Fact Book 2010
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Walt Disney and the Power of Music James Bohn
Libri & Liberi • 2018 • 7 (1): 167–180 169 The final part of the book is the epilogue entitled “Surviving Childhoodˮ, in which the author shares her thoughts on the importance of literature in childrenʼs lives. She sees literature as an opportunity to keep memories, relate stories to pleasant times from the past, and imagine things which are unreachable or far away. For these reasons, children should be encouraged to read, which will equip them with the skills necessary to create their own associations with reading and creating their own worlds. Finally, The Courage to Imagine demonstrates how literature can influence childrenʼs thinking and help them cope with the world around them. Dealing with topics present in everyday life, such as ethnic diversity, fear, bullying, or empathy, and offering examples of child heroes who overcome their problems, this book will be engaging to teachers and students, as well as experts in the field of childrenʼs literature. Its simple message that through reading children “can escape the adult world and imagine alternativesˮ (108) should be sufficient incentive for everybody to immerse themselves in reading and to start imagining. Josipa Hotovec Walt Disney and the Power of Music James Bohn. 2017. Music in Disneyʼs Animated Features: Snow White and the Seven Dwarfs to The Jungle Book. Jackson, Mississippi: University Press of Mississippi, 294 pp. ISBN 978-1-4968-1214-8 DOI: 10.21066/carcl.libri.2018-07(01).0008 “The essence of a Disney animated feature is not drawn by pencil […]. Rather, it is written in notes”, states James Bohn in the conclusion to his 2017 book Music in Disney’s Animated Features: Snow White and the Seven Dwarfs to The Jungle Book (201). -
TV Channel Distribution in Europe: Table of Contents
TV Channel Distribution in Europe: Table of Contents This report covers 238 international channels/networks across 152 major operators in 34 EMEA countries. From the total, 67 channels (28%) transmit in high definition (HD). The report shows the reader which international channels are carried by which operator – and which tier or package the channel appears on. The report allows for easy comparison between operators, revealing the gaps and showing the different tiers on different operators that a channel appears on. Published in September 2012, this 168-page electronically-delivered report comes in two parts: A 128-page PDF giving an executive summary, comparison tables and country-by-country detail. A 40-page excel workbook allowing you to manipulate the data between countries and by channel. Countries and operators covered: Country Operator Albania Digitalb DTT; Digitalb Satellite; Tring TV DTT; Tring TV Satellite Austria A1/Telekom Austria; Austriasat; Liwest; Salzburg; UPC; Sky Belgium Belgacom; Numericable; Telenet; VOO; Telesat; TV Vlaanderen Bulgaria Blizoo; Bulsatcom; Satellite BG; Vivacom Croatia Bnet Cable; Bnet Satellite Total TV; Digi TV; Max TV/T-HT Czech Rep CS Link; Digi TV; freeSAT (formerly UPC Direct); O2; Skylink; UPC Cable Denmark Boxer; Canal Digital; Stofa; TDC; Viasat; You See Estonia Elion nutitv; Starman; ZUUMtv; Viasat Finland Canal Digital; DNA Welho; Elisa; Plus TV; Sonera; Viasat Satellite France Bouygues Telecom; CanalSat; Numericable; Orange DSL & fiber; SFR; TNT Sat Germany Deutsche Telekom; HD+; Kabel -
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. -
Chapter 1, Case 1 UPS Global Operations with the DIAD IV
E-commerce. business. technology. society. KENNETH C. LAUDON AND CAROL G. TRAVER video case chapter 3 Building an E-commerce Presence case 1 ESPN Goes to eXtreme Scale watch the video at http://www.youtube.com/watch?v=NIqru81sjV4 summary ESPN is the world’s largest cable television sports programming network. In addition, it is the Web’s most popular online source for sports results, content, and commentary. Servicing an online audience of more than 50 million unique visitors every month requires ESPN to adopt processing technologies that are extremely efficient, powerful, and flexible. L= 5:4 0. case ESPN (Entertainment and Sports Programming Network) is a multimedia, global cable television network with headquarters in Bristol, Connecticut. Founded in 1979 with financing provided by The Getty Oil Company, ESPN grew along with the cable television industry to become a mainstay of American popular culture. After