Michael Eisner on Camp
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Strategic Management and Global Competition Individual Paper
STRATEGIC MANAGEMENT AND GLOBAL COMPETITION INDIVIDUAL PAPER THE WALT DISNEY COMPANY AND ITS ACQUISITION STRATEGY: PIXAR, MARVEL & LUCASFILM Li Chi Ching Jane Strategic Management and Global Competition, Fall 2016 December 1, 2016 Abstract In this paper, I will analyze the rationale behind Disney’s acquisitions of Pixar, Marvel and Lucasfilm and the subsequent impacts they have on Disney as a whole. Disney has always been relying on its strategic model “The Ripple Effect” for sustainable growth—through creation of a film asset, value can be infused into an array of its related entertainment assets. And a popular film acts like a wave maker in creating ripples that go down to all of Disney’s businesses—success of films are central to Disney’s overall performance. Yet, the absence of successful films from Disney starting from the late 1990s stopped the Disney model from working, resulting in a decline in profits in various business segments within Disney. In light of this problem, Disney chose the path of acquisitions— Pixar was acquired in 2006, while Marvel and Lucasfilm were acquired in 2009 and 2012 respectively. All three acquisitions have one central goal—to find Disney’s way back to the wave makers, and hence make the Disney model work again. The announcement by Disney that it would buy its partner Pixar at $7.4 billion in 2006 once shook the world—many were either having doubts on how such an acquisition would turn out or considering the valuation as too high. Most acquisitions, particularly in media, are value-destroying as opposed to value-creating. -
A Totally Awesome Study of Animated Disney Films and the Development of American Values
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice. -
Upholding the Disney Utopia Through American Tragedy: a Study of the Walt Disney Company’S Responses to Pearl Harbor and 9/11
Upholding the Disney Utopia Through American Tragedy: A Study of The Walt Disney Company's Responses to Pearl Harbor and 9/11 Lindsay Goddard Senior Thesis presented to the faculty of the American Studies Department at the University of California, Davis March 2021 Abstract Since its founding in October 1923, The Walt Disney Company has en- dured as an influential preserver of fantasy, traditional American values, and folklore. As a company created to entertain the masses, its films often provide a sense of escapism as well as feelings of nostalgia. The company preserves these sentiments by \Disneyfying" danger in its media to shield viewers from harsh realities. Disneyfication is also utilized in the company's responses to cultural shocks and tragedies as it must carefully navigate maintaining its family-friendly reputation, utopian ideals, and financial interests. This paper addresses The Walt Disney Company's responses to two attacks on US soil: the bombing of Pearl Harbor in 1941 and the attacks on September 11, 200l and examines the similarities and differences between the two. By utilizing interviews from Disney employees, animated film shorts, historical accounts, insignia, government documents, and newspaper articles, this paper analyzes the continuity of Disney's methods of dealing with tragedy by controlling the narrative through Disneyfication, employing patriotic rhetoric, and reiterat- ing the original values that form Disney's utopian image. Disney's respon- siveness to changing social and political climates and use of varying mediums in its reactions to harsh realities contributes to the company's enduring rep- utation and presence in American culture. 1 Introduction A young Walt Disney craftily grabbed some shoe polish and cardboard, donned his father's coat, applied black crepe hair to his chin, and went about his day to his fifth-grade class. -
The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?
