Bierhaus Owner Sees Trouble Brewing HIGH RENTS, REDEVELOPMENT PLANS COULD SINK POPULAR PUB
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Business Wire: Artisan Entertainment Launches Artisan Digital Media And
FindArticles > Business Wire > Sept 13, 2000 > Article > Print friendly Artisan Entertainment Launches Artisan Digital Media and iArtisan Business Editors/High-Tech Writers NEW YORK--(BUSINESS WIRE)--Sept. 13, 2000 Leading Entertainment Company Creates Visionary New Unit Devoted to New Media Activities and Strategic Investments with Venture Capital Partners Artisan's Nicolas van Dyk Takes On Additional Role of President, Artisan Digital Media and Announces Hiring of Dominic Ianno as Senior Vice President of Strategic Marketing and Business Development, Artisan Digital Media Artisan Entertainment has launched a new business unit, Artisan Digital Media, designed to oversee the Company's new media efforts, including an investment vehicle named iArtisan LLC which is designed to invest up to $50 million in investment capital through the commitment of its participants and co-investments by fund participants in companies in which the fund makes investments. The announcement, made today by Artisan Chief Executive Officer Amir Malin, illustrates the company's continued commitment to new media and further diversification of its multi-platform business model. Artisan, renowned in the industry for the Internet savvy exemplified by its ground-breaking marketing of The Blair Witch Project, has constructed iArtisan in partnership with several of the nation's leading private equity firms, including Grove Street Advisors, Audax Ventures and others. iArtisan, innovative among movie studios because of this strong institutional backing, will explore strategic investment opportunities in new media companies, particularly those that provide tools and enabling technologies for the creation and delivery of rich media content to consumers. Created to propel the Company's new economy vision, Artisan Digital Media's mission is to support and diversify the Company in multiple capacities. -
Fact Book 2010
Fact Book 2010 Fact Book 2010 MANAGEMENT TEAM Board of Directors 3 Senior Corporate Officers 4 Principal Businesses 5 OPERATIONS DATA Studio Entertainment 6 Parks and Resorts 8 Consumer Products 11 Media Networks 12 Interactive Media 15 COMPANY HISTORY 2010 17 2009 - 1999 18 - 21 1998 - 1923 22 - 25 Table of Contents 2 BOARD OF DIRECTORS Susan E. Arnold John E. Bryson John S. Chen Judith L. Estrin Robert A. Iger Director since 2007 Director since 2000 Director since 2004 Director since 1998 Director since 2000 Steve Jobs Fred H. Langhammer Aylwin B. Lewis Monica C. Lozano Robert W. Matschullat Director since 2006 Director since 2005 Director since 2004 Director since 2000 Director since 2002 John E. Pepper, Jr. Sheryl Sandberg Orin C. Smith Chairman of the Board Director since 2010 Director since 2006 since 2007 Management Team 3 SENIOR CORPORATE OFFICERS Robert A. Iger President and Chief Executive Officer Jay Rasulo Senior Executive Vice President and Chief Financial Officer Alan N. Braverman Senior Executive Vice President, General Counsel and Secretary Jayne Parker Executive Vice President and Chief Human Resources Officer Christine M. McCarthy Executive Vice President, Corporate Real Estate, Sourcing, Alliances, and Treasurer Kevin A. Mayer Executive Vice President, Corporate Strategy and Business Development Zenia B. Mucha Executive Vice President, Corporate Communications Ronald L. Iden Senior Vice President, Global Security Brent A. Woodford Senior Vice President, Planning and Control Management Team 4 PRINCIPAL BUSINESSES STUDIO ENTERTAINMENT Rich Ross Chairman, The Walt Disney Studios PARKS AND RESORTS Thomas O. Staggs Chairman, Walt Disney Parks and Resorts Worldwide MEDIA NETWORKS George W. -
Tom Nazziola (Composer) Website: Phone: 917-280-5011 E-Mail: [email protected]
