Activision and Marvel Entertainment Expand Alliance and Extend Interactive Rights for Spider-Man and X-Men Franchises; Deal Extends Relationship Through 2017
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Marvel Studios' Black Panther Activity Packet
ACTIVITY PACKET Created in Partnership with Disney’s Animals, Science and Environment CONTENTS: Welcome to Wakanda 4 Meet the Characters 5 The Mantle of Black Panther 6 The Strength of Nature 8 Zuri’s Wisdom 10 Shuri’s Technology Hunt 12 Horns & Heroes 14 Acknowledgments Disney’s Animals, Science and Environment would like to take this opportunity to thank the amazing teams that came together to develop the “Black Panther” Activity Packet. It was created with great care, collaboration and the talent and hard work of many incredible individuals. A special thank you to Dr. Mark Penning for his ongoing support in developing engaging educational materials that arvel Studios’ “Black Panther” follows T’Challa who, after the death of his father, the connect families with nature. These materials would not have happened without the diligence and King of Wakanda, returns home to the isolated, technologically advanced African nation dedication of Kyle Huetter who worked side by side with the filmmakers and educators to help M create these compelling activities and authored the unique writing found throughout each page. to succeed to the throne and take his rightful place as king. But when a powerful old enemy A big thank you to Hannah O’Malley, Cruzz Bernales and Elyssa Finkelstein whose creative reappears, T’Challa’s mettle as king—and Black Panther—is tested when he is drawn into a thinking and artistry developed games and crafts into a world of outdoor exploration for the superhero in all of us. Special thanks to director Ryan Coogler and producer Kevin Feige, formidable conflict that puts the fate of Wakanda and the entire world at risk. -
Intelligent Business
Intelligent Business Walt Disney buys Marvel Entertainment Of mouse and X-Men Sep 3rd 2009 | NEW YORK From The Economist print edition Will Disney's latest acquisition prove as Marvellous as it appears? NOT even the combined powers of Spiderman, Iron Man, the Incredible Hulk, Captain America and the X-Men could keep The Mouse at bay. On August 31st Walt Disney announced it was buying Marvel Entertainment for $4 billion, just days after the comic- book publisher had celebrated 70 glorious years of independence, during which it had created many of the most famous cartoon characters not invented by Disney itself. In fact, Marvel did not put up much of a fight, accepting what most analysts think was a generous price. Disney will get access both to Marvel's creative minds and— potentially far more valuable in an age when familiar stories rule the box office—an archive containing around 5,000 established characters, only a fraction of which have yet made the move from paper to the silver screen. Marrying Marvel's characters with Disney's talent for making money from successful franchises is a good idea. In recent years Disney has proved the undisputed master at Disney is bringing the exploiting the same basic content through multiple channels, including films, websites, commercial heft video games, merchandising, live shows and theme parks. The edgier, darker Marvel characters should fill a hole in Disney's much cuddlier portfolio. This currently covers most people from newborn babies, through the addictive "Baby Einstein" DVDs (popularly known as "baby crack"), to adults, through its Touchstone label. -
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. -
Alan Horn Chairman, the Walt Disney Studios the Walt Disney Company
Alan Horn Chairman, The Walt Disney Studios The Walt Disney Company As Chairman of The Walt Disney Studios, Alan Horn oversees worldwide operations for The Walt Disney Studios including production, distribution, and marketing for Disney, Walt Disney Animation Studios, Pixar Animation Studios, Disneynature, Marvel Studios, and Lucasfilm, as well as Twentieth Century Fox Film, Fox Family, Fox Searchlight, Fox 2000, and Blue Sky Studios following The Walt Disney Company’s 2019 acquisition of 21st Century Fox. He also oversees Disney’s music and theatrical groups. Under Horn’s leadership, The Walt Disney Studios has set numerous records at the box office with global smash hits including Disney’s live-action “Beauty and the Beast” and “The Jungle Book”; Walt Disney Animation Studios’ “Frozen” and “Zootopia”; Pixar’s “Finding Dory,” “Coco,” and “Incredibles 2”; Marvel Studios’ “Avengers: Infinity War,” “Black Panther,” and “Captain Marvel”; and Lucasfilm’s “Star Wars: The Force Awakens,” “Rogue One: A Star Wars Story,” and “Star Wars: The Last Jedi,” among others. Prior to joining The Walt Disney Studios in 2012, Horn served as President and COO of Warner Bros., leading the studio’s theatrical and home entertainment operations, including the Warner Bros. Pictures Group, Warner Bros. Theatrical Ventures, and Warner Home Video. During Horn’s tenure from 1999 to 2011, Warner Bros. was the top-performing studio at the global box office seven times and released numerous critically acclaimed films and box office hits including the eight-film Harry Potter series, “Batman Begins,” “The Dark Knight,” “Charlie and the Chocolate Factory,” “Happy Feet,” “Sherlock Holmes,” “The Departed,” “Million Dollar Baby,” the second and third Matrix films and the Ocean’s Eleven trilogy. -
