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From Disney to Disaster: the Disney Corporation’S Involvement in the Creation of Celebrity Trainwrecks
From Disney to Disaster: The Disney Corporation’s Involvement in the Creation of Celebrity Trainwrecks BY Kelsey N. Reese Spring 2021 WMNST 492W: Senior Capstone Seminar Dr. Jill Wood Reese 2 INTRODUCTION The popularized phrase “celebrity trainwreck” has taken off in the last ten years, and the phrase actively evokes specified images (Doyle, 2017). These images usually depict young women hounded by paparazzi cameras that are most likely drunk or high and half naked after a wild night of partying (Doyle, 2017). These girls then become the emblem of celebrity, bad girl femininity (Doyle, 2017; Kiefer, 2016). The trainwreck is always a woman and is usually subject to extra attention in the limelight (Doyle, 2017). Trainwrecks are in demand; almost everything they do becomes front page news, especially if their actions are seen as scandalous, defamatory, or insane. The exponential growth of the internet in the early 2000s created new avenues of interest in celebrity life, including that of social media, gossip blogs, online tabloids, and collections of paparazzi snapshots (Hamad & Taylor, 2015; Mercer, 2013). What resulted was 24/7 media access into the trainwreck’s life and their long line of outrageous, commiserable actions (Doyle, 2017). Kristy Fairclough coined the term trainwreck in 2008 as a way to describe young, wild female celebrities who exemplify the ‘good girl gone bad’ image (Fairclough, 2008; Goodin-Smith, 2014). While the coining of the term is rather recent, the trainwreck image itself is not; in their book titled Trainwreck, Jude Ellison Doyle postulates that the trainwreck classification dates back to feminism’s first wave with Mary Wollstonecraft (Anand, 2018; Doyle, 2017). -
Bob Iger Kevin Mayer Michael Paull Randy Freer James Pitaro Russell
APRIL 11, 2019 Disney Speakers: Bob Iger Chairman and Chief Executive Officer Kevin Mayer Chairman, Direct-to-Consumer & International Michael Paull President, Disney Streaming Services Randy Freer Chief Executive Officer, Hulu James Pitaro Co-Chairman, Disney Media Networks Group and President, ESPN Russell Wolff Executive Vice President & General Manager, ESPN+ Uday Shankar President, The Walt Disney Company Asia Pacific and Chairman, Star & Disney India Ricky Strauss President, Content & Marketing, Disney+ Jennifer Lee Chief Creative Officer, Walt Disney Animation Studios ©Disney Disney Investor Day 2019 April 11, 2019 Disney Speakers (continued): Pete Docter Chief Creative Officer, Pixar Kevin Feige President, Marvel Studios Kathleen Kennedy President, Lucasfilm Sean Bailey President, Walt Disney Studios Motion Picture Productions Courteney Monroe President, National Geographic Global Television Networks Gary Marsh President & Chief Creative Officer, Disney Channel Agnes Chu Senior Vice President of Content, Disney+ Christine McCarthy Senior Executive Vice President and Chief Financial Officer Lowell Singer Senior Vice President, Investor Relations Page 2 Disney Investor Day 2019 April 11, 2019 PRESENTATION Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Good afternoon. I'm Lowell Singer, Senior Vice President of Investor Relations at THe Walt Disney Company, and it's my pleasure to welcome you to the webcast of our Disney Investor Day 2019. Over the past 1.5 years, you've Had many questions about our direct-to-consumer strategy and services. And our goal today is to answer as many of them as possible. So let me provide some details for the day. Disney's CHairman and CHief Executive Officer, Bob Iger, will start us off. -
On the Disney Channel's Hannah Mont