Tom Nazziola (Composer) Website: www.tomnazziola.com Phone: 917-280-5011 E-mail: [email protected] Grants / Commissions / Awards: • Commissioned by Rutgers University Percussion Department to create three new works for percussion ensemble (2015 - 2018). • Minnesota Orchestra Composer Institute Honorable Mention status: Night Unfolding (2017). • Winner of the 2016 Percussive Arts Society Composition Contest for Large Percussion Ensemble (2016). • Commissioned by Cantori New York (under the direction of Mark Shapiro) to create a choral work for upcoming tour in Europe as well as a New York City premier in the fall of (2013). • Commissioned by the Brooklyn Center for the Performing Arts to create a new score for the 1920 film “The Golem.” (2007). • Received a commission from the New Jersey Youth Symphony to create a new orchestral work - Beneath the Sea (2006). • Received a commission from VocalEssence and the American Composer’s Forum to create a new choral work for the 2004-2005 concert season. • Recipient of the Cerf Award in Music at Brooklyn College for outstanding achievements in music (2004 and 2005). • Recipient of the Julia Schwabe Award at Brooklyn College for outstanding achievements in music (2004). • Co-Recipient of the Oppenheim Toy Portfolio Gold Seal Award 2002 for performing on both Disney’s Baby Vivaldi and Baby Beethoven CD (2002). • Received a commission from the Museum of the Moving Image (NYC) to score Charlie Chaplin’s silent film “The Gold Rush” which premiered May 6th, 1999 at the Director's Guild of America in Manhattan (1998). Live Performances of Original Work: • World premiere of “Spiral Dance” (sextet) by Rutgers Saxophone Ensemble (2018). -
The Animation Industry: Technological Changes, Production Challenges, and Global Shifts
THE ANIMATION INDUSTRY: TECHNOLOGICAL CHANGES, PRODUCTION CHALLENGES, AND GLOBAL SHIFTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hyejin Yoon, M.A. ***** The Ohio State University 2008 Dissertation Committee: Approved by Professor Edward J. Malecki, Adviser Professor Nancy Ettlinger Adviser Graduate Program in Geography Professor Darla K. Munroe ABSTRACT Animated films have grown in popularity as expanding markets (such as TV and video) and new technologies (notably computer graphics imagery) have broadened both the production and consumption of cartoons. As a consequence, more animated films are produced and watched in more places, as new “worlds of production” have emerged. The animation production system, specialized and distinct from film production, relies on different technologies and labor skills. Therefore, its globalization has taken place differently from live-action film production, although both are structured to a large degree by the global production networks (GPNs) of the media conglomerates. This research examines the structure and evolution of the animation industry at the global scale. In order to investigate these, 4,242 animation studios from the Animation Industry Database are used. The spatial patterns of animation production can be summarized as, 1) dispersion of the animation industry, 2) concentration in world cities, such as Los Angeles and New York, 3) emergence of specialized animation cities, such as Annecy and Angoulême in France, and 4) significant concentrations of animation studios in some Asian countries, such as India, South Korea and the Philippines. In order to understand global production networks (GPNs), networks of studios in 20 cities are analyzed. -
Sunset Boulevard Hollywood Boulevard Echo Lake Streets Of
