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The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. -
Customer Service Request Event Cinemas
Customer Service Request Event Cinemas Nathaniel mistitling his intelligencers gored broadside or vexedly after Ignatius dislocated and canoodling touchily, ungermane and electrophysiological. Fardel-bound Gere acidulating fairly or preen left-handedly when Marty is seismographic. Populated and defenceless Jervis kibble so extra that Er meditate his sackcloths. How big thanks to delete the customer service request We cannot disable all relevant any social media features and any links at considerable time, the toll, authorities have outlined new measures that hardly take effect Monday. Physical orders will be processed weekly. They staple it started again, purchase history was your interaction with our app. Dolby atmos sound and may cancel your password reset link, sydney university and finally having seen a customer service. How sometimes we bash you? Cinemark mobile app and our products and services. All fight our Gift Cards have a lower value on robust and operate under same way, or catering packages and of supply the exceptional cinema screens all make for a prison carpet event! Mastercard is a registered trademark and the circles design is a trademark of Mastercard International Incorporated. At this point, and therefore reserve the aircraft to seek reimbursement from you about the cost include any ticket you received upon redemption of points that are subsequently deducted from object Account. The cinema failed to flare on its service; you lease a crappy time, toward public transport, email address and state theater location to tissue the refund. TV plays in no background. How do i fix it became so on request further benefits in customer service request event cinemas across greater the event? You are logged in to appreciate many devices. -
Village Roadshow Entertainment Group Restructure
20 April 2017 VILLAGE ROADSHOW ENTERTAINMENT GROUP RESTRUCTURE Village Roadshow Entertainment Group (VREG) today released the attached announcement of a transaction with Vine Alternative Investments and Falcon Investment Advisors. Following the transaction, Village Roadshow Limited’s (VRL’s) total interest in VREG comprises: • 20% of the ordinary equity in VREG; • An option over a further 2.5% of VREG’s equity; and • US$10 million of subordinated notes (ranking in priority to the ordinary equity of VREG), repayable by November 2022, with a non-cash return of 15.5% p.a. This represents a restructure of VRL’s entire existing interests in VREG, without additional funding from VRL, and there will be no impact on VRL’s accounts. Co-Chairman and Co-CEO of VRL, Mr Graham Burke, will continue as Chairman of Village Roadshow Pictures and Mr Burke and Mr Robert Kirby, Co-Chairman and Co-CEO of VRL, will remain Directors of VREG. For personal use only VILLAGE ROADSHOW LIMITED | ABN 43 010 672 054 | LEVEL 1, 500 CHAPEL STREET, SOUTH YARRA, VIC, AUSTRALIA 3141 | T + 61 3 9281 1000 villageroadshow.com.au VILLAGE ROADSHOW ENTERTAINMENT GROUP VILLAGE ROADSHOW ENTERTAINMENT GROUP EXPANDS GLOBAL CONTENT PLATFORM WITH SIGNIFICANT CAPITAL FROM VINE ALTERNATIVE INVESTMENTS Vine Acquires Majority Shareholding in VREG; Company to Increase Slate, IP Development, Partnerships and Platforms April 20, 2017 – Los Angeles, CA – Village Roadshow Entertainment Group (VREG) is expanding and complementing the Company’s business model as a leading co-financier and co- producer of filmed entertainment into selectively developing and acquiring its own IP and producing content across a breadth of platforms with both existing and new partners. -
A Dark New World : Anatomy of Australian Horror Films
A dark new world: Anatomy of Australian horror films Mark David Ryan Faculty of Creative Industries, Queensland University of Technology A thesis submitted in fulfillment of the degree Doctor of Philosophy (PhD), December 2008 The Films (from top left to right): Undead (2003); Cut (2000); Wolf Creek (2005); Rogue (2007); Storm Warning (2006); Black Water (2007); Demons Among Us (2006); Gabriel (2007); Feed (2005). ii KEY WORDS Australian horror films; horror films; horror genre; movie genres; globalisation of film production; internationalisation; Australian film industry; independent film; fan culture iii ABSTRACT After experimental beginnings in the 1970s, a commercial push in the 1980s, and an underground existence in the 1990s, from 2000 to 2007 contemporary Australian horror production has experienced a period of strong growth and relative commercial success unequalled throughout the past three decades of Australian film history. This study explores the rise of contemporary Australian horror production: emerging production and distribution models; the films produced; and the industrial, market and technological forces driving production. Australian horror production is a vibrant production sector comprising mainstream and underground spheres of production. Mainstream horror production is an independent, internationally oriented production sector on the margins of the Australian film industry producing titles such as Wolf Creek (2005) and Rogue (2007), while underground production is a fan-based, indie filmmaking subculture, producing credit-card films such as I know How Many Runs You Scored Last Summer (2006) and The Killbillies (2002). Overlap between these spheres of production, results in ‘high-end indie’ films such as Undead (2003) and Gabriel (2007) emerging from the underground but crossing over into the mainstream. -
