A Case Study of Michael Eisner's Long Tenure at Disney Corporation Wi
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Pegboard ANIMATION GUILD and AFFILIATED ELECTRONIC and GRAPHIC ARTS Los Angeles, California, April 2015 Vol
Pegboard ANIMATION GUILD AND AFFILIATED ELECTRONIC AND GRAPHIC ARTS Los Angeles, California, April 2015 Vol. 44, No. 04 CHANGES TO THE ANIMATION GUILD CONSTITUTION AND BY-LAWS A proposal for changes to The Animation Guild’s Constitution and By-Laws has been submitted to the Executive Board. The changes incorporate a new ascension procedure to the presidency should the sitting President no longer be able to serve, a clarifi cation and explanation of a By-Election process has been added to Article Seven, Section Nine, clarifi cation of the rules pertaining to what Guild materials the Business Representative may take from the offi ce, and some overall housekeeping-type corrections that include fi xing spelling errors, removing gender assignments where applicable and correcting syntax to better clarify specifi c articles. Per Article Fifteen, the Executive Board reviewed the proposed changes and recommended these changes be brought to the membership for review and a vote. A vote to approve the adjustments to the Constitution and By-Laws will be taken at the General Membership Meeting on the evening of May 26. President Thomas will call for a review of the proposals and a discussion on the matter before the vote is taken. All active members in good standing with the local will be called on to vote. Should two-thirds of the active members in good standing present at the meeting vote in favor of the changes, the changes will be approved by the membership and then submitted to IATSE President Loeb for review and approval. Once approved by President Loeb, the new Constitution will be printed and sent to all active members of the Guild. -
Graham Holdings Company 2014 Annual Report
GRAHAM HOLDINGS 2014 ANNUAL REPORT REVENUE BY PRINCIPAL OPERATIONS n EDUCATION 61% n CABLE 23% n TELEVISION BROADCASTING 10% n OTHER BUSINESSES 6% FINANCIAL HIGHLIGHTS (in thousands, except per share amounts) 2014 2013 Change Operating revenues $ 3,535,166 $ 3,407,911 4% Income from operations $ 407,932 $ 319,169 28% Net income attributable to common shares $ 1,292,996 $ 236,010 — Diluted earnings per common share from continuing operations $ 138.88 $ 23.36 — Diluted earnings per common share $ 195.03 $ 32.05 — Dividends per common share $ 10.20 $ — — Common stockholders’ equity per share $ 541.54 $ 446.73 21% Diluted average number of common shares outstanding 6,559 7,333 –11% INCOME FROM NET INCOME ATTRIBUTABLE OPERATING REVENUES OPERATIONS TO COMMON SHARES ($ in millions) ($ in millions) ($ in millions) 3,861 582 1,293 3,453 3,535 3,373 3,408 408 314 319 149 277 236 116 131 2010 2011 2012 2013 2014 2010 2011 2012 2013 2014 2010 2011 2012 2013 2014 RETURN ON DILUTED EARNINGS PER AVERAGE COMMON COMMON SHARE FROM DILUTED EARNINGS STOCKHOLDERS’ EQUITY* CONTINUING OPERATIONS PER COMMON SHARE ($) ($) 46.6% 138.88 195.03 38.16 9.8% 9.0% 23.36 31.04 32.05 5.2% 17.32 4.4% 14.70 17.39 6.40 2010 2011 2012 2013 2014 2010 2011 2012 2013 2014 2010 2011 2012 2013 2014 * Computed on a comparable basis, excluding the impact of the adjustment for pensions and other postretirement plans on average common stockholders’ equity. 2014 ANNUAL REPORT 1 To OUR SHAREHOLDERS Quite a lot happened in 2014. -
Fall 2005 $2.50