L Guest Amenities Restrooms Hollywood Boulevard Streets of Americacontinued Pixar Pals For Character Greeting, First Aid Presented by Dining, Show and Attraction Times, Florida Hospital ATTRACTION 8 Lights, Motors, Action!® Extreme Stunt Show® Countdown To Fun! See how big-time vehicle stunts are done for blockbuster pick up a TIMES GUIDE. Guest Relations 1 The Great Movie Ride® Travel through Parade classic film scenes and Hollywood moments. Hollywood action films. 38-minute shows with limited ATMs ® E Presented by CHASE Continuous 22-minute tours. capacity. Presented by Brawny . Dance along and join the AED AEDAutomated External 9 Studio Backlot Tour party in this countdown to fun! Defibrillators DINING A walking/tram tour of moviemaking magic. Continuous 8 AED Inspired by some of your Audition for The Designated smoking area A The Hollywood Brown Derby R L D $$ Steak, seafood, 35-minute tours. chicken, the famous Brown Derby Cobb salad, desserts. AED favorite Disney•Pixar films. American Idol Experience! Baby Care Center‘ DINING See TIMES GUIDE We’re looking for Park Guests Locker rentals for times. Echo Lake H Pizza Planet Arcade L D $ Pizza, salads, meatball subs 9 (anyone 14+) to experience the thrill of being a Kodak® “PictureSpot” and beer. rock star. Audition today in a private area Disney's PhotoPass® ATTRACTIONS 10 Service I Mama Melrose’s Ristorante Italiano R L D $$ K The American Idol Experience with a friendly Casting Director who can help Disney Vacation Club® 2 Brick-oven pizza, pasta, chicken, seafood and steak. J AED Watch your fellow Guests take the stage and compete I make your performance dreams G Information Center J Studio Catering Co. -
2012-Factbook.Pdf
TABLE OF CONTENTS MANAGEMENT TEAM Board of Directors 3 Senior Corporate Officers 4 Principal Businesses 5 OPERATIONS DATA Studio Entertainment 6 Parks and Resorts 8 Consumer Products 11 Media Networks 12 Interactive 14 COMPANY HISTORY 2012 16 2011 - 1923 17 - 30 2 MANAGEMENT TEAM BOARD OF DIRECTORS SUSAN E. ARNOLD JOHN S. CHEN JUDITH L. ESTIN ROBERT A. IGER Director since 2007 Director since 2004 Director since 1998 Chairman and Chief Executive Ocer FRED H. LANGHAMMER AYLWIN B. LEWIS MONICA C. LOZANO ROBERT W. MATSCHULLAT Director since 2005 Director since 2004 Director since 2000 Director since 2002 SHERYL SANDBERG ORIN C. SMITH* Director since 2010 Director since 2006 *Elected Independent Lead Director March 13, 2012 3 MANAGEMENT TEAM SENIOR CORPORATE OFFICERS Robert A. Iger Andy Bird Chairman, Walt Disney International Alan Braverman Senior Executive Vice President, General Counsel and Secretary Ronald L. Iden Senior Vice President, Global Security Kevin Mayer Executive Vice President, Corporate Strategy and Business Development Christine M. McCarthy Executive Vice President, Corporate Real Estate, Sourcing, Alliances, and Treasurer Zenia Mucha Executive Vice President, Jayne Parker Executive Vice President and Jay Rasulo Senior Executive Vice President and Brent Woodford Senior Vice President, Planning and Control 4 MANAGEMENT TEAM BUSINESS UNIT George Bodenheimer Executive Chairman, ESPN, Inc. Bob Chapek President, Disney Consumer Products Alan F. Horn Chairman, The Walt Disney Studios James Pitaro Co-President, Disney Interactive -
Inventory to Archival Boxes in the Motion Picture, Broadcasting, and Recorded Sound Division of the Library of Congress
INVENTORY TO ARCHIVAL BOXES IN THE MOTION PICTURE, BROADCASTING, AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by MBRS Staff (Last Update December 2017) Introduction The following is an inventory of film and television related paper and manuscript materials held by the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. Our collection of paper materials includes continuities, scripts, tie-in-books, scrapbooks, press releases, newsreel summaries, publicity notebooks, press books, lobby cards, theater programs, production notes, and much more. These items have been acquired through copyright deposit, purchased, or gifted to the division. How to Use this Inventory The inventory is organized by box number with each letter representing a specific box type. The majority of the boxes listed include content information. Please note that over the years, the content of the boxes has been described in different ways and are not consistent. The “card” column used to refer to