TABLE of CONTENTS 61 Interactive Product Design 115 Facilities
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Lessons from Disney Disney is a household name, known around the world for its theme parks, movies and loveable characters. Since it was founded in 1923, the company has been focused on creating magical experiences for people, whether they’re visiting a theme park, watching a Disney film, or staying in a Disney hotel. For almost 100 years, Disney has overcome failure and experienced tremendous growth. It has had to grow and evolve to deal with market challenges, advances in technology and changing customer demands. What has remained constant through this time, however, is Disney’s commitment to pioneering innovation, leveraging opportunities, and evolving their strategy to meet changing market conditions. Establishing the Disney brand Disney enjoyed tremendous success during its first 30 years. In 1928, Disney created the first film with synchronised sound, and in 1937 it created the first full length feature animated film. Both projects were world firsts, establishing Disney as an innovation leader (before innovation was a thing!). After a decline in success during the Second World War, Walt Disney recognised the need for new ways to share content and grow revenue and breathe new life back into the company. In 1950, the company made the leap to television with the release of One Hour in Wonderland, a promotion for the upcoming film, Alice in Wonderland. Disney and television In July 1954, Walt Disney started building Disneyland, and a year and a day after construction started, the park was opened. To try and recoup some of the US$17 million build cost, Disney sought to leverage his earlier television success and bring his beloved theme park to people’s homes. -
STLV17 Program Booklet.Pages
STAR TREK LAS VEGAS 2017 - SCHEDULE of EVENTS MONDAY, JULY 31ST START END EVENT LOCATION VENDORS ROOM – HOURS OF OPERATION: 2:00 PM 7:00 PM VENDORS SET-UP/VENDORS ONLY Amazon TUESDAY, AUGUST 1ST NOTE: Pre-registration is not a necessity, just a convenience! Get your credentials, wristband and schedule so you don't have to wait again during convention days. VENDORS ROOM WILL BE OPEN TOO so you can get first crack at autograph and photo op tickets as well as merchandise! PRE-REGISTRATION IS ONLY FOR FULL CONVENTION ATTENDEES WITH EITHER GOLD, CAPTAIN’S CHAIR, COPPER OR GA WEEKEND. If you miss this pre-registration time, you can come any time that Registration is open! START END EVENT LOCATION VENDORS ROOM – HOURS OF OPERATION: 9:00 AM 3:00 PM VENDORS SET-UP Amazon 6:00 PM 6:45 PM Vendors room open for GOLD ONLY Amazon 6:45 PM 7:30 PM Vendors room open for GOLD and CAPTAIN’S CHAIR ONLY Amazon 7:30 PM 8:15 PM Vendors room open for GOLD, CAPTAIN’S CHAIR and COPPER ONLY Amazon 8:15 PM 11:30 PM Vendors room open for GOLD, CAPTAIN’S CHAIR, COPPER AND GA WEEKEND ONLY Amazon REGISTRATION – HOURS OF OPERATION: 1:30 PM 3:00 PM GOLD PATRONS PRE-REGISTRATION Rotunda 3:00 PM 4:30 PM CAPTAIN’S CHAIR PATRONS PRE-REGISTRATION plus GOLD Rotunda 4:30 PM 7:00 PM COPPER PATRONS PRE-REGISTRATION plus GOLD and CAPTAIN’S CHAIR Rotunda GENERAL ADMISSION FULL WEEKEND PRE-REGISTRATION plus GOLD, CAPTAIN’S 7:00 PM 11:00 PM CHAIR & COPPER Rotunda VENDORS ROOM OPEN (Please see below times for your group’s vendor admission 6:00 PM 11:30 PM hours) Amazon !5 WEDNESDAY, AUGUST 2ND WHERE’S WHAT? CBS All-Access Stage: Brasilia 7 Main Theatre: Pavilion Photo op pick-up: Miranda 1-4 Photo ops: Miranda 5-8 Quark’s: Brasilia 1-3 Secondary Theatre: Brasilia 4-6 Ten Forward Lounge: Tropical G-H The Original Bridge Set: Palma TNG Display: Tropical E-F Vendors: Amazon *END TIMES ARE APPROXIMATE. -
Media Ownership Chart
In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called "alarmist" for pointing this out in his book, The Media Monopoly . In his 4th edition, published in 1992, he wrote "in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media" -- controlling almost all of America's newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. More than 1 in 4 Internet users in the U.S. now log in with AOL Time-Warner, the world's largest media corporation. In 2004, Bagdikian's revised and expanded book, The New Media Monopoly , shows that only 5 huge corporations -- Time Warner, Disney, Murdoch's News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) -- now control most of the media industry in the U.S. General Electric's NBC is a close sixth. Who Controls the Media? Parent General Electric Time Warner The Walt Viacom News Company Disney Co. Corporation $100.5 billion $26.8 billion $18.9 billion 1998 revenues 1998 revenues $23 billion 1998 revenues $13 billion 1998 revenues 1998 revenues Background GE/NBC's ranks No. -
