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Freak/Slay/Love Viking Vixens….Vinyl Vigilantes Mom Mechas...Psycho Superstars and Other Furious Females March 2019 - No
MEANWHILE FREAK/SLAY/LOVE VIKING VIXENS….VINYL VIGILANTES MOM MECHAS...PSYCHO SUPERSTARS AND OTHER FURIOUS FEMALES MARCH 2019 - NO. 27 PLUS...THE SONS OF EL TOPO David AND SOME OTHER DUDES, TOO B Moebius Jean Giraud Jose Ladronn Jean-Pierre Gibrat Gibrat Steve Skroce B. B. Alejandro Jodorowsky The Comics & Graphic Novel Bulletin of An infamous– and Global sensation exhausted- perfor- Emma draws and mance artist ex- discusses the re- A quartet of new graphic novels spot- multiple voiceovers that make up “The amines her life of light the struggles of the modern wom- Big Burning House”. Nowak’s realistic Musician and writer Gerard Way has and even less love for other vigilantes. alities of wom- an...and the post-modern woman...and depiction of women’s bodies is given a been the ringmaster of Young Ani- Not even that crepuscular Clown of cultural crime as the pre-modern woman. And when we sci-fi twist by artist Rachael Stott in mal comics since the birth of the line Crime, the Joker, can aid her war en’s lives in THE say “struggle”, we mean physically as Vertigo’s Motherlands. A super-science in 2017. As noted in 741.5 #9 Sept 17, against the Collective, ruthless rulers of she plans her final well as emotionally. Set in those halcy- bounty hunter in a mad world made of Young Animal is a subsidiary imprint of Gotham A.D. Meanwhile, as Space MENTAL LOAD, a on days before the rise of the Web, scrambled realities, Retriever Tabitha DC meant to provide a safe space for Case and Lotion the cat re-imagine assault on decent Heavy Vinyl (Boom!Box) stars a quintet Tubach is a big, solid gal who’s forced weird comics. -
Customer Order Form
ORDERS PREVIEWS world.com DUE th 18 FEB 2015 FEB COMIC THE SHOP’S PREVIEWSPREVIEWS CATALOG CUSTOMER ORDER FORM CUSTOMER 601 7 Feb15 Cover ROF and COF.indd 1 1/8/2015 3:45:07 PM Feb15 IFC Future Dudes Ad.indd 1 1/8/2015 9:57:57 AM FEATURED ITEMS COMIC BOOKS & GRAPHIC NOVELS The Shield #1 l ARCHIE COMIC PUBLICATIONS 1 Sonic/Mega Man: Worlds Collide: The Complete Epic TP l ARCHIE COMIC PUBLICATIONS Crossed: Badlands #75 l AVATAR PRESS INC Extinction Parade Volume 2: War TP l AVATAR PRESS INC Lady Mechanika: The Tablet of Destinies #1 l BENITEZ PRODUCTIONS UFOlogy #1 l BOOM! STUDIOS Lumberjanes Volume 1 TP l BOOM! STUDIOS 1 Masks 2 #1 l D. E./DYNAMITE ENTERTAINMENT Jungle Girl Season 3 #1 l D. E./DYNAMITE ENTERTAINMENT Uncanny Season 2 #1 l D. E./DYNAMITE ENTERTAINMENT Supermutant Magic Academy GN l DRAWN & QUARTERLY Rick & Morty #1 l ONI PRESS INC. Bloodshot Reborn #1 l VALIANT ENTERTAINMENT LLC GYO 2-in-1 Deluxe Edition HC l VIZ MEDIA LLC BOOKS Funnybooks: The Improbable Glories of the Best American Comic Books l COMICS Taschen’s The Bronze Age Of DC Comics 1970-1984 HC l COMICS Neil Gaiman: Chu’s Day at the Beach HC l NEIL GAIMAN Darth Vader & Friends HC l STAR WARS MAGAZINES Star Trek: The Official Starships Collection Special #5: Klingon Bird-of-Prey l EAGLEMOSS Ace Magazine #2 l COMICS Ultimate Spider-Man Magazine #3 l COMICS Doctor Who Special #40 l DOCTOR WHO 2 TRADING CARDS Topps 2015 Baseball Series 2 Trading Cards l TOPPS COMPANY APPAREL DC Heroes: Aquaman Navy T-Shirt l PREVIEWS EXCLUSIVE WEAR 2 DC Heroes: Harley Quinn “Cells” -
(“Spider-Man”) Cr
PRIVILEGED ATTORNEY-CLIENT COMMUNICATION EXECUTIVE SUMMARY SECOND AMENDED AND RESTATED LICENSE AGREEMENT (“SPIDER-MAN”) CREATIVE ISSUES This memo summarizes certain terms of the Second Amended and Restated License Agreement (“Spider-Man”) between SPE and Marvel, effective September 15, 2011 (the “Agreement”). 1. CHARACTERS AND OTHER CREATIVE ELEMENTS: a. Exclusive to SPE: . The “Spider-Man” character, “Peter Parker” and essentially all existing and future alternate versions, iterations, and alter egos of the “Spider- Man” character. All fictional characters, places structures, businesses, groups, or other entities or elements (collectively, “Creative Elements”) that are listed on the attached Schedule 6. All existing (as of 9/15/11) characters and other Creative Elements that are “Primarily Associated With” Spider-Man but were “Inadvertently Omitted” from Schedule 6. The Agreement contains detailed definitions of these terms, but they basically conform to common-sense meanings. If SPE and Marvel cannot agree as to whether a character or other creative element is Primarily Associated With Spider-Man and/or were Inadvertently Omitted, the matter will be determined by expedited arbitration. All newly created (after 9/15/11) characters and other Creative Elements that first appear in a work that is titled or branded with “Spider-Man” or in which “Spider-Man” is the main protagonist (but not including any team- up work featuring both Spider-Man and another major Marvel character that isn’t part of the Spider-Man Property). The origin story, secret identities, alter egos, powers, costumes, equipment, and other elements of, or associated with, Spider-Man and the other Creative Elements covered above. The story lines of individual Marvel comic books and other works in which Spider-Man or other characters granted to SPE appear, subject to Marvel confirming ownership. -