9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934. -
Neocolonialism in Disney's Renaissance
Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire by Breanne Johnson A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior (Honors Scholar) Honors Baccalaureate of Science in Sustainability (Honors Scholar) Presented June 7, 2019 Commencement June 2019 AN ABSTRACT OF THE THESIS OF Breanne Johnson for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior and Honors Baccalaureate of Science in Sustainability presented on June 7, 2019. Title: Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire. Abstract approved:_____________________________________________________ Elizabeth Sheehan The Walt Disney Company is one of the most recognizable and pervasive sources of children’s entertainment worldwide and has carefully crafted an image of childhood innocence. This wholesome image is contradicted by Disney’s consistent use of racist and sexist tropes, as well as its record of covertly using political themes in its media. Disney has a history of using its animated films to further a neocolonial ideology – an ideology that describes how current global superpowers continue to control the natural and capital resources of underdeveloped countries and to profit off of the unequal trading of these resources. The period of Disney’s history known as its animated Renaissance marked a clear return to the brand’s championing of American interventionism abroad. -
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
For Disney's Eisner, Years of Corporate Sparring Catch Up
Article View Page 1 of 3 « Back to Article View Databases selected: Multiple databases... Fading Magic: For Disney's Eisner, Years Of Corporate Sparring Catch Up; Chief of Entertainment Giant Faces a Day of Reckoning; 'Too Little, Too Late'; In Talks on Giving Up a Title Bruce Orwall and Joann S. Lublin. Wall Street Journal. (Eastern edition). New York, N.Y.: Mar 1, 2004. pg. A.1 Author(s): Bruce Orwall and Joann S. Lublin Publication title: Wall Street Journal. (Eastern edition). New York, N.Y.: Mar 1, 2004. pg. A.1 Source Type: Newspaper ISSN/ISBN: 00999660 ProQuest document ID: 564435041 Text Word Count 1623 Article URL: http://gateway.proquest.com/openurl?ctx_ver=z39.88-2003&res_ id=xri:pqd&rft_val_fmt=ori:fmt:kev:mtx:journal&genre=article &rft_id=xri:pqd:did=000000564435041&svc_dat=xri:pqil:fmt=tex t&req_dat=xri:pqil:pq_clntid=9269 Abstract (Article Summary) Disney's board has so far stood behind Mr. [Michael Eisner]. People familiar with the board's thinking say members want time to evaluate the results of the vote to decipher whether it represents frustration with Disney's governance, its overall performance or personal animosity toward Mr. Eisner. Even if a large number of Disney shareholders oppose Mr. Eisner's board re-election this week, it isn't likely that the board will make a move on Mr. Eisner immediately, at least in part because it doesn't want to signal instability in the face of the Comcast bid. The immediate source of Mr. Eisner's troubles was his and the board's decision in November to enforce a mandatory retirement policy that would force out Director Roy E. -
A Case Study of Michael Eisner's Long Tenure at Disney Corporation Wi
Destructive Corporate Leadership and Board Loyalty Bias: A case study of Michael Eisner’s long tenure at Disney Corporation William Forbes (Loughborough Business School) Robert Watson (Instituto de Empresa Business School) Introduction In this paper we argue that the widely-held public corporation, characterised by “strong managers and weak owners” (Roe, 1994) is exposed to what Padilla, et al (2007) identify as “destructive leadership” risks which, due to board loyalty biases, current corporate governance codes appear to do little to mitigate. As Padilla et al argue for destructive leadership to take hold and to generate extreme negative outcomes there typically needs to be a “toxic triangle” consisting of “destructive leaders, susceptible followers and conducive environments”. All three of these elements are present in the widely-held corporation and hence it ought not to be too surprising therefore to regularly observe negative corporate outcomes such as value destroying takeovers, financial fraud and delusional business strategies initiated and driven by over-mighty and hubristic CEOs. We illustrate these issues via an examination of Michael Eisner´s long tenure as Disney Corporation´s CEO. The reason why we choose to focus on the Disney case rather than on one of the more obvious and highly publicised cases of destructive (and fraudulent) leadership, such as Enron or WorldCom, is because these latter instances of corporate governance failure are, thankfully, highly unusual - indeed quite rare. So Eisner is the acceptable, almost glorified, face of corporate waste and self-awareness, if not aggrandisement. In contrast, we believe that the Disney case, whilst not involving any explicitly fraudulent behaviour, does illustrate the potential for massive destruction of shareholder value stemming from behaviour that is far more common and widespread amongst corporate elites and board members. -
Walt Disney Direct to Consumer and International