Marvel Entertainment LLC FACT SHEET
Marvel Entertainment LLC FACT SHEET FOUNDED PRODUCTS & SERVICES June 1998 Publishing: comics, trade paperbacks, advertising, custom project HISTORY • Licensing: portfolio of characters (Food, cloth, accessories, and more) Marvel Entertainment, LLC was formerly and toy licensing and production known as Marvel Enterprises, Inc. and • Film Production: motion pictures, changed its name to Marvel Entertainment, direct to videos, television, and video LLC in September 2005. As of December 31, games 2009, Marvel Entertainment, LLC operates as a subsidiary of The Walt Disney WEBSITE Company. www.marvel.com CORPORATE PROFILE AWARRDS Headquarter: Oscar Awards New York City, New York Nominations Annual Revenue Iron Man (2008) Disney Studio Entertainment 2014 Revenue: • Best Visual Effects 7,278 million • Best Sound Editing Iron Man 2 (2010) Number of Employees: • Best Visual Effects Over 250 employees The Avengers (2012) • Best Visual Effects MISSION STATEMENT Iron Man 3 (2013) • Best Visual Effects Our mission to expand enables our legends Captain America: The Winter Solider like Thor and The X-Men to come to life in (2014) unexpected ways. We also want to resonate • Best Visual Effects with people today and to evolve with X-Men: Days of Future Past (2014) generations to come. • Best Visual Effects Guardians of the Galaxy (2014) LEADERSHIP • Best Visual Effects • Best Makeup and Hairstyling Isaac Perlmutter CEO Learn more about Marvel Entertainment’s numerous awards at Alan Fine http://marvel.disneycareers.com/en/about-marvel/over President view/ Kevin Feige President of Production – Marvel Studios MARVEL CINEMATIC UNIVERSE PHASES POSITION See Official Timeline for Phase 1 to Phase 3 - FORTUNE named Marvel one of the on the next page. -
The Walt Disney Company: a Corporate Strategy Analysis
The Walt Disney Company: A Corporate Strategy Analysis November 2012 Written by Carlos Carillo, Jeremy Crumley, Kendree Thieringer and Jeffrey S. Harrison at the Robins School of Business, University of Richmond. Copyright © Jeffrey S. Harrison. This case was written for the purpose of classroom discussion. It is not to be duplicated or cited in any form without the copyright holder’s express permission. For permission to reproduce or cite this case, contact Jeff Harrison at [email protected]. In your message, state your name, affiliation and the intended use of the case. Permission for classroom use will be granted free of charge. Other cases are available at: http://robins.richmond.edu/centers/case-network.html "Walt was never afraid to dream. That song from Pinocchio, 'When You Wish Upon a Star,' is the perfect summary of Walt's approach to life: dream big dreams, even hopelessly impossible dreams, because they really can come true. Sure, it takes work, focus and perseverance. But anything is possible. Walt proved it with the impossible things he accomplished."1 It is well documented that Walt Disney had big dreams and made several large gambles to propel his visions. From the creation of Steamboat Willie in 1928 to the first color feature film, “Snow White and the Seven Dwarves” in 1937, and the creation of Disneyland in Anaheim, CA during the 1950’s, Disney risked his personal assets as well as his studio to build a reality from his dreams. While Walt Disney passed away in the mid 1960’s, his quote, “If you can dream it, you can do it,”2 still resonates in the corporate world and operations of The Walt Disney Company. -
A Time Series Study on Marvel from 2000 - 2009: Marvel’S Movies Impact Relative to Stock Price