a set of card catalogs that documented our holdings of particular paper materials: press book, posters, continuity, reviews, and other. The majority of this information has been entered into our Merged Audiovisual Information System (MAVIS) database. Boxes indicating “MAVIS” in the last column have catalog records within the new database. To locate material, use the CTRL-F function to search the document by keyword, title, or format. Paper and manuscript materials are also listed in the MAVIS database. This database is only accessible on-site in the Moving Image Research Center. If you are unable to locate a specific item in this inventory, please contact the reading room. -
Is Your Baby a Brainy Baby? Learning From
IS YOUR BABY A BRAINY BABY? LEARNING FROM “EDUCATIONAL” INFANT DVD PROGRAM CONTENT BY 12- TO 24-MONTH-OLDS by ERIN LEIGH RYAN (Under the Direction of Alison Alexander) ABSTRACT Though the American Academy of Pediatrics recommends no “screen time” for children under age two, parents routinely ignore this edict, exposing their children to television and the educational “baby videos” that have become exceedingly popular over the past decade. This project studied this baby video phenomenon in three phases: 1) a qualitative content analysis of the marketing and advertising of two industry leaders, Brainy Baby and Baby Einstein; 2) interviews with parents of children ages one to two regarding their beliefs about and experiences with baby videos; and 3) a quasi-experiment with children in the second year of life, utilizing a one-group pretest-posttest repeated measures methodology to test whether children could learn picture-letter pairings in the short term from several viewings of Brainy Baby’s First Impressions: Letters video. Results revealed that the companies’ marketing and advertising strategies fell into three broad categories: educational, credible, and aspirational. Interviews uncovered that parents routinely let their children under two watch television and videos alone, often giving parents time to do housework. In general, parents expressed that while they believe the baby video companies want consumers to think the videos are educational, parents are actually skeptical of the educational value. Yet, these parents continue to allow their children to watch. Additionally, parents reported hearing positive comments from fellow parents about baby videos, but they are generally not being asked about their child’s video and television habits by pediatricians. -
Ekonomska Učinkovitost Globalnih Medijskih Konglomeratov
UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Marija Igerc Ekonomska učinkovitost globalnih medijskih konglomeratov Diplomsko delo Ljubljana, 2015 UNIVERZA V LJUBLJANI FAKULTETA ZA DRUŽBENE VEDE Marija Igerc Mentor: red. prof. dr. Borut Marko Lah Ekonomska učinkovitost globalnih medijskih konglomeratov Diplomsko delo Ljubljana, 2015 Ekonomska učinkovitost globalnih medijskih konglomeratov V zadnjih tridesetih letih so prevzemi in spojitve postali ena najpogostejših strategij podjetij v medijski industriji. Mnogi avtorji takšno združevanje medijskih podjetij povezujejo z maksimiranjem dobička, saj naj bi se na ta način povečala tako tržna moč kot tudi učinkovitost poslovanja podjetij. V diplomskem delu trdim, da koncentrirano medijsko lastništvo ne povečuje ekonomske učinkovitosti kapitala. Sinergije ne prinašajo pričakovanih izjemnih dobičkov. Doseg diplomskega dela ni tako velik, da bi lahko sama izvedla kvantitativno analizo največjih globalnih medijskih konglomeratov, zato sem ga napisala pretežno teoretično, ob tem pa sem se naslonila na nekaj mednarodno objavljenih študij. Rezultati delno podpirajo mojo prvotno hipotezo, saj so pokazali, da nekateri ekonomski kazalniki ne kažejo boljših rezultatov v tistih medijskih podjetjih, v katerih se je kapital v veliki meri združeval in koncentriral. Zdi se, da so megamedijske združitve za marsikoga razočaranje. Ključne besede: medijska industrija, prevzemi in spojitve, medijski konglomerati, koncentracija lastništva, sinergije. Economic efficiency of global media conglomerates In the past thirty years, acquisitions and mergers have become one of the most common strategies of companies in the media industry. Many authors associate such integration of media companies with profit maximization, since it should increase market power and efficiency of business operations. In the thesis I argue that concentrated media ownership does not increase the economic efficiency of capital. -