Tween Intimacy and the Problem of Public Life in Children’s Media: “Having It All” on the Disney Channel’s Hannah Montana Tyler Bickford Contradictions of public participation pervade the everyday lives of con- temporary children and those around them. In the past two decades, the children’s media and consumer industries have expanded and dramat- ically transformed, especially through the development and consolida- tion of “tweens”—people ages nine to thirteen, not yet “teenagers” but no longer quite “children”—as a key consumer demographic (Cook and Kaiser 2004). Commentators increasingly bemoan the destabilization of age identities, pointing to children’s purportedly more “mature” taste in music, clothes, and media as evidence of a process of “kids getting older younger” (Schor 2004), and to adults’ consumer practices as evidence of their infantilization (Barber 2007). Tween discourses focus especially on girls, for whom the boundary between childhood innocence and adolescent or adult independence is fraught with moral panic around sexuality, which only heightens anxieties about changing age identities. Girls’ consumption and media participation increasingly involve per- formances in the relatively public spaces of social media, mobile media, and the Internet (Banet-Weiser 2011; Bickford, in press; Kearney 2007), so the public sphere of consumption is full of exuberant participation in mass-mediated publics. Beyond literal performances online and on social media, even everyday unmediated consumption—of toys, clothes, food, and entertainment—is fraught with contradictory meanings invoking children’s public image as symbols of domesticity, innocence, and the family and anxiety about children’s intense affiliation with peer com- munities outside the family (Pugh 2009). -
Sex-On-Tv-4-Full-Report.Pdf
SEX ON TV 2005 A KAISER FAMILY FOUNDatION REPORT DALE KUNKEL, PH.D., KEREN EYAL, PH.D., KELI FINNERTY, ERICA BIELY, & EdWARD DONNERSTEIN, PH.D. UNIVERSITY OF ARIZONA NOVEMBER 2005 ACKNOWLEDGMENTS The authors wish to convey their appreciation and gratitude to a number of individuals who have made significant contributions to this study. At the University of Arizona, Brian Atkinson served as our technology director, and expertly supervised the project’s transition to the digital environment, which required all new equipment for recording, storage, and playback of over 1000 programs. Nic Schoenfeld managed the collection of the program sample adeptly, and Zhongxiang (Edward) Xia devised a sophisticated software interface to track the status of each show from its initial recording to the completion of its coding and analysis. Carey Willets accomplished all administrative and financial aspects of the project helpfully and efficiently. And finally, Priya Raman provided valuable assistance writing many of the scene examples included in the report as illustrations of key content categories. We thank all of them for their efforts and generous contributions. At the Kaiser Family Foundation, Vicky Rideout has been the leader of this project since its inception. This project now ranks as one of the longest-running studies in the realm of media and social effects research, its value growing with each replication that affords stable and precise comparisons of industry trends over time. We greatly appreciate Vicky’s leadership, and the foundation’s continued participation in this research effort.W e also thank Theresa Boston for her excellent supervision of the final report document throughout the publication process. -
Big Media, Little Kids: Media Consolidation & Children's
DOCUMENT RESUME ED 475 660 PS 031 233 AUTHOR Glaubke, Christina Romano; Miller, Patti TITLE Big Media, Little Kids: Media Consolidation & Children's Television Programming. INSTITUTION Children Now, Oakland, CA. PUB DATE 2003-05-21 NOTE 17p.; Additional support provided by the Philadelphia Foundation and Atlantic Philanthropies. AVAILABLE FROM Children Now, 1212 Broadway, Suite 530, Oakland, CA 94612. Tel: 510-763-2444; Fax: 510-763-1974; e-mail: [email protected]; Web site: http://www.childrennow.org. For full text: http://www.childrennow.org/media/fcc-03/fcc-ownership-study- 05-21-03.pdf. PUB TYPE Reports Research (143) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS *Centralization; *Childrens Television; Comparative Analysis; Mergers; *Programming (Broadcast); Television Research IDENTIFIERS California (Los Angeles); Federal Communications Commission ABSTRACT The Federal Communications Commission is currently considering modifying or eliminating existing media ownership rules. Children's advocates are concerned that any changes to these rules could negatively affect the already limited amount and types of programming available for children. Children Now conducted the first study to examine the availability and diversity of children programming in an increasingly consolidated media marketplace. Los Angeles was selected as a case study for this research because it is the second largest media market in the country, and two duopolies now exist among its television stations. The study compared the children's programming schedules from 1998, when the market's seven major commercial broadcast television stations were owned by seven different companies, to 2003, after consolidation reduced the number to five. The findings suggest that changes to the current ownership policies will have a serious impact on the availability and diversity of children's programming. -