9th Global Business Conference February 7, 2015 De La Salle University, Manila, Philippines A Time Series Study on Marvel from 2000 - 2009: Marvel’s Movies Impact Relative to Stock Price Junius W. Yu De La Salle University [email protected] Abstract: Marvel studios have provided an interesting study for many business students particularly generating more than $1.5 billion box office receipts for the movie “Avengers” last 2012. Disney bought Marvel for $4.24 billion and the question arises from the valuation of the company relative to the acquisition price. The study focuses on Marvel Entertainment’s impact from movie releases relative to stock price. A time series analysis was used in gathering Marvel’s daily stock price changes from 2000 – 2009. This was also used in parallel to 20 movies released by Marvel within that time period. The behavior of the market was examined using the GARCH (Generalized Autoregressive Conditional Heteroskedasticity) model and the EWMA (Exponentially Weighted Moving Average). A linear regression was used in testing the hypothesis on whether gross sales of movies and movie release (development, pre-production, production, post-production and release) have any significant to changes in stock price. GARCH (1,1) was used to measure the outliers for the signaling effect relative to huge changes on the time series data. The data results provided no empirical evidences due to relatively large p- values; however the spike of increase in changes were identified due to the release of Spider- Man 2 in 2004 and Iron Man in 2008. The conclusion of the study reflected on the impact Marvel has on mainstream Hollywood perhaps not on the valuation, but the future business earnings it may generate in the next decade. -
Business Model As a Tool of Strategic Management on the Example of the Company Marvel Entertainment
Munich Personal RePEc Archive Business model as a tool of strategic management on the example of the Company Marvel Entertainment Misunova Hudakova, Ivana and Misun, Juraj University of Economics in Bratislava, Faculty of Business Management, Department of Management 2013 Online at https://mpra.ub.uni-muenchen.de/54475/ MPRA Paper No. 54475, posted 16 Mar 2014 15:13 UTC Podnikateľský model ako nástroj strategického manažmentu na príklade spoločnosti Marvel Entertainment Business Model as a Tool of Strategic Management on the Example of the Company Marvel Entertainment Ivana Mišúnová Hudáková1 – Juraj Mišún2 Kľúčové slová Marvel Entertainment, Walt Disney Company, predikcia vývoja, podnikateľský model, koncept Canvas Keywords Marvel Entertainment, Walt Disney Company, prediction of development, business model, Canvas concept JEL Klasifikácia M21, G34, L25, L82 Abstrakt V decembri 2009 ukončil mediálny koncern Disney prevzatie spoločnosti Marvel Entertainment, ktorá patrí k najväčším vydavateľom kreslených komiksov na svete. Obchod výrazne poznačil obe spoločnosti, ako aj filmový priemysel. Disney výrazne rozšíril svoju detskú cieľovú skupinu, ktorú doposiaľ tvorili hlavne dievčatá, keď prevzatím spoločnosti Marvel začal oslovovať aj chlapcov. Obrovskou konkurenčnou výhodou v turbulentnom zložitom a dynamickom podnikateľskom prostredí pre Marvel je a naďalej aj bude distribučná sieť mediálneho koncernu Disney a vstupenka do jeho parkov Disney Resorts. Cieľom príspevku je skúmať podnikateľský model podľa konceptu Canvas v spoločnosti Marvel a urobiť predikciu vývoja jednotlivých divízií v rámci jedného z najväčších mediálnych koncernov na svete. 1 Ing. Ivana Mišúnová Hudáková, PhD. Ekonomická univerzita v Bratislave, Fakulta podnikového manažmentu – Katedra manažmentu, Dolnozemská cesta 1, 852 35 Bratislava V. e-mail: [email protected] 2 Ing. Juraj Mišún, PhD. -
Captain Marvel Lands on the New Cover of Disney Twenty-Three
CAPTAIN MARVEL LANDS ON THE NEW COVER OF DISNEY TWENTY-THREE BRIE LARSON GOES HIGHER, FURTHER, AND FASTER FOR A BEHIND-THE-SCENES LOOK AT THE MAKING OF THE THRILLING NEW MARVEL STUDIOS FILM PLUS, D23 TAKES READERS UNDER DUMBO’S BIG TOP; AVENGERS: ENDGAME DIRECTORS ANTHONY AND JOE RUSSO TEASE WHAT’S IN STORE FOR EARTH’S MIGHTIEST HEROES; AND ANT-MAN AND THE WASP ARE READY TO BATTLE HYDRA IN THE NEWEST ATTRACTION AT HONG KONG DISNEYLAND BURBANK, Calif. – February 14, 2019 – This March, Marvel Studios’ epic new adventure Captain Marvel flies into theaters, and Disney twenty-three was on set during production. The new movie explores the origin story of Carol Danvers, who just might be the most powerful Super Hero ever. Stars Brie Larson and Samuel L. Jackson talk about making this groundbreaking film, as well as how they have become good friends—Jackson loves to show off the impressive iPhone video Larson sent him of the grueling training she endured to transform into the courageous character. Plus, every copy of Disney twenty-three, which is delivered to Gold Members of D23: The Official Disney Fan Club, will include an exclusive poster highlighting 10 amazing characters moviegoers will meet when the film opens in March. That’s not all the Marvel Universe has to offer in the Spring issue. Avengers: Endgame directors Anthony and Joe Russo preview what fans can expect in the follow-up to last year’s smash hit, Avengers: Infinity War. Marvel Studios’ executive vice president of production, Victoria Alonso, opens the doors to her impressive office. -
(Marvel Entertainment LLC) Marketing Strategy Case Study
