A Legacy Poised for Growth

Total Page:16

File Type:pdf, Size:1020Kb

A Legacy Poised for Growth Last updated June 2014 India DISNEY WORLDWIDE For over 85 years, The Walt Disney Company has been the preeminent name in the field of family entertainment; the Disney name has symbolized creativity, innovation, trust, decency, optimism and quality. Disney, together with its subsidiaries and affiliates, is a leading diversified international family entertainment and media enterprise with five business segments: Media Networks – Walt Disney Television International, Disney Media Distribution, ESPN Disney Interactive - Disney Interactive Studios; Disney Online; Disney Online Studios; Disney Mobile; Playdom Studio Entertainment – Walt Disney Studios Motion Pictures International, Walt Disney Studios Home Entertainment, Disney Music Group, Disney Theatrical Group Disney Consumer Products – Consumer Products, Publishing Parks and Resorts – Disney Destinations International Disney is a Dow 30 Company, had annual revenues of over US$45 billion in its most recent fiscal year. Worldwide, The Walt Disney Company has approximately 175,000 employees. In 2011, Disney was named #1 in Entertainment on World's Most Admired Companies by Fortune for the second year in a row1, #9 in Interbrand Best Global Brands study2, and #1 in the media entertainment category. The Landor Company’s 2010 Breakaway Brands survey ranks Disney as the 10th fastest brand value growth company from 2006 to 2009 3and in July 2010, Forbes named Disney at #20 in The World's Most Valuable Brands survey, the only entertainment company to appear in the top 50 list4. DISNEY’S STRATEGIC PRIORITIES Since its founding in 1923, Disney has remained faithful to its commitment to produce unparalleled entertainment experiences based on the rich legacy of quality creative content and exceptional storytelling. The Disney brand name resonates with families around the world through universal family values that are at the heart of all Disney content: Quality, Storytelling, Innovation, Decency, Community, and Optimism. Across all of our businesses, Disney is focused on three strategic priorities: Creating quality and innovative content that continues to differentiate Disney as best-in-class; Deploying cutting edge technologies to showcase our content for early competitive advantage while enhancing the customer experience; and Expanding and adding depth to our global presence, particularly in emerging markets. International expansion is a priority at The Walt Disney Company and India is one of the key market where Disney has invested significantly DISNEY INDIA: The Walt Disney Company India started operations in July 2004 with its head office located in Mumbai and has significantly expanded its footprint in February 2012 after acquiring a controlling stake in UTV, one of India’s premier media and entertainment companies. The company’s combined assets make it one of the leading film studios and film distributors in India, one of the largest TV networks with nine popular channels targeting kids, youth and families, a leading player in the digital, interactive and games segment while it continues to be a prominent player in the consumer products space. Building around core brands like Disney, Marvel, UTV, bindass and more the new organization is dedicated to developing and distributing the best in branded entertainment for Indian consumers across all age groups through films, broadcasting, digital and consumer products. BUSINESSES IN INDIA: CONSUMER PRODUCTS Disney is the largest retail character licensor in the world with US$45 billion in character merchandising retail sales globally in 2013. Consumer Products (CP) works with over 130 licensees across all categories in India to develop Disney franchises into everyday product opportunities for consumers of all ages and lifestyles. CP’s lines of business include: Toys; Fashion & Home; Food, Health & Beauty (FHB); Consumer Electronics; Stationery; Publishing and Retail Sales and Marketing (RSM). Today, Disney products are available across a million stores in India. In modern trade Disney has presence in close to 500+ doors including hypermarkets and has more than 2500 SKUs across categories. In an endeavor to provide consumers with the best choice, the greatest convenience and flexibility, Disney and Net Distribution Services launched www.shopatdisney.in, extending Disney’s reach beyond large cities and making Disney merchandise available online and just a few clicks away. CP has also leveraged the growing e-commerce market in India, by making Disney branded products available across all the key online portals with shop-in-shops on Flipkart and Jabong and strategic presence in portals like Myntra, Amazon, Snapdeal, First Cry and more. Disney Publishing Worldwide (DPW), also the biggest publisher of children’s books in the world, has over 500 titles published through local licensees. 