Rich Ross Group President Discovery Channel, Animal Planet and Science Channel
Rich Ross Group President Discovery Channel, Animal Planet and Science Channel Rich Ross serves as Group President of Discovery Channel, Animal Planet and Science Channel and oversees all creative and brand strategy, development, production, marketing and day-to-day operations for all three networks. Ross is based in Los Angeles and reports to David Zaslav, President and CEO of Discovery Communications. Ross earlier served as President of Discovery Channel. During his tenure, Discovery set records in a wide range of demos including millennials, core viewers, women, kids, and families, most recently in 2015 as Discovery delivered its best summer on record. Also in 2015, Ross led the network to its highest rated SHARK WEEK, its best second quarter during 2Q15 and its best quarter ever during 1Q15. NAKED AND AFRAID XL stands as the #1 unscripted freshman series on cable for 2015 to date. Before joining Discovery, Ross served as CEO of Shine America, where he drove the ongoing commercial strategy of US operations. He oversaw all aspects of production, distribution and marketing of original programming across broadcast, cable and digital platforms, including such programs as MasterChef and MasterChef Junior (FOX) and Peabody Award-winning The Bridge (FX). Prior to joining Shine America, Ross had a successful career at The Walt Disney Company from 1996 to 2012, most recently in the role as Chairman of The Walt Disney Studios from 2009- 2012, where he oversaw worldwide production, distribution and marketing for the company’s range of live-action and feature-animated film labels, including Walt Disney, Disney-Pixar and Marvel, and worked with leading filmmakers and focused on branded content. -
Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000S
SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s By © 2017 Christina H. Hodel M.A., New York University, 2008 B.A., California State University, Long Beach, 2006 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Germaine Halegoua, Ph.D. Joshua Miner, Ph.D. Catherine Preston, Ph.D. Ronald Wilson, Ph.D. Alesha Doan, Ph.D. Date Defended: 18 November 2016 The dissertation committee for Christina H. Hodel certifies that this is the approved version of the following dissertation: SECRET SUPERSTARS AND OTHERWORLDLY WIZARDS: Gender Biased Hiding of Extraordinary Abilities in Girl-Powered Disney Channel Sitcoms from the 2000s Chair: Germaine Halegoua, Ph.D. Date Approved: 25 January 2017 ii ABSTRACT Conformity messaging and subversive practices potentially harmful to healthy models of feminine identity are critical interpretations of the differential depiction of the hiding and usage of tween girl characters’ extraordinary abilities (e.g., super/magical abilities and celebrity powers) in Disney Channel television sitcoms from 2001-2011. Male counterparts in similar programs aired by the same network openly displayed their extraordinariness and were portrayed as having considerable and usually uncontested agency. These alternative depictions of differential hiding and secrecy in sitcoms are far from speculative; these ideas were synthesized from analyses of sitcom episodes, commentary in magazine articles, and web-based discussions of these series. Content analysis, industrial analysis (including interviews with industry personnel), and critical discourse analysis utilizing the multi-faceted lens of feminist theory throughout is used in this study to demonstrate a unique decade in children’s programming about super powered girls. -
Julkaisuhetkellä Ajantasainen Ohjelmalista. Ohjelmien Nimet Ovat Listauksessa Ilmoitettu Englanniksi
