), and as much Disney as Stitch (private IP).
The main problems for modern Disney are that it is difficult to gain IP rights to their Disneyfied representations of exiting public IP. And, related, that there is less synergy between the different modes of exploitation of the IP.
I would call these representations of existing 'Public IP'. As opposed to 'Private IP'. The former feel more broad, encompassing, free. The latter feel constraint, boringly self-referential, almost claustrophobic when dominant.
Disney shouldn't be afriad that it can not make Public IP its own. You can Disneyfy public IP into something entirely your own too. Disney's New Orleans (existing public IP) is as much Disney as Disney's Snow White (existing public domain IP), and as much Disney as Stitch (private IP).
The main problems for modern Disney are that it is difficult to gain IP rights to their Disneyfied representations of exiting public IP. And, related, that there is less synergy between the different modes of exploitation of the IP.