Resistant Vulnerability in the Marvel Cinematic Universe's Captain America
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 2-15-2019 1:00 PM Resistant Vulnerability in The Marvel Cinematic Universe's Captain America Kristen Allison The University of Western Ontario Supervisor Dr. Susan Knabe The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Kristen Allison 2019 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Feminist, Gender, and Sexuality Studies Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Allison, Kristen, "Resistant Vulnerability in The Marvel Cinematic Universe's Captain America" (2019). Electronic Thesis and Dissertation Repository. 6086. https://ir.lib.uwo.ca/etd/6086 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Established in 2008 with the release of Iron Man, the Marvel Cinematic Universe has become a ubiquitous transmedia sensation. Its uniquely interwoven narrative provides auspicious grounds for scholarly consideration. The franchise conscientiously presents larger-than-life superheroes as complex and incredibly emotional individuals who form profound interpersonal relationships with one another. This thesis explores Sarah Hagelin’s concept of resistant vulnerability, which she defines as a “shared human experience,” as it manifests in the substantial relationships that Steve Rogers (Captain America) cultivates throughout the Captain America narrative (11). This project focuses on Steve’s relationships with the following characters: Agent Peggy Carter, Natasha Romanoff (Black Widow), and Bucky Barnes (The Winter Soldier). -
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. -
By JOHN WELLS a M E R I C a N C H R O N I C L E S
AMERICAN CHRONICLES THE 1965-1969 by JOHN WELLS Table of Contents Introductory Note about the Chronological Structure of American Comic Book Chronicles ................. 4 Note on Comic Book Sales and Circulation Data.......................................... 5 Introduction & Acknowledgements ............ 6 Chapter One: 1965 Perception................................................................8 Chapter Two: 1966 Caped.Crusaders,.Masked.Invaders.............. 69 Chapter Three: 1967 After.The.Gold.Rush.........................................146 Chapter Four: 1968 A.Hazy.Shade.of.Winter.................................190 Chapter Five: 1969 Bad.Moon.Rising..............................................232 Works Cited ...................................................... 276 Index .................................................................. 285 Perception Comics, the March 18, 1965, edition of Newsweek declared, were “no laughing matter.” However trite the headline may have been even then, it wasn’t really wrong. In the span of five years, the balance of power in the comic book field had changed dramatically. Industry leader Dell had fallen out of favor thanks to a 1962 split with client Western Publications that resulted in the latter producing comics for themselves—much of it licensed properties—as the widely-respected Gold Key Comics. The stuffily-named National Periodical Publications—later better known as DC Comics—had seized the number one spot for itself al- though its flagship Superman title could only claim the honor of -
Hell Hath No Fury Like a Female Superhero Scorned (By Fans) 22 September 2015, by Dawn Fuller
Hell hath no fury like a female superhero scorned (by fans) 22 September 2015, by Dawn Fuller The devoted followers of comic book heroes are "Comic books are traditionally very exploitative of diversifying beyond the likes of Sheldon, Leonard, females, but there has been progress," Borah says. Raj and Howard as depicted on the CBS Network's "Still, there are people who feel that in order for "The Big Bang Theory." Rebecca Borah, a pop Black Widow to be a strong female character, she culture researcher and associate professor of can't have a love interest. English at the University of Cincinnati, says that's partly what caused the Internet to "Hulk out" after "Also, she's not shown in the movies as actually fans flocked to "Avengers: Age of Ultron." Borah is promiscuous. She's seductive, but she's a spy - among the UC faculty presenting at the regional that's her job," continues Borah, amid the fallout conference of the Midwest Popular Culture from the promotional press junket. Association/Midwest American Culture Association which takes place Oct. 1-4, at the Hilton Cincinnati Borah adds that the Black Widow also got a back Netherland Plaza Hotel downtown. seat when it comes to merchandise that was marketed for the movie. "People can't buy clothing, Borah's paper, "Put Down Your Pitchforks: Fertility, toys and action figures of her for their kids like they Freak-outs and Monstrosity in 'Age of Ultron's' can for most of the male characters. They'd like to Black Widow Controversy" examines how social see her on a T-shirt with the team, and this isn't just media erupted in outrage and even death threats reactions from women. -
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. -
(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.