Julkaisuhetkellä ajantasainen ohjelmalista. Ohjelmien nimet ovat listauksessa ilmoitettu englanniksi. Disney (Elokuvat) • 101 Dalmatians (1996) • 101 Dalmatians Ii: Patch's London Adventure • 102 Dalmatians • 20,000 Leagues Under The Sea • Absent-Minded Professor, The • Adventures Of Bullwhip Griffin, The • Adventures Of Huck Finn, The • Adventures Of Ichabod And Mr. Toad, The • African Cats • African Lion, The • Aladdin (1992) • Aladdin And The King Of Thieves • Alexander And The Terrible, Horrible, No Good, Very Bad Day • Alice In Wonderland (1951) • Alice In Wonderland (2010) • Alice Through The Looking Glass • Alley Cats Strike • Almost Angels • America's Heart & Soul • Amy • Annie (1999) • Apple Dumpling Gang Rides Again, The • Apple Dumpling Gang, The • Aristocats, The • Atlantis: Milo's Return • Atlantis: The Lost Empire • Babes In Toyland • Bambi • Bambi Ii • Bears • Bears And I, The • Beauty And The Beast (1991) • Beauty And The Beast (2017) • Beauty And The Beast-The Enchanted Christmas • Bedknobs And Broomsticks • Bedtime Stories • Belle's Magical World (1998) • Benji The Hunted • Beverly Hills Chihuahua • Beverly Hills Chihuahua 2 • Beverly Hills Chihuahua 3: Viva La Fiesta! • Big Green, The • Big Hero 6 • Biscuit Eater, The • Black Cauldron, The • Black Hole, The (1979) • Blackbeard's Ghost • Blank Check • Bolt • Born In China • Boy Who Talked To Badgers, The • Boys, The: The Sherman Brothers' Story • Bride Of Boogedy • Brink! • Brother Bear • Brother Bear 2 • Buffalo Dreams • Cadet Kelly • Can Of Worms • Candleshoe • Casebusters -
Disney (Movies)
Content list is correct at the time of issue DISNEY (MOVIES) 101 Dalmatians (1996) 101 Dalmatians Ii: Patch's London Adventure 102 Dalmatians 20,000 Leagues Under The Sea Absent-Minded Professor, The Adventures Of Bullwhip Griffin, The Adventures Of Huck Finn, The Adventures Of Ichabod And Mr. Toad, The African Cats African Lion, The Aladdin (1992) Aladdin (2019) Aladdin And The King Of Thieves Alexander And The Terrible, Horrible, No Good, Very Bad Day Alice In Wonderland (1951) Alice In Wonderland (2010) Alice Through The Looking Glass Alley Cats Strike (Disney Channel) Almost Angels America's Heart & Soul Amy Annie (1999) Apple Dumpling Gang Rides Again, The Apple Dumpling Gang, The Aristocats, The Artemis Fowl Atlantis: Milo's Return Atlantis: The Lost Empire Babes In Toyland Bambi Bambi Ii Bears Bears And I, The Beauty And The Beast (1991) Beauty And The Beast (2017) Beauty And The Beast-The Enchanted Christmas Bedknobs And Broomsticks (Not In Luxembourg) Bedtime Stories Belle's Magical World (1998) Benji The Hunted Beverly Hills Chihuahua Beverly Hills Chihuahua 2 Beverly Hills Chihuahua 3: Viva La Fiesta! Big Green, The Big Hero 6 Biscuit Eater, The Black Cauldron, The Content list is correct at the time of issue Black Hole, The (1979) Blackbeard's Ghost Blank Check Bolt Born In China Boy Who Talked To Badgers, The Boys, The: The Sherman Brothers' Story Bride Of Boogedy Brink! (Disney Channel) Brother Bear Brother Bear 2 Buffalo Dreams (Disney Channel) Cadet Kelly (Disney Channel) Can Of Worms (Disney Channel) Candleshoe Casebusters -
A Deconstruction and Qualitative Analysis of the Consumption of Traditional Entertainment Media by Elementary-Aged Children Diag
A DECONSTRUCTION AND QUALITATIVE ANALYSIS OF THE CONSUMPTION OF TRADITIONAL ENTERTAINMENT MEDIA BY ELEMENTARY-AGED CHILDREN DIAGNOSED WITH EMOTIONAL DISORDERS John Lloyd Lowdermilk III, B.S., M.S., M.A. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2004 APPROVED: Lyndal M. Bullock, Major Professor Alan B. Albarran, Minor Professor Ron Fritch, Committee Member Bertina Combes, Committee Member and Graduate Coordinator of Special Education Jon Young, Chair of the Department of Technology and Cognition M. Jean Kellar, Dean of the College of Education Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Lowdermilk, John Lloyd, III, A deconstruction and qualitative analysis of the consumption of traditional entertainment media by elementary-aged children diagnosed with emotional disorders, Doctor of Philosophy (Special Education), August 2004, 116 pp., 3 tables, 86 titles. This qualitative study examined whether a connection exists between children with emotional disorders consumption of traditional entertainment media and their subsequent vegative/anti-social classroom behavior. Research participants included six first-grade children diagnosed with an emotional disorder and their teacher. They were interviewed using a semi- structured approach. The students were observed in the natural setting of their classroom for a total of twenty-four hours, over a four-day period. Transcripts and classroom observations were analyzed, looking for connections between behavior and consumption of traditional entertainment media. Findings from this study concluded that these students used traditional entertainment media as a method of temporally escaping from the environment of their respective households. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS............................................. iv LIST OF TABLES.............................................. -
Illustration by Martha Rich
ILLUSTRATION BY MARTHA RICH 50 SEPT | OCT 2009 THE PENNSYLVANIA GAZETTE By Robert Strauss Mixing up-to-the-minute marketing techniques, tried-and-true entertainment formulas, and engaging young stars and stories, Disney Channels Worldwide President Richard Ross C’83 is helping ensure that the company remains supreme in the kid-entertainment universe. her popular Disney Channel IN cable television show, Hannah Montana (if you live anywhere in the vicinity of a nine-year-old girl, you have surely seen it), Miley Cyrus plays a teenager with two identities— one as a famous rock star and the other as the daughter of a single fa- ther just trying to make it through what passes on TV for a normal life. Miley Stewart (Cyrus’s regular-girl identity) and her wacky older brother Jackson live in a Malibu beach house with their widowed father, played by Cyrus’s real-life father Billy Ray Cyrus, previously best known for his 1990s-era country music hit “Achy Breaky Heart.” The show’s comedy is a cheerful mix of teen misunderstandings and I Love Lucy slapstick revolving around Miley’s halfhearted efforts to keep her identities separate, with plenty of time left over for “Hannah” to perform her latest hit. CHANNELER THE PENNSYLVANIA GAZETTE SEPT | OCT 2009 THE PENNSYLVANIA GAZETTE SEPT | OCT 2009 51 51 Since premiering on the Disney “That guy Ross” is Richard Ross C’83, entertainment phenomenon. Disney has Channel in March 2006, the series has president of Disney Channels Worldwide immediate name recognition for parents become a consistent top-rated show (a since April 2004, and an executive with and children, and the Disney Channel is new episode was the most watched cable the company since 1996. -
'GIRL VIDEO GAMES' by Casson Curling Brown BA, the University
ENTERTAINING TWEENS: RE/PRESENTING ‘THE TEENAGE GIRL’ IN ‘GIRL VIDEO GAMES’ by Casson Curling Brown B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Sociology) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) June 2008 © Casson Curling Brown Abstract Research conducted during the 1990s revealed that video games increasingly represent the medium through which children are first exposed to technology, that early gaming can enhance future technological literacy, and that girls tend to play video games less frequently than boys. These findings preceded efforts by feminist entrepreneurs, followed by established video game producers, to develop ‘girl games.’ Such ‘girl-centred,’ ‘girl-friendly,’ and girl-targeted video games now represent a lucrative branch of the contemporary video game industry. In this project, I utilized a multi-method approach to explore how ‘the ideal teen girl’ is re/constructed in three tween-airned ‘girl games.’ My discourse analysis of the ‘dominant’ messages in the games includes an examination of various available feminine subject positions, and how ‘race,’ class, and (hetero)sexuality are implicated in these positions. My analysis of semi-structured interviews that I conducted with eight tween girls provides insight into their everyday readings of the ‘girl games.’ Unlike earlier research that framed girls as passive recipients of ‘damaging’ messages included in gendered texts, my findings suggest that the girls in my study engaged in active and diverse readings of the interactive texts. The multiple ways in which the girls recognized, identified with, resisted, and/or reworked elements of the feminine subject positions demonstrated their management of such contradictory images of ideal girlhood.