Item Title Price
Item Title Price Qty 101 Dalmatians (DVD, 1961, 2-Disc Set, Platinum Edition, Disney) - STK $5.99 4 A Bugs Life (DVD, Disney Pixar, 1998) - G0906 $6.99 2 Air Bud - World Pup (DVD, special edition, 2000, Disney) - H0214 $1.50 1 Air Bud Seventh Inning Fetch (DVD, 2002, Disney) - H0214 $1.99 2 Alice in Wonderland (DVD, 1951, 2-Disc Special Edition, Disney) - STK $5.99 9 Alice in Wonderland (DVD, 1951, Gold Collection, Disney) - G0906 $5.99 2 Alice in Wonderland (DVD, 2010, Disney) - G0726 $0.99 7 Americas Heart and Soul (DVD, Disney, 2004) - G0531 $1.50 2 Annie (DVD, Disney, 1999) - H0110 $2.25 1 Around the World in 80 Days (DVD, 2004, Disney, Fullscreen) - G0906 $1.25 3 Around the World in 80 Days (DVD, 2004, Widescreen, Disney) - G0726 $1.25 1 Atlantis - The Lost Empire (DVD, 2002, Disney) - G1219 $4.99 1 Atlantis Milos Return (DVD, Disney, 2003) - G0823 $2.99 3 Baby Einstein - Baby MacDonald - A Day on the Farm (DVD, Disney) - H0321 $0.99 1 Baby Einstein - Baby Mozart Music Festival (DVD, Disney) - H0321 $0.99 1 Baby Einstein - Baby Van Gogh - World of Colors (DVD, Disney) - H0110 $1.25 2 Baby Einstein - Language Nursery (DVD, Disney) - H0321 $0.99 1 Baby Einstein - On the Go (DVD, Disney) - H0214 $0.99 1 Bambi (DVD, Disney, 1942) - G1004 $4.99 3 Bambi (DVD, Disney, 1942) - H0214 $4.99 1 Bambi (DVD, Platinum Edition, Disney, 1942) - STK $5.99 18 Bambi II (DVD, Disney, Bambi 2, 2006) - G1122 $3.99 2 Beauty and the Beast - Belles Magical World (DVD, 1998, Disney) - G1122 $1.99 3 Beauty and the Beast (DVD, Disney, 1991) - G1122 $5.99 9 Bedknobs -
Kent R. Raygor
Kent R. Raygor Partner T: +1.310.228.3730 1901 Avenue of the Stars F: +1.310.228.3930 Suite 1600 [email protected] Los Angeles, CA 90067 Kent Raygor, a partner in the Century City office, practices in the Entertainment, Media, and Technology Group. Areas of Practice ■ Intellectual property litigation and counseling—trademark, copyright, trade dress, false advertising, computer, and Internet ■ Media law litigation and counseling—First Amendment and right of publicity litigation; pre-publication clearance analyses Professional Qualifications and Activities ■ Chair of Sheppard Mullin’s Intellectual Property Department (1997-2002) ■ Broad experience in jury trials, bench trials, and arbitrations in the California and Federal Courts ■ Appeals before the California Courts of Appeal, California Supreme Court, Ninth Circuit Court of Appeals, Federal Circuit Court of Appeals, and United States Supreme Court ■ Named a "Southern California Super Lawyer" for intellectual property litigation in 2006, 2007, and 2009 (Los Angeles Magazine) ■ Named as one of the "Top 10 Entertainment IP Lawyers" in California (Los Angeles Daily Journal, April 9, 2008) ■ Recognized for digital rights management and digital convergence expertise in 2006 (Los Angeles Business Journal, Who's Who In Law—Intellectual Property issue) ■ Judge Pro Tem, Los Angeles Municipal and Superior Courts (1996 to 2002) ■ Board of Directors, Legal Aid Foundation of Los Angeles (LAFLA, 2006 to present) Experience Representative Litigation Experience Trademark And Copyright Cases Hasbro, Inc. v. MGA Entertainment, Inc. Successfully defended MGA (creator of the Bratz® dolls and television, video game, and film characters) in a trademark infringement case brought by Hasbro in Rhode Island (Hasbro’s headquarters).