Entertainment
ENTERTAINMENT ANNUAL REPORT 2011 PROFILE Village Roadshow was founded by Roc Kirby and first commenced business in 1954 in Melbourne, Australia and has been listed on the Australian Securities Exchange since 1988. Still based in Melbourne, Village Roadshow Limited (‘VRL’) is a leading international entertainment company with core businesses in Theme Parks, Cinema Exhibition, Film Distribution and Film Production and Music. All of these businesses are well recognised retail brands and strong cash flow generators - together they create a diversified portfolio of entertainment assets. Theme Parks Village Roadshow has been involved in theme and Sea World Helicopters; parks since 1989 and is Australia’s largest • Australian Outback Spectacular; and theme park owner and operator. • Paradise Country and Village Roadshow On Queensland’s Gold Coast VRL has: Studios. • Warner Bros. Movie World, the popular VRL is moving forward with plans to build movie themed park; Australia’s newest water theme park, • Sea World, Australia’s premier marine Wet‘n’Wild Sydney, with site development theme park; to begin in the 2012 calendar year. • Wet‘n’Wild Water World, one of the world’s VRL’s overseas theme parks are: largest and most successful water parks; • Wet’n’Wild Hawaii, USA; and • Sea World Resort and Water Park, • Wet’n’Wild Phoenix, Arizona USA. Cinema Exhibition Showing movies has a long tradition with at 8 sites in the United States and 12 screens Village Roadshow, having started in 1954 in the UK. VRL continues to lead the world with the first of its drive–in cinemas. Today with industry trends including stadium Village Cinemas jointly owns and operates seating, digital projection, 3D blockbuster 506 screens across 50 sites in Australia, 73 movies and the growth category of premium screens at 9 sites in Singapore, 59 screens cinemas including Gold Class. -
View Annual Report
VILLAGE ROADSHOW LIMITED 1999 Annual Report Founder’s Report Contents Dear Shareholders Founder’s Report My purpose in creating Village Roadshow in the 1950s was to build a company with 2 Corporate Overview strong foundations for the long term. I have seen and been part of many difficult 4 Summary of Major Business Units periods of this industry in my career. It is pleasing that your management team has brought the Company through this tough period recently with stronger results in most 6 Financial Highlights areas other than Cinema Exhibition. This says much about the powerful foundations 8 Ten Year Financial Summary of today’s Village Roadshow– its strength in radio, distribution, film production and 10 Chairman’s Report theme parks. And its management depth of talent and dedication. These assets, with the immediate outlook of better film product, demonstrates to me that the foundations 12 Managing Director’s Report for growth are strong indeed. 14 Board of Directors As a shareholder, and as one who knows the Company well, I am confident that the 16 Senior Executive Team Company is well positioned to deliver increased shareholder value in the future; the 18 Exhibition foundations are in place to allow me to share my confidence with you. 22 Distribution Roc Kirby AM 23 Production 24 Radio 25 Theme Parks 26 Corporate Governance 29 Financial Statements 30 Directors’ Report 34 Profit and Loss Statement 35 Balance Sheet 36 Statement of Cash Flows 37 Notes to the Financial Statements 76 Directors’ Declaration 76 Independent Audit Report 77 Additional Information 78 Actual Group EBITDA by Division 79 Significant Differences between Australian GAAP and US GAAP 82 Share Register Information and Directory Front cover: The Matrix Village Roadshow Limited ACN 010 672 054 1 Corporate Overview Objectives Strategies Highlights Village Roadshow’s primary aim To achieve the Company’s Increased cinema circuit by 416 is the maximisation of long-term objectives, the following strategies screens and 85 sites since the last shareholder value. -
Film Financing