Full Issue University of New Mexico Press
New Mexico Quarterly Volume 31 | Issue 2 Article 1 1961 Full Issue University of New Mexico Press Follow this and additional works at: https://digitalrepository.unm.edu/nmq Recommended Citation University of New Mexico Press. "Full Issue." New Mexico Quarterly 31, 2 (1961). https://digitalrepository.unm.edu/nmq/vol31/iss2/ 1 This Full Issue is brought to you for free and open access by the University of New Mexico Press at UNM Digital Repository. It has been accepted for inclusion in New Mexico Quarterly by an authorized editor of UNM Digital Repository. For more information, please contact [email protected]. : Full Issue RUBEN DARIO: POET OF THE WESTERN WORLD GEORGE N. MAcDoNELL GOYA, A VISUAL PROPHET VIVIAN NORA GRELICK OBSERVATIONS ON THE WORD "GAUCHO" STEPHEN PAULLADA OKLAHOMA TERRITORY: TWELVE SONNETS ELIJAH L. JACOBS THREE SONNETS OF MICHELANGELO TRANSLATED BY PAUL E. MEMMO, JR. SHORT STORIES JERYL LAFON, NORMAN HALLIDAY, LEE JACOBUS' BOOK REVIEWS VERSE \ Published by UNM Digital Repository, 1961 75 CENTS 1 New Mexico Quarterly, Vol. 31 [1961], Iss. 2, Art. 1 WOL. XXXI· NO.2 r. ., SUMMER 1961 N~WMEXICO PUBLISHED BY THE UNIVERSITY QUA~IER.LY OF NEW MEXICO ARTICLES VERSE RUBEN DARio: POET OF THE WESTERN OKLAHOMA TERRITORY. Tw~iv~ WORLD. George-N. MacDonell. 105 Sonn~ts. Elijah L. Jacobs•. 99 GoYA, A VISUAL PROPHET. INDIES. Herbert Morris. 129 Vivian Nora Grelick. 133 SUNKEN GALLEON. SOME OBSERVATIONS ON THE WORD Ramona Maher Weeks. "GAUCHO." Stephen Paullada. 151 PACIFIC SUNSET. Robin Johnson. THREE SONNETS OF MICHELANGELO. STORIES Trans. by Paul E. Memmo, Jr. NIGHT OF THE HARVEST. -
41St Annual Conference 9Th Annual Research Symposium
41ST ANNUAL 9TH ANNUAL CONFERENCE RESEARCH Gaining Perspective: SYMPOSIUM Seeing EE Through October 9–10 Different Lenses October 9–13 2012 CONFERENCE PROGRAM North American Association for Environmental Education | naaee.org Welcome to Oakland Welcome to NAAEE and our 41st Annual International Conference We’re so excited that you are joining us for the 41st Annual NAAEE Conference in the lively city of Oakland, California—ranked as the 5th most desirable destination to visit this year in the New York Times! We hope this conference will be a highlight of your professional year—with opportunities to mingle with talented leaders from around the globe, share your ideas, and take away new thinking that you can replicate in your own work. This program guide is designed to help you navigate the conference—whether you’ve been coming for years or you’re a first timer. We encourage you to take advantage of as much as you can—and still find time to socialize and soak up the flavor of the Bay Area. And you won’t want to miss any of our keynote addresses. Not only do we have some terrific speakers, but we will also use the plenaries to make announce- ments, and give out special prizes throughout the week. Here are some highlights of the week: • A provocative Research Symposium, highlighting current research in the field • A variety of workshops and field trips on Wednesday and Sunday • An incredible line-up of talented keynote speakers for the week (see page 26 for a listing) • The welcome reception on Wednesday night at 6:00 PM and conference opening, with Annie Leonard, our speaker for the evening • A special screening of Disney’s “Chimpanzee” movie, where you can hear from one of Disney’s chief scientists about what the company is doing to support environmental education and conservation. -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
CA Chart of Accts Film
CALIFORNIA CHART OF ACCOUNTS Qualifying and Non-qualifying Accounts Films - Movies of the Week - Mini-Series Effective July 1, 2014 Revised March 2014 The chart below is intended as a helpful guide, and not an exact list of what are considered Qualified Expenditures. Qualified Expenditures are for pre-production, production, and post-production - not for development, marketing, publicity, or distribution . The following listing assumes where "yes" is designated that the service is performed or property is used in the state of California. Items used or personnel services employed both within and outside of California can be qualified only for the prorata portion of costs incurred directly in California. Any expenditures incurred prior to issuance of the tax credit allocation letter are not qualified expenditures. Account # Description Qualified Comments 101-00 STORY & RIGHTS 101-01 Story Rights - Purchase NO 101-02 Acquisition Expenses NO 101-06 Title Report YES If work performed in California. 