American Jewish Historical Society Fall 2005 $2.50 PRESIDENTIAL DINNER 'CRADLED IN JUDEA' EXHIBITION CHANUKAH AMERICAN STYLE BOSTON OPENS 350TH ANNIVERSARY EXHIBIT FROM THE ARCHIVES: NEW YORK SECTION, NCJW NEW JEWISH BASEBALL DISCOVERIES TO OUR DONORS The American Jewish Historical Society gratefully STEVEN PLOTNICK HENRY FRIESS JACK OLSHANSKY ARNOLD J. RABINOR KARL FRISCH KATHE OPPENHEIMER acknowledges the generosity of our members and TOBY & JEROME RAPPOPORT ROBERTA FRISSELL JOAN & STEVE ORNSTEIN donors. Our mission to collect, preserve and disseminate JEFF ROBINS PHILLIP FYMAN REYNOLD PARIS ROBERT N. ROSEN DR. MICHAEL GILLMAN MITCHELL PEARL the record of the American Jewish experience would LIEF ROSENBLATT RABBI STEVEN GLAZER MICHAEL PERETZ be impossible without your commitment and support. DORIS ROSENTHAL MILTON GLICKSMAN HAROLD PERLMUTTER WALTER ROTH GARY GLUCKOW PHILLIP ZINMAN FOUNDATION ELLEN R. SARNOFF MARC GOLD EVY PICKER $100,000+ FARLA & HARVEY CHET JOAN & STUART SCHAPIRO SHEILA GOLDBERG BETSY & KEN PLEVAN RUTH & SIDNEY LAPIDUS KRENTZMAN THE SCHWARTZ FAMILY JEROME D. GOLDFISHER JACK PREISS SANDRA C. & KENNETH D. LAPIDUS FAMILY FUND FOUNDATION ANDREA GOLDKLANG ELLIOTT PRESS MALAMED NORMAN LISS EVAN SEGAL JOHN GOLDKRAND JAMES N. PRITZKER JOSEPH S. & DIANE H. ARTHUR OBERMAYER SUSAN & BENJAMIN SHAPELL HOWARD K. GOLDSTEIN EDWARD H RABIN STEINBERG ZITA ROSENTHAL DOUGLAS SHIFFMAN JILL GOODMAN ARTHUR RADACK CHARITABLE TRUST H. A. SCHUPF LEONARD SIMON DAVID GORDIS NANCY GALE RAPHAEL $50,000+ ARTHUR SEGEL HENRY SMITH LINDA GORENS-LEVEY LAUREN RAPPORT JOAN & TED CUTLER ROSALIE & JIM SHANE TAWANI FOUNDATION GOTTESTEIN FAMILY FOUNDATION JULIE RATNER THE TRUSTEES VALYA & ROBERT SHAPIRO MEL TEITELBAUM LEONARD GREENBERG ALAN REDNER UNDER THE WILL OF STANLEY & MARY ANN SNIDER MARC A. -
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. -
Endowments and Funds As of June 30, 2010
2009-2010 Contributors E ND O W M E N TS A ND FUNDS Many donors choose to establish named endowments or funds, which provide critical support for productions and projects in general or specific program areas. They also offer special recognition opportunities. The following is a list of named endowments and funds as of June 30, 2010. The Vincent Astor Endowment for Literacy Programming The Arlene and Milton D. Berkman Philanthropic Fund Lillian and H. Huber Boscowitz Arts and Humanities Endowment The Aron Bromberg / Abe Raskin Partners Fund Irving Caesar Lifetime Trust for Music Programming The Joanne Toor Cummings Endowment for Children’s Programming FJC – A Foundation of Philanthropic Funds The Rita and Herbert Z. Gold Fund for Children’s Programming The Lillian Goldman Programming Endowment The M.J. Harrison/Rutgers University Broadcast Fellowship Program The Robert and Harriet Heilbrunn Programming Endowment The JLS/RAS Foundation Endowed Income Fund The John Daghlian Kazanjian Endowment The Anna-Maria and Stephen Kellen Arts Fund The Bernard Kiefson Endowment for Nature Programming The Reginald F. Lewis Endowment for Minority Fellowship Programs The Frits and Rita Markus Endowment for Science and Nature Programming The Abby R. Mauzé Endowment Fund for Arts and Humanities Programming The George Leonard Mitchell Fund The Henry and Lucy Moses Endowment for Children’s Programming The Abby and George O’Neill Program Endowment Fund The George Page Endowment for Science and Nature Programming The Dr. Edward A. Raymond Endowment for Science and Nature Programming Dr. Helen Rehr Endowment for Education and Outreach Blanchette Hooker Rockefeller Fund Endowment for Humanities Programming May and Samuel Rudin Family Foundation Minority Fellowship Program The Dorothy Schiff Endowment for News and Public Affairs Programming The Hubert J. -
Talent Agenting in the Age of Conglomerates