a series of investments by Hearst Publications, and ABC (the American Broadcasting Network), 80% of ESPN finally ended up in the hands of entertainment giant The Walt Disney Company, and 20% with the Hearst Corporation, a 100 year-old media company based largely on newspaper and magazine businesses. ESPN focuses on sports programming including live and pre-taped event telecasts, sports talk shows, and other original programming. While originally a cable media company, ESPN has since expanded aggressively to the Internet as well as radio and print magazines. continued CHAPTER 3 CASE 1 ESPN GOES TO EXTREME SCALE 2 ESPN is actually a family of sports networks and individual shows. There are eight 24-hour domestic television sports networks: ESPN, ESPN2, ESPNEWS, ESPN Classic, ESPN Deportes (a Spanish language network), ESPNU (a network devoted to college sports), ESPN 3D (a 3D service), and the regionally focused Longhorn Network (a network dedicated to The University of Texas athletics) and SEC Network (focused on Southeastern Athletic Conference sports). -
Canais De Televisão
Canais de Televisão Escola Básica Paulo da Gama Amora, novembro de 2014 Trabalho realizado pela aluna Margarida Pedro Martins, nº 17, da turma 7ºD, no âmbito da disciplina Tecnologia de Informação e Comunicação, sob a orientação do professor Sérgio Heleno. 2 Amora-Setúbal-Portugal Canais de Televisão Escola Básica Paulo da Gama Amora, novembro de 2014 Trabalho realizado pela aluna Margarida Pedro Martins, nº 17, da turma 7ºD, no âmbito da disciplina Tecnologia de Informação e Comunicação, sob a orientação do professor Sérgio Heleno. Margarida Martins 7ºD Canais de Televisão 3 Índice Conteúdo 1 Introdução .............................................................................................................. 4 2 O que são canais de televisão ............................................................................... 4 3 O que é a televisão? .............................................................................................. 5 3.1 As primeiras televisões ................................................................................... 5 4 SIC ........................................................................................................................ 8 5 TVI ........................................................................................................................... 11 6 24Kitchen ................................................................................................................. 13 7 RTP1 ..................................................................................................................... -
Disney Twenty-Three Celebrates 50 Enchanting Years of Walt Disney World Resort
DISNEY TWENTY-THREE CELEBRATES 50 ENCHANTING YEARS OF WALT DISNEY WORLD RESORT FROM CLASSIC ENTERTAINMENT TO INCREDIBLE NEW EXPERIENCES, THE NEW ISSUE DETAILS EVERY SHIMMERING SURPRISE FANS NEED TO KNOW ABOUT THIS MOST MAGICAL MILESTONE ALSO IN THE FALL ISSUE: THE STARS OF SHANG-CHI AND THE LEGEND OF THE TEN RINGS AND ETERNALS, DOOGIE KAMEALOHA, M.D.’S PEYTON ELIZABETH LEE, THE CREATORS OF LEGO STAR WARS TERRIFYING TALES, AND MUPPETS HAUNTED MANSION STARS GONZO THE GREAT AND PEPÉ THE KING PRAWN BURBANK, Calif. – August 5, 2021 – On November 15, 1965, Walt and Roy Disney announced their “Florida project” to the largest media aggregation in Florida history, and this year, on October 1, Walt Disney World Resort will celebrate its 50th anniversary. Disney twenty-three marks this milestone with more than 20 pages dedicated to “The Most Magical Place on Earth.” Stories include a deep dive into the festivities in store for guests when they arrive at the celebration, including a revealing look at the new EPCOT nighttime spectacular, Harmonious. Also included is a “bonus” chapter from the upcoming book A Portrait of Walt Disney World: 50 Years of the Most Magical Place on Earth, looking at some of the park’s most beloved entertainment through the years, as well a glimpse at classic park collectibles through the years. The front cover—featuring Mickey Mouse and Minnie Mouse in front of Cinderella Castle in their EARidescent attire—and back cover—with Remy and Emile from Disney and Pixar’s Ratatouille welcoming guests to their new attraction at the EPCOT France pavilion—were shot exclusively for Disney twenty-three. -
From Moments to Minutes Advertising with Social Play.Pdf