1 Fortune Blue Ribbon Companies 2011 http://money.cnn.com/2011/03/02/news/companies/most_admired_intro_short.fortune/index.htm 2Interbrand 2010 http://www.interbrand.com/en/best-global-brands/best-global-brands-2008/best-global-brands-2010.aspx 3 Landor Breakaway Brands® study http://www.landor.com/index.cfm?do=thinking.article&storyid=821&bhcp=1 4 Forbes Worlds Most Valuable Brands 2010 http://www.forbes.com/2010/07/28/apple-google-microsoft-ibm-nike-disney-bmw-forbes-cmo-network-most-valuable-brands_slide_21.html 1 Last updated June 2014 India MEDIA NETWORKS: The media networks business comprises of a bouquet of nine specialty channels in the Kids, Youth and Movie segments. It is one of the leading entertainment destinations in India, viewed by more than 100 million viewers each week[1]. The network has been successful at engaging consumers across different geographies by offering quality content that has wide appeal across different segments of audiences including kids, youth and families. Disney Channel offers an engaging blend of quality Disney entertainment and distinctive, original programs that kids love and families trust and enjoy. Featuring popular animated series such as Phineas & Ferb, locally produced family comedies such as Best of Luck Nikki, Suite Life of Karan and Kabir, Shake It Up, Oye Jassie! and innovative family quiz show Disney Q, genre defining short-form content Captain Tiao as well as Disney movies, the channel’s multi-genre programming is available in Hindi, English, Tamil and Telugu, targeting kids age 4 to 14 and their families. For more information on Disney Channel India, please visit http://www.disney.in/DisneyChannel. Disney XD is a multi-platform brand showcasing a compelling mix of live-action and animated programming for kids age 6-14, targeting boys and their quest for discovery, accomplishment, sports, adventure and humor. Disney XD branded content includes series, movies, short-form, as well as sports-themed programming, and was the first kid’s channel available in Hindi, English, Tamil, Telugu. For more information on Disney XD, please visit www.disneyxd.in Hungama TV, India’s first 24-hour kids channel, brings entertainment which is typical of childhood and follows the core philosophy of creating an experience that energizes kids with laughter. With a tagline ‘Hungama Machaya Kya?’, the channel brings alive emotions that every kid experiences in his/her life centered around unbridled fun and an unapologetic spirit of mischief. The channel’s broad range of compelling content includes local animated shows, Japanese anime and movie premieres that appeal to all sub segments. For more information on Hungama TV, log on to www.hungamatv.com bindass is the first homegrown 360 degree entertainment brand for Indian youth that spans TV, on- ground events and digital. Synonymous with grit, style and success, bindass is a brand of purpose and relevance and aims to be an ‘enabler of purposive action’. Understanding the pulse of India’s largest demographic, the youth is at the core of the brand’s DNA. The properties/shows on bindass mirror the lives and aspirations of young India which is also reflected in our most recent brand campaign ‘b for change’. Reaching over 60% (Jan14-April14) of Indian youth, bindass offers a unique blend of content across genres that appeal to the youth across multiple platforms. The channel is home to the best known home grown youth oriented cult shows and franchises such as Yeh Hai Aashiqui, Emotional Atyachaar, Halla Bol, Change Ayega Hum Layenge, Beg Borrow Steal and Big Switch. The brand will soon see an added push in the form of a sister channel which will be a re- imagined version of UTV Stars, the network’s other offering in the youth space. UTV Movies UTV Movies is a new age Hindi movie channel which draws on the universal passion for Bollywood fare. The channel promises to deliver instant doses of unrestrained entertainment that encourages the viewer to relax and unwind, expressed creatively through the brand philosophy of 'Sooch Mat, Seethi Maar'. UTV Movies is available internationally in over 20 countries, including the US, on the Direct TV platform UTV Action marked the trend of maturity in the generic movie platform and realizing the potential of genre specific offerings. The channel showcases the best of action flicks including Hollywood in Hindi and blockbuster Bollywood action titles and provides viewers the one stop destination to enjoy the best of high octane content starring the world’s biggest heroes. UTV Action boasts of an extensive library consisting of titles such as Tron: Legacy, The Amazing Spiderman, The Dark Knight Returns, Ghost Rider: Spirit of Vengeance, The Expendables and a plethora of other action blockbusters. UTV World Movies showcases the World's greatest movies from around the globe attracting the elusive urban up-market Indian seeking to explore cinema beyond Bollywood and Hollywood. The channel is home to a library of over 600 titles cherry picked from over 40 countries, including contemporary, award winning titles such as The Lives of Others, Baran, Amelie, Waltz with Bashir, No Mans’ Land, The Bands Visit, Tsotsi, The Milk of Sorrow, Song of Sparrows, The Counterfeiters and more. The library features works of famous directors such as Francois Truffaut, Akiro Kurosawa, Majid Majidi, Jafar Panahi, Martin Scorsese among many others.