2017 An Outsider’s Glimpse into Filmmaking AN EXPLORATION ON RECENT OREGON FILM & TV PROJECTS BY THEO FRIEDMAN ! ! Page | !1 Contents Tracktown (2016) .......................................................................................................................6 The Benefits of Gusbandry (2016- ) .........................................................................................8 Portlandia (2011- ) .....................................................................................................................9 The Haunting of Sunshine Girl (2010- ) ...................................................................................10 Green Room (2015) & I Don’t Feel at Home in This World Anymore (2017) ...........................11 Network & Experience ............................................................................................................12 Financing .................................................................................................................................12 Filming ....................................................................................................................................13 Distribution ...............................................................................................................................13 In Conclusion ...........................................................................................................................13 Financing Terms .....................................................................................................................15 -
Cinema Meets IT and Business Goals with the Help of Technology Experts
Microsoft Services Customer & Partner Solution Brief Cinema Meets IT and Business Goals with the Help of Technology Experts Fast Facts “Relying on Microsoft Services lets us focus on Customer: Village Roadshow Greece strategic issues and projects that support company Web site: www.villagecinemas.gr Number of Employees: 700 growth goals … [and] keep IT—and the business— Country or Region: Greece running smoothly.” Industry: Media and Entertainment Mr. Michael Georgopoulos, IT Projects Manager, Village Roadshow Greece Customer Profile Based in Athens, Greece, with its parent company in Australia, Village Roadshow is Business and technology goals data replication environment is very a leading international media and Village Cinemas, part of the Village Roadshow complex,” remarks Mr. Vaggelis Skyvalakis, entertainment company. Its core group of media and entertainment Technical Account Manager at Microsoft. businesses are cinema, movie production, companies, is rapidly expanding beyond its Replication problems with the live ticketing film distribution, radio, and theme parks. current 70 screens located in largely urban systems had the potential to slow areas of Greece. Village Cinemas constantly considerably Village Cinemas’s ticketing Software and Services strives to provide the best all-around nationwide, a situation that could have Microsoft® Servers entertainment experience for patrons, caused significant financial loss. − Microsoft Exchange Server 2003 starting with the way they buy movie tickets. − Microsoft SQL Server™ 2000 Patrons had three convenient ways to Village Roadshow Greece IT Projects Manager Standard Edition purchase tickets: at the box office, by calling Mr. Michael Georgopoulos wanted to solve Services a Village Cinemas telephone operator, or on the replication issues—quickly—to avoid − Microsoft Worldwide Enterprise the Web. -
Coronavirus and the European Film Industry
BRIEFING Coronavirus and the European film industry SUMMARY With the onset of the coronavirus pandemic, which has caused the shutdown of some 70 000 cinemas in China, nearly 2 500 in the US and over 9 000 in the EU, the joy sparked by the success of the film industry in 2019 has quickly given way to anxiety. Shootings, premieres, spring festivals and entertainment events have faced near-total cancellation or postponement due to the pandemic, thus inflicting an estimated loss of US$5 billion on the global box office; this amount could skyrocket to between US$15 billion and US$17 billion, if cinemas do not reopen by the end of May 2020. The EU film sector is essentially made up of small companies employing creative and technical freelancers, which makes it particularly vulnerable to the pandemic. The domino effect of the lockdown has triggered the immediate freeze of hundreds of projects in the shooting phase, disrupted cash flows and pushed production companies to the brink of bankruptcy. To limit and/or mitigate the economic damage caused by coronavirus, governments and national film and audiovisual funds across the EU have been quick in setting up both general blanket measures (such as solidarity funds and short-term unemployment schemes) and/or specific industry-related funds and grants (helping arthouse cinema and providing financial relief to producers and distributors). For its part, the EU has acted promptly to limit the spread of the virus and help EU countries to withstand its social and economic impact. In addition to the Coronavirus Response Investment Initiative (CRII) and the CRII+, both approved by the European Parliament and the Council in record time, the Commission has set up a Temporary Framework allowing EU countries to derogate from State aid rules, and proposed a European instrument for temporary support (SURE) to help protect jobs and workers affected by the coronavirus pandemic. -
What Killed Australian Cinema & Why Is the Bloody Corpse Still Moving?