Marvel Enterprises, Inc. (Marvel Entertainment LLC) Marketing Strategy Case Study Ferris State University MKTG 476-001 Dr. Dedeaux April 30, 2015 By: Kellie Adams Alison Jarabeck Mary Karle Melissa Mattila Emily Schreur 2 EXECUTIVE SUMMARY As the generation focuses on the current implementation of the scientific revolution overtaking the industrial revolution period, Marvel sees itself at the coming of an entirely new time of age. Comic books are no longer traded, dealt, or prioritized in print as they once were. The technological advancements and the adaptation of social media and personal computers for the everyday user has changed comics and superhero worlds completely. Society and comic lovers want to purchase stories, movies, games, and apparel instantly to fulfill their superhero wants and desires. What once was a market for men, dominated by male figures, is now trending into an alternative pathway. Women rate the highest trending commodity, and the superhero industry must follow this change to capitalize on society’s wants. Lead roles and high-priority characters are taken on by feminine and ethnically diverse actors, as opposed to the traditional method of a superhero being a white male. To help Marvel improve their relevance among this upcoming market, a comprehensive marketing plan has been built from secondary research and collaborative insight. Marketing Research Findings ● The male market is declining, however those 18 to 49 years old males have been the focus for Marvel. ● There is 1 woman superhero for every 4 male superheroes in the Marvel Universe, making the female characters under represented. ● The majority of Marvel characters fit within the typical superhero stereotype, ignoring ethnic diversity. -
Mcwilliams Ku 0099D 16650
‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry © 2019 By Ora Charles McWilliams Submitted to the graduate degree program in American Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Henry Bial Germaine Halegoua Joo Ok Kim Date Defended: 10 May, 2019 ii The dissertation committee for Ora Charles McWilliams certifies that this is the approved version of the following dissertation: ‘Yes, But What Have You Done for Me Lately?’: Intersections of Intellectual Property, Work-for-Hire, and The Struggle of the Creative Precariat in the American Comic Book Industry Co-Chair: Ben Chappell Co-Chair: Elizabeth Esch Date Approved: 24 May 2019 iii Abstract The comic book industry has significant challenges with intellectual property rights. Comic books have rarely been treated as a serious art form or cultural phenomenon. It used to be that creating a comic book would be considered shameful or something done only as side work. Beginning in the 1990s, some comic creators were able to leverage enough cultural capital to influence more media. In the post-9/11 world, generic elements of superheroes began to resonate with audiences; superheroes fight against injustices and are able to confront the evils in today’s America. This has created a billion dollar, Oscar-award-winning industry of superhero movies, as well as allowed created comic book careers for artists and writers. -
Female Representation in the Marvel Cinematic Universe
Volume 10 Issue 2 (2021) AP Research Superheroines and Sexism: Female Representation in the Marvel Cinematic Universe Folukemi Olufidipe1, Ms. Yunex Echezabal1 1Doral Academy Charter High School, Miami, FL, USA DOI: https://doi.org/10.47611/jsrhs.v10i2.1430 ABSTRACT The Marvel Cinematic Universe (MCU) is the highest-grossing film franchise of all time and since the premiere of Iron Man in 2008, it has risen to fame as a source of science-fiction entertainment. Sexism in the film industry often goes brushed aside but the widespread success of Marvel Studios calls attention to their treatment of gender roles. This paper explores the progression of six female superheroes in the MCU and what effect feminist movements have had on their roles as well as upcoming productions in the franchise. This paper used an interdisciplinary, mixed- methods design that studied movie scripts and screen time graphs. 14 MCU movies were analyzed through a feminist film theory lens and whenever a female character of interest was chosen, notes were taken on aspects including, but not limited to, dialogue, costume design, and character relationships. My findings showed that females in the MCU are heavily sexualized by directors, costume designers, and even their male co-stars. As powerful as some of these women were found to be, it was concluded that Marvel lacks in female inclusivity. Marvel’s upcoming productions, many of which are female-focused, still marginalize the roles of their superheroines which is a concern for the future of the film industry. Marvel is just one franchise but this study shows how their treatment of female characters uphold patriarchal structures and perpetuate harmful stereotypes that need to be corrected in the film industry as a whole.