Recommended publications
  • Indian Entertainment and Media Outlook 2010 2 Indian Entertainment and Media Outlook 2010 Message
    Indian entertainment and media outlook 2010 2 Indian entertainment and media outlook 2010 Message To our clients and friends both in and beyond the entertainment and media industry : Welcome to the 2010 edition of PricewaterhouseCoopers’ Indian Entertainment and Media (E&M) Outlook, covering the forecast period of 2010–2014. Our forecasts and analysis for this edition focus on eight major E&M industry segments and one emerging segment. Each segment details out the key trends observed and challenges faced apart from providing the prospects for the segment. In the industry overview section, we have highlighted the key theme observed during 2009 and what we perceive as future trends in the coming years. We have a chapter on the tax and regulatory impact on the various E&M segments and for the very first time we have included a chapter on how technology can be leveraged in the E&M industry. In 2009, the economy severely impacted the world, translating into steep declines in advertisement as well as consumer spending. India though impacted, did manage to show growth with increased consumer spending as well as innovative action on the part of the industry. Against this backdrop, across the world, except certain markets, speed of digital spending increased due to changing consumer behavior as well as technology available to deliver the same. In India, while the spend on digital media is likely to grow, it is unlikely that it will dominate in the forecast period. This is largely due to the relative unavailability as well as unaffordability of the broadband and mobile infrastructure.
    [Show full text]
  • Scott Russell Allen
    scott russell allen An experienced creative leader with proven abilities directing teams in the development of exciting projects for both existing and emerging entertainment platforms. inspirational, international, ground-breaking, inventive, collaborative experience 2008 - 2020 Freelance Art Director - Los Angeles, CA Art Direction,design and development for clients including: Walt Disney Imagineering, The Hettema Group, Century Media, NBC Universal, Mycotoo 2013 - 2015 The Hettema Group - Pasadena, CA Art Director ~ Art Direction and design of theme park project development. Art Direction and Land-Lead for DreamWorks DREAMPARK, an international large-scale branded themed experience combining classic magic with future technologies. Management of in-house creative design team. Design and management of multiple international and domestic entertainment projects. 2000 - 2008 Disney Interactive - North Hollywood, CA Senior Art Director ~ Art Direction, development and management of international digital/mobile technology projects including: Disney Mobile Studios, Disney Connection, Disney's Magic English, Club Penguin, Disney.com and Movies.com. Content development and marketing strategies for 47 international markets. Management of internal and external design teams. 1995 - 2000 Disney Televentures - Glendale, CA Art Director ~ Art Direction, design, development and management of new entertainment technologies and formats. Served as the lead visual developer for DisneyTeleventures Group developing new media projects including Americast;
    [Show full text]
  • How Disney's Targeted Advertisements Implicate
    IT’A SMALL WORLD AFTER ALL: HOW DISNEY’S TARGETED ADVERTISEMENTS IMPLICATE COPPA Gianna Korpita1 I. Introduction The mission of the Walt Disney Company (“Disney”) is “to be one of the world’s leading producers and providers of entertainment and information.”2 Disney is ranked as one of the world’s top ten most powerful brands and is certainly living up to that statement.3 With 1B.S. Business Administration, Boston University, 2012; J.D. Suffolk University Law School, 2019; Served as the 2018-2019 Editor-in-Chief of Suffolk University Law School’s Journal of High Technology Law. 2See About the Walt Disney Company, THE WALT DISNEY CO. (2017), archived at https://perma.cc/59RG-TB2G [hereinafter About] (stating the company’s mission to development the most creative and profitable entertainment experiences in the world). To achieve this mission and be profitable, Disney strives to be creative and innovative in their content, services, and consumer products. Id.; see also Rafiq Elmansey, Disney’s Creative Strategy: The Dreamer, The Realist and The Critic, DESIGNORATE (2017), archived at https://perma.cc/QB87-YDEY (highlighting that “[i]n a way, Disney’s chosen medium of expression, the animated film, characterizes the fundamental process of all genius: the ability to take something that exists in the imagination only and forge it into a physical existence that directly influences the experience of others in a positive way.”). One of the advantages of Disney’s creative strategy method is balancing between both dream and reality to build a viable layout. Id. 3See Julien Rath, The 10 Most Powerful Brands in the World, BUS.