5 From Moments to Minutes Advertising with Social Play Virtual worlds are a rapidly growing social-media platform, and this is particularly true for kids. Thought of by many as 3D renditions of 2D social networks, virtual worlds supply many desirable features for the youth market still unavailable in the realm of social networks. Among these are a sense of immediacy, unparalleled media richness, and the heightened interactivity possible in the virtual space. Young consumers respond to the immediacy of communications, meaning that communica- tions occur in real time (while social networks still primarily provide asynchronous response). Real-time response adds to the sense of contact comfort participants feel. Media richness is embellished with the enhanced visual representations of virtual worlds as well as the ability to chat using instant messenger, electronic mail, and sometimes voice chat features. Lastly, social networks like MySpace are limited in what can be offered for participants in terms of entertaining and interactive pursuits within the space. It is no wonder then that young consumers are enam- ored with virtual worlds. eMarketer estimates that 24% of the 34.3 million child and teen Internet users in the United States used virtual worlds on at least a monthly basis in 2007 and this figure is expected to rise rapidly over the short term.1 76 Advertising 2.0 For marketers, social virtual worlds represent an enormous opportu- nity for branding by extending the time consumers spend with a brand’s message from moments to minutes. Indeed, the average amount of time spent per session in social virtual worlds ranges from as little as twenty minutes to more than two hours—substantially more than the typical thirty seconds of attention garnered by a television commercial. -
Campaña Medicus Mundial De Rugby 2019
Campaña Medicus Mundial de Rugby 2019 Autor/es: Ascarrunz Prinzo, Florencia Belén – LU: 1075808 Doria, Camila Ayelén – LU: 1066616 Sartor, Fiamma Divina – LU: 1068416 Carrera: Licenciatura en Publicidad Tutor: Lic. Maison, F abian Gustavo - Lic. Pruneda , Maria L orena – Lic. Rocco, Maria Celia Año: 201 8 ÍNDICE 1 ÍNDICE 1 2 3 Introducción En el siguiente Trabajo Integrador Final de la carrera de Licenciatura en Publicidad de la Fundación UADE, presentaremos una estrategia integral para el anunciante MEDICUS S.A, en adelante “Medicus”, para implementar en el evento del Mundial de Rugby 2019 que se llevará a cabo en Japón durante los meses de Septiembre, Octubre y Noviembre. Las preguntas que sirvieron de base para desarrollar el siguiente trabajo de investigación fueron: ¿Qué?, ¿Dónde?, ¿Por qué?, ¿Quién?, ¿Cómo?. Estas preguntas fueron los primeros interrogantes que nos hicimos al iniciar la investigación y consideramos que fueron de gran utilidad para llegar a nuestro objetivo. Dado que consiste en una campaña que se llevará a cabo durante la competencia mundial de rugby, investigamos acerca de la historia del mundial y tomamos como referencia el Mundial de Rugby 2015 en Inglaterra. En segundo lugar, investigamos acerca del país sede donde se transcurrirá el evento para conocer acerca de su cultura, geografía, la organización del evento y su vínculo con el deporte. Para el tercer capítulo, hicimos énfasis en nuestro vínculo como argentinos con el Rugby, teniendo en cuenta que existen grandes seguidores del deporte y por otro lado aficionados esporádicos. Por esta razón optamos por realizar una comparación entre el rugby y otros deportes en cuanto a su audiencia. -
Your Favorite Disney Characters Return to Oklahoma City As Disney on Ice Presents Dream Big Comes to Jim Norick Arena During
Contact: Jen Maninger/Feld Entertainment [email protected]; 314-800-3938 Your Favorite Disney Characters Return to Oklahoma City As Disney On Ice Presents Dream Big Comes to Jim Norick Arena during the Oklahoma State Fair from September 16–20, 2021 Feld Entertainment Introduces Guest Wellness Enhancements to the Beloved Live Family Experience Oklahoma City, OK (July 13, 2021) – Courage leads the way for Disney’s most adventurous heroes when Disney On Ice presents Dream Big comes to Oklahoma City for Opening Weekend at the Oklahoma State Fair. The nine performances run Thursday, September 16 through Monday, September 20. Dream Big features favorite Disney friends such as Mickey, Minnie, Miguel, Moana, Elsa, Belle, Genie, and more highlighting all the magic and adventure of Disney’s tales through world-class figure skating. Audiences will