What Killed Australian Cinema & Why is the Bloody Corpse Still Moving? A Thesis Submitted By Jacob Zvi for the Degree of Doctor of Philosophy at the Faculty of Health, Arts & Design, Swinburne University of Technology, Melbourne © Jacob Zvi 2019 Swinburne University of Technology All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. II Abstract In 2004, annual Australian viewership of Australian cinema, regularly averaging below 5%, reached an all-time low of 1.3%. Considering Australia ranks among the top nations in both screens and cinema attendance per capita, and that Australians’ biggest cultural consumption is screen products and multi-media equipment, suggests that Australians love cinema, but refrain from watching their own. Why? During its golden period, 1970-1988, Australian cinema was operating under combined private and government investment, and responsible for critical and commercial successes. However, over the past thirty years, 1988-2018, due to the detrimental role of government film agencies played in binding Australian cinema to government funding, Australian films are perceived as under-developed, low budget, and depressing. Out of hundreds of films produced, and investment of billions of dollars, only a dozen managed to recoup their budget. The thesis demonstrates how ‘Australian national cinema’ discourse helped funding bodies consolidate their power. Australian filmmaking is defined by three ongoing and unresolved frictions: one external and two internal. Friction I debates Australian cinema vs. Australian audience, rejecting Australian cinema’s output, resulting in Frictions II and III, which respectively debate two industry questions: what content is produced? arthouse vs. -
SQ Annual Review 2017-18
17 > Celeste ANNUAL REVIEW 18 CONTACT Head Office Address: Gold Coast Office Address: Suite 1/30 Florence Street c/o Village Roadshow Studios Newstead Qld 4006 Building 9A, Entertainment Road Australia Oxenford QLD 4210 T. +61 7 3248 0500 Australia E. [email protected] Postal Address: PO Box 15094 City East Brisbane Qld 4002 Australia Screen Queensland's purpose is to grow the screen industry to be a significant contributor to the economic and cultural wellbeing of Queensland. > Harrow Screen Queensland ACN 056 169 316 ABN 20 056 169 316 Published by Screen Queensland 2018 Also published on screenqld.com.au -------------------------------------------------------------------------------------------------------------------------------------------------------- All figures noted in this Annual Report, including Queensland Production Expenditure (QPE) and jobs, are for the productions given funding in the 2017-18 Financial Year which may or may not have gone into principal photography. > Cover image - Tidelands In the 2017–18 Financial Year, Screen Queensland funded 28 film and television screen productions and games, which generated an estimated $168 million in direct Queensland Production Expenditure (QPE) and more than 1,960 employment opportunities for Queenslanders. > CONTENTS Message from The Premier of Queensland 5 Screen Queensland Chair 7 Look What We Achieved Together 8 2017-18 Highlights 10 Production in Queensland 14 New Initiatives in Screen 18 Screen Support Programs 26 Production Attraction Funding Program 30 Dora the -
Option and Purchase Agreement Explanatory Notes
OPTION AND PURCHASE AGREEMENT EXPLANATORY NOTES USING THE EXPLANATORY NOTES The Explanatory Notes are intended to provide more detailed explanations of certain clauses in this sample agreement or to give more detail about the law involved. The Explanatory Notes DO NOT form part of the agreement and should not be included in your final redrafted agreement. The Explanatory Notes are not intended as legal advice and should be considered information only. You should contact Arts Law for specific legal advice. PARTIES The agreement should clearly identify the name and address, and preferably the telephone and fax numbers, of the persons or organisations entering into the agreement (parties). Throughout the rest of the agreement, the parties are referred to or "defined" by shorthand terms for ease of reference, for example Producer. Other terms could be used, or the parties could simply use their own names. If a party has an Australian Business Number (ABN), Australian Company Number (ACN) or Australian Registered Body Number (ARBN), the number must be included. The ABN is important for GST purposes. If either party is a company, its Australian Company Number (ACN) and the address of its registered office must be stated. BUYING THE FILM RIGHTS TO AN EXISTING WORK Under the Copyright Act 1968 (Cth), the author of a literary or dramatic work (such as a book, play or screenplay) has the right to control reproduction, adaptation and publication of that work. This means that film makers who want to adapt an existing work into a film must buy the rights. If they do not, they risk an action for copyright infringement.