    [Show full text]
  • Disney Channel
    Early Enterprises... Walt Disney was born on December 5, 1901 in Chicago Illinois, to his father Elias Disney, and mother Flora Call Disney. Walt had very early interests in art, he would often sell drawings to neighbors to make extra money. He pursued his art career, by studying art and photography by going to McKinley High School in Chicago. Walt began to love, and appreciate nature and wildlife, and family and community, which were a large part of agrarian living. Though his father could be quite stern, and often there was little money, Walt was encouraged by his mother, and older brother, Roy to pursue his talents. Walt joined the Red Cross and was sent overseas to France, where he spent a year driving an ambulance and chauffeuring Red Cross officials. Once he returned from France, he wanted to pursue a career in commercial art, which soon lead to his experiments in animation. He began producing short animated films for local businesses, in Kansas City. By the time Walt had started to create The Alice Comedies, which was about a real girl and her adventures in an animated world, Walt ran out of money, and his company Laugh-O-Grams went bankrupted. Instead of giving up, Walt packed his suitcase and with his unfinished print of The Alice Comedies in hand, headed for Hollywood to start a new business. The early flop of The Alice Comedies inoculated Walt against fear of failure; he had risked it all three or four times in his life. Walt's brother, Roy O. Disney and Walt borrowed an additional $500, and set up shop in their uncle's garage.
    [Show full text]
  • 2012-Factbook.Pdf
    TABLE OF CONTENTS MANAGEMENT TEAM Board of Directors 3 Senior Corporate Officers 4 Principal Businesses 5 OPERATIONS DATA Studio Entertainment 6 Parks and Resorts 8 Consumer Products 11 Media Networks 12 Interactive 14 COMPANY HISTORY 2012 16 2011 - 1923 17 - 30 2 MANAGEMENT TEAM BOARD OF DIRECTORS SUSAN E. ARNOLD JOHN S. CHEN JUDITH L. ESTIN ROBERT A. IGER Director since 2007 Director since 2004 Director since 1998 Chairman and Chief Executive Ocer FRED H. LANGHAMMER AYLWIN B. LEWIS MONICA C. LOZANO ROBERT W. MATSCHULLAT Director since 2005 Director since 2004 Director since 2000 Director since 2002 SHERYL SANDBERG ORIN C. SMITH* Director since 2010 Director since 2006 *Elected Independent Lead Director March 13, 2012 3 MANAGEMENT TEAM SENIOR CORPORATE OFFICERS Robert A. Iger Andy Bird Chairman, Walt Disney International Alan Braverman Senior Executive Vice President, General Counsel and Secretary Ronald L. Iden Senior Vice President, Global Security Kevin Mayer Executive Vice President, Corporate Strategy and Business Development Christine M. McCarthy Executive Vice President, Corporate Real Estate, Sourcing, Alliances, and Treasurer Zenia Mucha Executive Vice President, Jayne Parker Executive Vice President and Jay Rasulo Senior Executive Vice President and Brent Woodford Senior Vice President, Planning and Control 4 MANAGEMENT TEAM BUSINESS UNIT George Bodenheimer Executive Chairman, ESPN, Inc. Bob Chapek President, Disney Consumer Products Alan F. Horn Chairman, The Walt Disney Studios James Pitaro Co-President, Disney Interactive
    [Show full text]
  • Indian Film Festival of Los Angeles. Journal of South Asian Studies