be transported to exciting worlds where heroes of every kind seek to fulfill their dreams at a live experience families will never forget! Disney On Ice Preferred Customers can purchase advance tickets starting today to get the best seats available before tickets go on-sale to the general public on July 20th. Fans can still sign up to become a Disney On Ice Preferred Customer and get exclusive access to the pre-sale offer code. Join the fearless Moana and the greatest demigod that ever lived, Maui, on an action-packed voyage to restore the stolen heart of Te Fiti. Explore the Land of the Dead as Miguel from Disney Pixar’s Coco brings the festivities of Día de los Muertos to the ice. Get tangled up in Rapunzel’s hair-raising quest to see the floating lights. -
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. -
Consuming-Kids-Transcript.Pdf
1 MEDIA EDUCATION F O U N D A T I O N 60 Masonic St. Northampton, MA 01060 | TEL 800.897.0089 | [email protected] | www.mediaed.org Consuming Kids The Commercialization of Childhood Transcript INTRODUCTION The consumer embryo begins to develop during the first year of existence. Children begin their consumer journey in infancy. And they certainly deserve consideration as consumers at that time. – James U. McNeal | Pioneering Youth Marketer [TITLE SCREEN] Consuming Kids: The Commercialization of Childhood NARRATOR: Not since the end of World War II, at the height of the baby boom, have there been so many kids in our midst. There are now more than 52 million kids under 12 in all in the United States – the biggest burst in the U.S. youth population in half a century. And for American business, these kids have come to represent the ultimate prize: an unprecedented, powerful and elusive new demographic to be cut up and captured at all costs. There is no doubt that marketers have their sights on kids because of their increasing buying power – the amount of money they now spend on everything from clothes to music to electronics, totaling some 40 billion dollars every year. But perhaps the bigger reason for marketers’ interest in kids may be the amount of adult spending that American kids under 12 now directly influence – an astronomical 700 billion dollars a year, roughly the equivalent of the combined economies of the world’s 115 poorest countries. DAVID WALSH: One economic impact of children is the money that they themselves spend – the money that they get from their parents or grandparents, the money that they get as allowance; when they get older, the money that they earn themselves. -
Andrew Sugerman Executive Vice President, Publishing and Digital Media Andrew Sugerman Serves As EVP of Disney Consumer Products
Andrew Sugerman Executive Vice President, Publishing and Digital Media Andrew Sugerman serves as EVP of Disney Consumer Products and Interactive Media’s (DCPI) Publishing and Digital Media business unit, which is the physical and digital media publishing business for The Walt Disney Company. Sugerman leads a global team of storytellers charged with creating stories across multiple formats and platforms. He oversees creative, operations, and strategic direction for the business and manages its $3 billion retail publishing, social media, digital products, digital influencers, and digital short form video efforts, along with commercialization channels that span retail, advertising, distribution, subscription, and more. Sugerman’s purview includes all global licensed and vertical publishing across books, e-books, mobile apps, magazines, and comics under Disney Publishing Worldwide and Disney Book Group; Disney’s digital publishing platforms across owned & operated channels (Disney.com, Oh My Disney, Babble, Polaris, StarWars.com and more); mobile apps; 3rd party social and digital media platforms that reach 1.5 billion fans; and one of the leading digital influencer networks. His group works in partnership with all segments of The Walt Disney Company to extend content for Disney, Pixar, Marvel, Lucasfilm, Disney Channel, and ABC while creating new original properties across all formats. Sugerman joined The Walt Disney Company in 2007 as senior vice president and general manager, Disney English, which he quickly built into a thriving multi-location brick-and-mortar business in China with 30 learning centers in 6 cities. Under his leadership, Disney English set the benchmark for the way children learn English, combining storytelling and cutting-edge technology.