Young talent has been an important part of The Walt Disney Company since the introduction of Disney Channel in 1983 (Padilla 18). Disney Channel is a television channel that creates and broadcasts original programs and made-for-television films. The community of child actors and singers representing Disney Channel is constantly evolving, which changes the value of the channel as a whole. As child stars grow older and no longer fit the mold that Disney Channel requires, they are replaced with younger children to restart the talent cycle.
In Robert Weisberg’s Creativity: Understanding Innovation in Problem Solving, Science, Invention and in the Arts, he states that value should be excluded from the definition of creativity. Weisberg’s reasoning …show more content…
The value of Disney Channel is extremely subjective as the content produced and the young talent it employs change frequently. When attempting to attribute value to Disney Channel, there are no concrete criteria which are required in defining value, which makes even attempting to determine value unreliable.
An important starting point in trying to objectively assess Disney’s value is to recognize that Disney Channel reaches over 600 million viewers in 100 different countries which demonstrates its vast global scope (Padilla 28). Disney could also be considered valuable because of its broad market which makes it appealing to a variety of demographics such as children, tweens, and parents. Tweens are categorized as children ages 9-12 who are ‘in between’ their childhood and teenage years (Price & Martin 32). Based on this information, it is evident that Disney Channel is a valuable business entity with a large global reach. However, should value merely be determined by the number of people who consume a product within its target …show more content…
The commercial success of Disney Channel’s programming can be exemplified through the Hannah Montana television series. In 2007, the Hannah Montana soundtrack album debuted at number one and its national concert tour and concert film sold out almost instantaneously (Bickford, “Tween Intimacy” 67). Disney Channel’s economic value is illustrated by its ability to capitalize on not only television programming, but by creating “multimedia celebrity acts [who] bridge film, television, and popular music” (Bickford, “Tween Intimacy”
In Robert Weisberg’s Creativity: Understanding Innovation in Problem Solving, Science, Invention and in the Arts, he states that value should be excluded from the definition of creativity. Weisberg’s reasoning …show more content…
The value of Disney Channel is extremely subjective as the content produced and the young talent it employs change frequently. When attempting to attribute value to Disney Channel, there are no concrete criteria which are required in defining value, which makes even attempting to determine value unreliable.
An important starting point in trying to objectively assess Disney’s value is to recognize that Disney Channel reaches over 600 million viewers in 100 different countries which demonstrates its vast global scope (Padilla 28). Disney could also be considered valuable because of its broad market which makes it appealing to a variety of demographics such as children, tweens, and parents. Tweens are categorized as children ages 9-12 who are ‘in between’ their childhood and teenage years (Price & Martin 32). Based on this information, it is evident that Disney Channel is a valuable business entity with a large global reach. However, should value merely be determined by the number of people who consume a product within its target …show more content…
The commercial success of Disney Channel’s programming can be exemplified through the Hannah Montana television series. In 2007, the Hannah Montana soundtrack album debuted at number one and its national concert tour and concert film sold out almost instantaneously (Bickford, “Tween Intimacy” 67). Disney Channel’s economic value is illustrated by its ability to capitalize on not only television programming, but by creating “multimedia celebrity acts [who] bridge film, television, and popular music” (Bickford, “Tween Intimacy”