    78 The Indian Film Festival of Los Angeles Preeti Chandan n the last decade Bollywood hype has increasingly The intent of the festival, Marouda has said, was to captured the fancy of Indians in the United States as provide exposure to films that needed a platform, a pre- Iwell as the mainstream media and audiences. This mier Indian film festival in the U.S. with its feet firmly is such a preevalent trend that the extravaganzas once grounded in films from and about India. considered vacuous and escapist have now become a re- Marouda, just 27 at the time, pulled in about eight spected and integral component of Indian culture. supporters to kick-start the planning process. She and In the face of Bollywood’s seductive allure, Indian al- two other programmers, including Mumbai based jour- ternate cinema has always found itself relegated to the nalist and experienced festival curator Uma Da Cunha, shadows, where barely registers on the periphery of most searched for worthy titles and called filmmakers to enter Indians’ viewing choices. With few, if any, distribution them in the inaugural edition. Cold calling was a norm in outlets, Indie films look to film festivals as a Mecca that those early days, recalled IFFLA publicist Surekha Pa- connects their distinctive voices to an audience. The In- ruchuri, who has been with the fest from the start. They dian Film Festival of Los Angeles (IFFLA) is one such called companies seeking sponsorships and contacted platform, a haven for filmmakers who eschew glamour airlines to provide passage for participating filmmakers and venture into unexplored directions, often working on shoestring budgets and with little support, as well as for audiences that hunger for films outside of Bollywood.
    [Show full text]
  • Title ID Titlename D0043 DEVIL's ADVOCATE D0044 a SIMPLE
    Title ID TitleName D0043 DEVIL'S ADVOCATE D0044 A SIMPLE PLAN D0059 MERCURY RISING D0062 THE NEGOTIATOR D0067 THERES SOMETHING ABOUT MARY D0070 A CIVIL ACTION D0077 CAGE SNAKE EYES D0080 MIDNIGHT RUN D0081 RAISING ARIZONA D0084 HOME FRIES D0089 SOUTH PARK 5 D0090 SOUTH PARK VOLUME 6 D0093 THUNDERBALL (JAMES BOND 007) D0097 VERY BAD THINGS D0104 WHY DO FOOLS FALL IN LOVE D0111 THE GENERALS DAUGHER D0113 THE IDOLMAKER D0115 SCARFACE D0122 WILD THINGS D0147 BOWFINGER D0153 THE BLAIR WITCH PROJECT D0165 THE MESSENGER D0171 FOR LOVE OF THE GAME D0175 ROGUE TRADER D0183 LAKE PLACID D0189 THE WORLD IS NOT ENOUGH D0194 THE BACHELOR D0203 DR NO D0204 THE GREEN MILE D0211 SNOW FALLING ON CEDARS D0228 CHASING AMY D0229 ANIMAL ROOM D0249 BREAKFAST OF CHAMPIONS D0278 WAG THE DOG D0279 BULLITT D0286 OUT OF JUSTICE D0292 THE SPECIALIST D0297 UNDER SIEGE 2 D0306 PRIVATE BENJAMIN D0315 COBRA D0329 FINAL DESTINATION D0341 CHARLIE'S ANGELS D0352 THE REPLACEMENTS D0357 G.I. JANE D0365 GODZILLA D0366 THE GHOST AND THE DARKNESS D0373 STREET FIGHTER D0384 THE PERFECT STORM D0390 BLACK AND WHITE D0391 BLUES BROTHERS 2000 D0393 WAKING THE DEAD D0404 MORTAL KOMBAT ANNIHILATION D0415 LETHAL WEAPON 4 D0418 LETHAL WEAPON 2 D0420 APOLLO 13 D0423 DIAMONDS ARE FOREVER (JAMES BOND 007) D0427 RED CORNER D0447 UNDER SUSPICION D0453 ANIMAL FACTORY D0454 WHAT LIES BENEATH D0457 GET CARTER D0461 CECIL B.DEMENTED D0466 WHERE THE MONEY IS D0470 WAY OF THE GUN D0473 ME,MYSELF & IRENE D0475 WHIPPED D0478 AN AFFAIR OF LOVE D0481 RED LETTERS D0494 LUCKY NUMBERS D0495 WONDER BOYS
    [Show full text]
  • IFFLA Celebrates the Richness of Indian Film by PARIMAL M