101-08 Copyright Fee NO 101-99 Fringe Benefits NO 102-00 WRITING 102-01 Writers NO 102-03 Editor and Consultants NO 102-05 Research YES 102-06 Script Timing YES 102-07 Secretaries YES 102-08 Script Duplication YES 102-18 Script Clearance Research YES 102-19 Clearance Fees YES If paid to CA company 102-20 Clearance License Fees NO 102-40 Materials & Supplies YES 102-45 Box Rentals YES On Qualified Labor Only 102-47 Car Allowances, Mileage YES On Qualified Labor Only 102-50 Rentals YES 102-80 Writer Entertainment & Meals YES 102-85 Script Publication -
Page 1 of 2) COMPUTATION of INCOME PER COMMON and COMMON EQUIVALENT SHARE ------(In Thousands, Except Per Share Amounts)
================================================================================ SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K (Mark One) [X] Annual report pursuant to section 13 or 15(d) of the Securities Exchange Act of 1934 [Fee Required] for the fiscal year ended December 31, 1994. [_] Transition report pursuant to section 13 or 15(d) of the Securities Exchange Act of 1934 [No Fee Required] for the transition period from _________ to _________. Commission File Number 001-05647 - --------------------------------- MATTEL, INC. ------------ (Exact name of registrant as specified in its charter) Delaware 95-1567322 - ---------------------------------- ------------------- (State or other jurisdiction (I.R.S. Employer of incorporation or organization) Identification No.) 333 Continental Boulevard, El Segundo, California 90245-5012 - ------------------------------------------------- ---------- (Address of principal executive offices) (Zip Code) (Registrant's telephone number) (310) 252-2000 -------------- Securities registered pursuant to Section 12(b) of the Act: Name of each exchange Title of each class on which registered - ------------------- --------------------- Common stock, $1 par value (and New York Stock Exchange the associated Preference Pacific Stock Exchange Share Purchase Rights) 6-7/8% Senior Notes Due 1997 New York Stock Exchange 6-3/4% Senior Notes Due 2000 (None) Securities registered pursuant to Section 12(g) of the Act: (None) Indicate by check mark whether the registrant (1) has filed all reports -
New United Motor Manufacturing, Inc
THE ‘LEARNING BUREAUCRACY’: NEW UNITED MOTOR MANUFACTURING, INC. By Paul S. Adler Downloaded from http://www-bcf.usc.edu/~padler/ THE ‘LEARNING BUREAUCRACY’: NEW UNITED MOTOR MANUFACTURING, INC. by Paul S. Adler School of Business Administration University of Southern California Los Angeles 90089-1421 Tel: (213) 740-0748 DRAFT 3.1 April 1992 Forthcoming in Barry M. Staw and Larry L. Cummings (eds.) Research in Organizational Behavior, Greenwich, CT: JAI Press. Acknowledgements: The research on which this study is based would not have been possible without the generous cooperation of managers, workers and union officials at NUMMI. Gary Robinson helped transcribe taped interviews with them and discern the key points. This article has benefitted from the comments of several NUMMI people and from the responses of many friends and colleagues: Chris Argyris, Joel Beinin, Christian Berggren, Bob Brenner, Clair Brown, El Buffa, Bob Cole, John Ettlie, Steve Frenkel, Don Gerwin, Meg Graham, Jan Hopland, Sandy Jacoby, Ed Lawler, Ann Majchrzak, Ruth Milkman, Michael Reich, Dick Scott, Bill Simon, David Stern, Steve Wheelwright, Bob Sutton, Lowell Turner, and Stephen Wood. My thinking has also been stimulated by the reaction of colleagues to presentations at the USC, Harvard Business School, NYU, UCLA, and UC Berkeley. My thanks to all these people, many of whom still disagree. 2 TABLE OF CONTENTS INTRODUCTION .................................................................................................... 3 RESEARCH METHODS......................................................................................... -
College Choices for the Visual and Performing Arts 2011-2012