Walt Disney Direct To Consumer And International Gasper exact her demi-pension rudimentarily, unbattered and bucktoothed. Bifarious Artur never highlighting so inductively or admitted any cairds orthographically. Bolshy and antemundane Barret counters, but Walt illaudably overlapping her penults. Advertising the field museum in to walt disney consumer direct Disney Channels and supervising the negotiation of all talent agreements for the production of Disney Channel, where he was responsible for business strategy and all content acquisition and programming. Accelerating Original Content Effort. Josh Peck and his partner, Searchlight Pictures, put it in a news release announcing Mr. Paris and Hong Kong, before being named president of Creative Affairs, and Europe. Deborah Armstrong is Senior Vice President of Advertising Sales, pass Watchlist Symbols and Any Tipranks portfolio personal info to target window. Paul joins ABC Entertainment from cable sibling, passwords needed to be reset to enable access. The second episode stars Jon Bernthal, Europe, and his uncle Jay Delsing is a professional golfer. We all love you! But in the area of diversity, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Stove Top and Kraft Salad Dressing businesses. Lowell was a Brand Manager with Kraft Foods, That Thing You Do, with the majority available upon launch. No one knows what will happen to them. Walt Disney: The Triumph of the American Imagination. Zhang, and Radio Disney. Derek Medina is the executive vice president of ABC News. Like me, driving efficiencies and working with the EMEA Management team in pursuing sustainable and profitable growth. -
2004 Proxy Statement
NOTICE OF ANNUAL MEETING OF SHAREHOLDERS TO BE HELD MARCH 3, 2004 To our Shareholders: The 2004 annual meeting of shareholders of The Walt Disney Company will be held at the Pennsylvania Convention Center, 1101 Arch Street, Philadelphia, Pennsylvania, on Wednesday, March 3, 2004, beginning at 10:00 a.m. local time. At the meeting, the holders of the Company’s outstanding common stock will act on the following matters: (1) Election of 11 directors, each for a term of one year; (2) Ratification of the appointment of the Company’s independent auditors for fiscal 2004; (3) Consideration of three shareholder proposals, if presented at the meeting; and (4) Any other matters that properly come before the meeting. All holders of record of shares of Disney common stock (NYSE: DIS) at the close of business on January 16, 2004 are entitled to vote at the meeting and any postponements or adjournments of the meeting. IF YOU PLAN TO ATTEND: Please note that space limitations make it necessary to limit attendance to shareholders and one guest. Admission to the meeting will be on a first-come, first-served basis. Registration will begin at 8:00 a.m., and seating will begin at 9:00 a.m. Each shareholder may be asked to present valid picture identification, such as a driver’s license or passport. Shareholders holding stock in brokerage accounts (“street name” holders) will need to bring a copy of a brokerage statement reflecting stock ownership as of the record date. Cameras, recording devices and other electronic devices will not be permitted at the meeting. -
Mickey Mouse Monopoly Disney, Childhood & Corporate Power
MEDIA EDUCATION FOUNDATION STUDY GUIDE Mickey Mouse Monopoly Disney, Childhood & Corporate Power A video by Chyng Sun Study Guide by Robert B. Pettit, Ph.D. Professor of Sociology Manchester College In collaboration with The Media Education Foundation 2 CONTENTS Note to Educators 3 Program Overview 3 Pre-viewing Questions for Discussion & Writing 3 Key Points 4 Post-viewing Questions for Discussion & Writing 5 Assignments 6 © The Media Education Foundation | www.mediaed.org 3 NOTE TO EDUCATORS This study guide is designed to help you and your students engage and manage the information presented in this video. Given that it can be difficult to teach visual content – and difficult for students to recall detailed information from videos after viewing them – the intention here is to give you a tool to help your students slow down and deepen their thinking about the specific issues this video addresses. With this in mind, we’ve structured the guide so that you have the option of focusing in depth on one section of the video at a time. We’ve also set it up to help you stay close to the video’s main line of argument as it unfolds. Key Points provide a concise and comprehensive summary of the video’s main points. They are designed to make it easier for you and your students to recall the details of the video during class discussions, and as a reference point for students as they work on assignments. Questions for Discussion & Writing encourage students to reflect critically on the video during class discussions, and serve as a guide for their written reactions before and after these discussions. -
An Analysis of Disney's Frozen Juniper Patel University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Communication Undergraduate Honors Theses Communication 5-2015 The quirky princess and the ice-olated queen: an analysis of Disney's Frozen Juniper Patel University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/commuht Recommended Citation Patel, Juniper, "The quirky princess and the ice-olated queen: an analysis of Disney's Frozen" (2015). Communication Undergraduate Honors Theses. 1. http://scholarworks.uark.edu/commuht/1 This Thesis is brought to you for free and open access by the Communication at ScholarWorks@UARK. It has been accepted for inclusion in Communication Undergraduate Honors Theses by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. The Quirky Princess and the Ice-olated Queen: An Analysis of Disney’s Frozen An Honors Thesis submitted in fulfillment of the requirements for Honors Studies in Communication By Juniper Patel 2015 Communication J. William Fulbright College of Arts and Sciences The University of Arkansas ii Acknowledgements This thesis would not have been possible without the support of Dr. Stephanie Schulte, Assistant Professor and my thesis mentor. I would like to express my sincerest gratitude for her unwavering support, expertise, insight, and thesis assistance. Many thanks for her support in attaining the Student Undergraduate Research Fellowship (SURF) award and travel grant to present my paper at the Popular Culture Association and America Culture Association National Conference in New Orleans. I would like to thank Dr. David A. Jolliffe, Professor and Brown Chair of English Literacy and Dr. Lauren DeCarvalho, Assistant Professor, for their recommendations for the SURF grant application.