6 Talent Agenting in the Age of Conglomerates Violaine Roussel “Now, everything in the talent agency business is different forever,” commented a talent agent I interviewed after the announcement, in late 2013, of the acquisi- tion of the sports marketing giant IMG (International Management Group) by the major agency WME (William Morris Endeavor). Indeed, in the past decade, Hollywood talent agencies have had to undergo drastic changes, for which they are also largely responsible. These changes are intrinsically connected to transforma- tions that have simultaneously affected and been generated by the studios, who are the agencies’ counterparts on the production side. This organizational mutation creates consequences in creative terms: it directly affects what “doing one’s job” as an agent means and, inseparably and subsequently, how agents contribute to making cultural products and artistic careers. In a tumultuous time of rapid pro- fessional reconfiguration, work situations feel more precarious to creative work- ers and, inseparably, more uncertain to their agents. This chapter addresses such transformations. Talent representatives in the United States are divided into four main types of professionals: talent agents, managers, publicists, and entertainment lawyers. Unlike managers, who have only recently developed as an organized occupa- tion, agents are closely regulated by the state in which they work. They also hold a legal monopoly over the right to seek and procure employment for their clients, a service for which the agency receives 10 percent of the amount negotiated in the artist’s contracts. Agents scout and “sign” talent (although not always in formal written form, especially in the large agencies), work at placing them in jobs, and negotiate deals with producers and studios. -
Television a La Carte: American Broadcasting Cos
THIS VERSION DOES NOT CONTAIN PAGE NUMBERS. PLEASE CONSULT THE PRINT OR ONLINE DATABASE VERSIONS FOR THE PROPER CITATION INFORMATION. NOTE TELEVISION A LA CARTE: AMERICAN BROADCASTING COS. V. AEREO AND HOW FEDERAL COURTS’ INTERPRETATIONS OF COPYRIGHT LAW ARE IMPACTING THE FUTURE OF THE MEDIUM Andrew Fraser I. INTRODUCTION Somewhere in Brooklyn, a large warehouse holds a bundle of over one thousand rabbit-ear antennas.1 In many ways these antennas resemble the ones that rested on top of generations of older television sets before the advent of cable, except for one small fact—these rabbit-ear antennas are each roughly the size of a dime.2 It is ironic that this ancient, seemingly outdated piece of television technology might signal the medium’s newest direction, but with Aereo at the helm, this may actually be the case. Aereo is a technology platform currently available exclusively in New York City that airs live broadcast television through the Internet to a subscriber’s mobile device, computer, or web-enabled television.3 When an Aereo subscriber wishes to watch a broadcast, he or she instructs an assigned Aereo antenna to capture signals from the public airwaves and to transmit them over the Internet to the subscriber’s mobile device.4 No two subscribers ever use the same antenna at the same time, and Aereo also offers DVR recording technology, so subscribers can watch shows live or recorded.5 With this incredible merging of both old and new technology, Aereo could have an enormous impact on the way consumers watch television, assuming that it can first survive what promise to be some intense legal challenges. -
Agency, Delegation, and Corporate Governance Marc I
Hastings Law Journal Volume 60 | Issue 2 Article 1 1-2008 Disney Goes Goofy: Agency, Delegation, and Corporate Governance Marc I. Steinberg Matthew .D Bivona Follow this and additional works at: https://repository.uchastings.edu/hastings_law_journal Part of the Law Commons Recommended Citation Marc I. Steinberg and Matthew D. Bivona, Disney Goes Goofy: Agency, Delegation, and Corporate Governance, 60 Hastings L.J. 201 (2008). Available at: https://repository.uchastings.edu/hastings_law_journal/vol60/iss2/1 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Articles Disney Goes Goofy: Agency, Delegation, and Corporate Governance MARC I. STEINBERG* MATTHEW D. BIVONA** INTRODUCTION The Delaware Supreme Court delivered its final opinion in the highly publicized case, Brehm v. Eisner (the Disney case), which involved the firing without cause of Disney's president, Michael