A Complete Guide to College Choices for the Performing and Visual Arts Ed Schoenberg Bellarmine College Preparatory (San Jose, CA) Laura Young UCLA (Los Angeles, CA) Preconference Session Wednesday, June 1 MYTHS AND REALITIES “what can you do with an arts major?” Art School Myths • Lack rigor and/or structure • Do not prepare for career opportunities • No academic challenge • Should be pursued as a hobby, not a profession • Graduates are unemployable outside the arts • Must be famous to be successful • Creates starving artists Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School in the News Visual/Performing Arts majors are the… “Worst-Paid College Majors” – Time “Least Valuable College Majors” – Forbes “Worst College Majors for your Career” – Kiplinger “College Degrees with the Worst Return on Investment” – Salary.com Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Projected More than 25 28 million in 2013 million in 2020 More than 25 million people are working in arts-related industry. By 2020, this is projected to be more that 28 million – a 15% increase. (U.S. Department of Labor) Copyright: This presentation may not be reproduced without express permission from Ed Schoenberg and Laura Young (June 2016) Art School Reality Due to the importance of creativity in the innovation economy, more people are working in arts than ever before. Copyright: This presentation -
Michael Wiese Productions 2017 2017 Contents
MICHAEL WIESE PRODUCTIONS 2017 2017 CONTENTS NEW TITLES SCREENWRITING/ 25 The Way of Story 6 Producero t Producer — WRITING 25 Elephant Bucks 2nd Edition 19 The Coffeebreak 26 The Virgin’s Promise 7 Romantic Comedies Screenwriter — 2nd Edition 26 Mind Your Business 8 Making it Big in 26 Dan O’Bannon’s Guide to Shorts — 3rd Edition 19 The Hollywood Standard — 2nd Edition Screenplay Structure 9 The Woman in the 27 The Writer’s Advantage Story — 2nd Edition 19 Your Screenplay Sucks! 27 Rewrite — 2nd Edition 10 Writing Subtext — 2nd 19 Cinematic Storytelling Edition 20 Noteso t Screenwriters 27 Forensic Speak 11 Making the Magic 20 Writing the TV Drama 27 Creating Graphic Novels Happen Seriesd — 3r Edition 28 Shakespeare for 12 Crash! Boom! Bang! 20 Riding the Alligator Screenwriters 13 Write! Shoot! Edit! 20 Stealinge Fir from the 28 The Hidden Tools of Comedy 14 Shooting Better Movies Gods — 2nd Edition 28 Writing the Science 15 Make Some Noise 21 Why Does the Screenwriter Cross Fiction Film 16 Suspense With a Camera the Road? 29 Master Shots 17 Filmmaking for 21 Myth and the Movies 29 Master Shots Vol 1 — Change — 2nd Edition 21 And the Best Screenplay 2nd Edition ® 18 Save the Cat! Goes to... 29 Master Shots Vol 2 ® 18 Save the Cat! 21 Horror Screenwriting 29 Master Shots Vol 3 Goeso t the Movies 22 Story Line 18 The Writer’s Journey — 3rd Edition 22 My Story Can Beat Up DIRECTING/ Your Story VISUALIZATION 18 Memo from the Story Dept. 22 Psychology for 30 Directing Actors Screenwriters 30 The Film Director’s 22 Beat by Beat Intuition 23 -
Hilario Miravalles Vs. Artists, Inc
DIVISION OF LABOR STANDARDS ENFORCEMENT Department of Industrial Relations State of California BY: DAVID L. GURLEY (Bar No. 194298) 455 Golden Gate Ave., 9th Floor San Francisco, CA 94102 Telephone: (415) 703-4863 Attorney for the Labor Commissioner BEFORE THE LABOR COMMISSIONER OF THE STATE OF CALIFORNIA HILARIO MIRAVALLES, Case No. TAC 33-99 Petitioner, vs. DETERMINATION OF CONTROVERSY ARTISTS, INC., Respondent . INTRODUCTION The above-captioned petition was filed on September 3, 1999 by HILARIO MIRAVALLES (hereinafter "Petitioner" or “MIRAVALLES”), alleging that ARTISTS, INC., operated by Vice President, Thad Weinlein, (hereinafter “Respondent” or “Weinlein”), acted as an unlicensed talent agency in violation of Labor Code §1700.51. Petitioner seeks a determination from the Labor Commissioner voiding a 1997 written agreement ab initio, and seeks disgorgement of all consideration collected by respondent stemming from this agreement. 1 All statutory citations will refer to the California Labor Code unless otherwise specified. Respondent was served with a copy of the petition on September 28, 1999. Respondent filed his answer with this agency on October 29, 1999, defending on the position that the respondent did not act an agent, but rather acted as an employer and is therefore not subject to the jurisdiction of the Labor Commissioner. A hearing was scheduled and commenced before the undersigned attorney, specially designated by the Labor Commissioner to hear this matter on March 31, 2000, in Los Angeles, California. Petitioner was present and represented by Stuart Libicki of Schwartz, Steinsapir, Dohrmann & Sommers LLP; Respondent did not appear personally but was represented through his attorney, Alan M. Brunswick of Manatt Phelps Phillips.