    Section C • April 22, 2011 C7 Meet Miss India World C22 A Chat with 60s Icon Sadhana C10 Tarangini Dancers in Kathak Show IFFLA Celebrates the Richness of Indian Film By PARIMAL M. ROHIT for Indian cinema in the U.S. Our Special to India-West audiences were captivated by the diversity of our offerings,” OLLYWOOD, Calif. — Marouda said. For the ninth consecu- “We are thrilled at the enormous tive year, the Indian response to this year’s program. HFilm Festival of Los We look forward to celebrating Angeles took over the ArcLight our momentous tenth year in 2012 Cinemas here in Hollywood for in Los Angeles and have already six days April 12-17 to highlight begun preparations.” the best and brightest in Indian Opening the festival April 12 cinema, be it filmmakers, actors, was the Smile Foundation’s “I Am writers, or executives. Kalam,” setting the tone for six- In all, about 7,000 moviegoers day event with its wholehearted attended the six-day event to story of poor Rajasthani boy who watch 32 feature, documentary, has a strong desire to learn how and short films and interact with to read. Disney’s child superhero dozens of filmmakers and actors. production of “Zokommon” made Among the popular talent who its world premiere on April 17 and attended the festival included brought the festival to a close. Bollywood stars Gulshan Grover, “In the last 10 years, cinema has Anupam Kher and Pooja Batra; changed completely, globally, and filmmaker Vikramaditya Mot- in India, especially,” Kher told In- wane; and rising Indian Ameri- dia-West.
    [Show full text]
  • LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
    LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No.
    [Show full text]
  • In Order of Release
    Animated(in order Disney of release) Movies Snow White and the Seven Dwarfs Treasure Planet Pinocchio The Jungle Book 2 Dumbo Piglet's Big Movie Bambi Finding Nemo Make Mine Music Brother Bear The Adventures of Ichabod and Mr. Toad Teacher's Pet Cinderella Home on the Range Alice in Wonderland The Incredibles Peter Pan Pooh's Heffalump Movie Lady and the Tramp Valiant Sleeping Beauty Chicken Little One Hundred and One Dalmatians The Wild The Sword in the Stone Cars The Jungle Book The Nightmare Before Christmas 3D TNBC The Aristocats Meet the Robinsons Robin Hood Ratatouille The Many Adventures of Winnie the Pooh WALL-E The Rescuers Roadside Romeo The Fox and the Hound Bolt The Black Cauldron Up The Great Mouse Detective A Christmas Carol Oliver & Company The Princess and the Frog The Little Mermaid Toy Story 3 DuckTales: Treasure of the Lost Lamp Tangled The Rescuers Down Under Mars Needs Moms Beauty and the Beast Cars 2 Aladdin Winnie the Pooh The Lion King Arjun: The Warrior Prince A Goofy Movie Brave Pocahontas Frankenweenie Toy Story Wreck-It Ralph The Hunchback of Notre Dame Monsters University Hercules Planes Mulan Frozen A Bug's Life Planes: Fire & Rescue Doug's 1st Movie Big Hero 6 Tarzan Inside Out Toy Story 2 The Good Dinosaur The Tigger Movie Zootopia The Emperor's New Groove Finding Dory Recess: School's Out Moana Atlantis: The Lost Empire Cars 3 Monsters, Inc. Coco Return to Never Land Incredibles 2 Lilo & Stitch Disney1930s - 1960s (in orderMovies of release) Snow White and the Seven Dwarfs Ten Who Dared Pinocchio Swiss Family Robinson Fantasia One Hundred and One Dalmatians The Reluctant Dragon The Absent-Minded Professor Dumbo The Parent Trap Bambi Nikki, Wild Dog of the North Saludos Amigos Greyfriars Bobby Victory Through Air Power Babes in Toyland The Three Caballeros Moon Pilot Make Mine Music Bon Voyage! Song of the South Big Red Fun and Fancy Free Almost Angels Melody Time The Legend of Lobo So Dear to My Heart In Search of the Castaways The Adventures of Ichabod and Mr.