Ovitz., This not- for-cause termination resulted in a $130 million severance package after only fourteen months of service.2 Ovitz's termination was effected on Disney's behalf by its chief executive officer (CEO) Michael Eisner.3 The Delaware Supreme Court affirmed the chancery court's decision, ruling that the business judgment rule protected the decision to terminate Ovitz, and the accompanying severance payment.4 Consequently, the defendant directors and officers did not violate their fiduciary duties or commit waste.5 Much scholarly writing has been * Rupert and Lillian Radford Professor and Senior Associate Dean for Research, Southern Methodist University Dedman School of Law. -
Door to Door to Web Tu Hear Charlie Fink Tell It
Door to door to Web Tu hear Charlie Fink tell it. his formu- areas of production. The talent was gath- la for success hasn't been much dif- ered and the transformation took place. ferent from those of the animation During his tenure there. Disney Pictures heroes he helped to create during his days turned out a string of animation hits, includ- at Disney Pictures: put yourself in harm's ing "Roger Rabbit.' "The Little Mermaid." way and count on sheer dumb luck. "Beauty and the Beast." "Aladdin" and "The That's the way America Online's Lion King " -a story line he suggested. Greenhouse Networks senior VP /chief cre- With Schneider and Roy Disney as his ative officer sees a career that seemed to mentors, Fink was named director of pro- get its kick -start when Fink graduated from duction in 1988 and vice president of pro- the Art Institute of Chicago with a master's duction in 1989. He was particularly in film in 1983. He produced "Door to pleased with his position on the animation Door," a "fictional documentary" about side. "I was the only one doing the anima- door -to -door salesmen, for $7,500. took it tion stuff. These poor guys in live action around to film festivals and concurrently were beating each other up to get ahead. made a reputation as a promising filmmak- But I got to he sort of a specialist," he says. er. "I've been very lucky and very oppor- He got offers from other major studios. tunistic." says Fink. -
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. -
Off the Record
About the Center for Public Integrity The CENTER FOR PUBLIC INTEGRITY, founded in 1989 by a group of concerned Americans, is a nonprofit, nonpartisan, tax-exempt educational organization created so that important national issues can be investigated and analyzed over a period of months without the normal time or space limitations. Since its inception, the Center has investigated and disseminated a wide array of information in more than sixty Center reports. The Center's books and studies are resources for journalists, academics, and the general public, with databases, backup files, government documents, and other information available as well. The Center is funded by foundations, individuals, revenue from the sale of publications and editorial consulting with news organizations. The Joyce Foundation and the Town Creek Foundation provided financial support for this project. The Center gratefully acknowledges the support provided by: Carnegie Corporation of New York The Florence & John Schumann Foundation The John D. & Catherine T. MacArthur Foundation The New York Community Trust This report, and the views expressed herein, do not necessarily reflect the views of the individual members of the Center for Public Integrity's Board of Directors or Advisory Board. THE CENTER FOR PUBLIC INTEGRITY 910 17th Street, N.W. Seventh Floor Washington, D.C. 20006 Telephone: (202) 466-1300 Facsimile: (202)466-1101 E-mail: [email protected] Copyright © 2000 The Center for Public Integrity All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information and retrieval system, without permission in writing from The Center for Public Integrity.