    [Show full text]
  • 2001 Annual Report
    wdwCovers 12/18/01 5:17 PM Page 1 The Company ANNUAL REPORT 2001 wdwCovers 12/18/01 5:17 PM Page 2 Reveta F. Bowers John E. Bryson Roy E. Disney Michael D. Eisner Judith L. Estrin Stanley P. Gold Robert A. Iger Monica C. Lozano George J. Mitchell Thomas S. Murphy Leo J. O’Donovan, S.J. Sidney Poitier Robert A.M. Stern Andrea L. Van de Kamp Raymond L. Watson Gary L. Wilson 20210F01_P01.09_v2 12/18/01 5:19 PM Page 1 The Walt Disney Company and Subsidiaries CONTENT LISTING Financial Highlights 1 Management’s Discussion and Analysis 49 Letter to Shareholders 2 Consolidated Statements of Income 60 Financial Review 10 Consolidated Balance Sheets 61 DisneyHand 14 Consolidated Statements of Cash Flows 62 Parks and Resorts 18 Consolidated Statements of Stockholders’ Equity 63 Walt Disney Imagineering 26 Notes to Consolidated Financial Statements 64 Studio Entertainment 28 Quarterly Financial Summary 77 Media Networks 36 Selected Financial Data 78 Broadcast Networks 37 Management’s Responsibility of Financial Statements 79 Cable Networks 38 Report of Independent Accountants 79 Consumer Products 44 Board of Directors and Corporate Executive Officers 80 Walt Disney International 48 FINANCIAL HIGHLIGHTS (In millions, except per share data) 2001 2000 Revenues(1) $25,256 $25,356 Segment operating income(1) 4,038 4,124 Diluted earnings per share before the cumulative effect of accounting changes, excluding restructuring and impairment charges and gain on the sale of businesses(1) 0.72 0.72 Cash flow from operations 3,048 3,755 Borrowings 9,769 9,461 Stockholders’ equity 22,672 24,100 (1) Pro forma revenues, segment operating income and earnings per share reflect the sale of Fairchild Publications, the acquisition of Infoseek, the conversion of Internet Group common stock into Disney common stock and the closure of the GO.com portal business as if these events and the adoption of SOP 00-2 had occurred at the beginning of fiscal 2000, eliminating the one-time impact of those events.
    [Show full text]
  • Ch 1. a Tour of the New Means of Consumption
    1 A Tour of the New Means of Consumption Disney’s World 2 The New Means of Consumption 6 Cathedrals of Consumption 7 Overview of the Cathedrals of Consumption 9 Franchises and Fast-Food Restaurants 9 Chain Stores 10 Shopping Malls 10 Electronic Shopping Centers 12 Discounters 14 Superstores 15 Cruise Ships 16 Casino-Hotels 17 Entertainment Aimed at Adults 18 Eatertainment 19 Other Means of Consumption 20 Conclusion 22 1 2—— Enchanting a Disenchanted World e consume many obvious things—fast food, T-shirts, a day at Walt WDisney World—and many others that are not so obvious—a lecture, medical service, a day at the ballpark. We consume many goods and services that we must have in order to live and more that we simply want or think we need. Often we must go to particular settings to obtain these goods and services (although, as we will see, more and more of them are coming to us). This book is concerned with those settings: home-shopping television, shop- ping malls, online shopping sites, fast-food restaurants, theme parks, and cruise ships, to name a few. Unlike many treatments of the subject of consumption, this is not a book about the consumer1 or the increasing profusion of goods and services.2 Rather, it is about the settings3 that allow, encourage, and even compel us to consume so many of those goods and services. The settings of interest will be termed the new means of consumption. These are, in the main, locales that came into existence or took new forms after the end of World War II and that, building on but going beyond earlier settings, dramatically trans- formed the nature of consumption.
    [Show full text]