Proud of the Work I Do at the Disneyland Resort.”
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Vancouver | November 10, 2020
Vancouver | November 10, 2020 ERIN ANDREWS SOPHIA AMORUSO YASSMIN ABDEL-MAGIED RITU BHASIN DR. KIMBERLEY AMIRAULT-RYAN We cannot change what we are not aware of, and once we are aware, we cannot help but change. SHERYL SANDBERG The Art of Bringing together today's brightest leaders Leadership to shape the future we all want to see. for Women Learned an actionable Women all over the world are no longer accepting 98% insight to become the status quo. They’re rising up, breaking through, a better leader pushing the boundaries and carving their own paths. From glass ceilings and inequality to ‘leaning in’ and work-life balance, today’s women leaders face numerous challenges. As they move up the Would recommend corporate ladder and take on increased responsibilities, having the right 94% The Art of Leadership tools and insights in order to pivot in an evolving corporate landscape has for Women to a colleague never been more essential. In a world of information overload, The Art of Leadership for Women focuses on the topics and trends most critical to leaders. This unique one- day conference features a riveting collection of world leaders, business Plan on attending icons, academics, and bestselling authors who inspire action. 92% again in the future Attendees will have the opportunity to learn improved ways of leveraging their value, elevating their skills, and developing the strategies required to take their leadership and their organizations to the next level. This conference is not just for women, but for anyone who wants to champion change on behalf of women. -
Summer 2017 • Volume 26 • Number 2
sUMMER 2017 • Volume 26 • Number 2 Welcome Home “Son, we’re moving to Oregon.” Hearing these words as a high school freshman in sunny Southern California felt – to a sensitive teenager – like cruel and unusual punishment. Save for an 8-bit Oregon Trail video game that always ended with my player dying of dysentery, I knew nothing of this “Oregon.” As proponents extolled the virtues of Oregon’s picturesque Cascade Mountains, I couldn’t help but mourn the mountains I was leaving behind: Space, Big Thunder and the Matterhorn (to say nothing of Splash, which would open just months after our move). I was determined to be miserable. But soon, like a 1990s Tom Hanks character trying to avoid falling in love with Meg Ryan, I succumbed to the allure of the Pacific Northwest. I learned to ride a lawnmower (not without incident), adopted a pygmy goat and found myself enjoying things called “hikes” (like scenic drives without the car). I rafted white water, ate pink salmon and (at legal age) acquired a taste for lemon wedges in locally produced organic beer. I became an obnoxiously proud Oregonian. So it stands to reason that, as adulthood led me back to Disney by way of Central Florida, I had a special fondness for Disney’s Wilderness Lodge. Inspired by the real grandeur of the Northwest but polished in a way that’s unmistakably Disney, it’s a place that feels perhaps less like the Oregon I knew and more like the Oregon I prefer to remember (while also being much closer to Space Mountain). -
Research on Marketing Strategy: Case Study of Disneyland
Advances in Economics, Business and Management Research, volume 33 Second International Conference on Economic and Business Management (FEBM 2017) Research on marketing strategy: case study of Disneyland Jia Yao Nanjing University Of Science &Technology, China *Corresponding author: Jia Yao, Master, [email protected] Abstract: In April 8, 2011, Shanghai Disneyland starts construction, Shanghai Disneyland will be the second Disneyland in China, at the same time, China will be the only country which has two Disneyland in the world besides the Unite States. This shows the economic strength of China is rapidly growing. Firstly, this article briefly analyzes the marketing environment and market position of Shanghai Disneyland, and then analyzes the global marketing strategy of Disney. Shanghai Disneyland takes these marketing strategies and appropriate innovation marketing according to the national conditions, which can lead to foresee the great success and unlimited development prospects of Shanghai Disneyland. Key words: disneyland; marketing environment; marketing position; marketing strategy 1. The brief instruction of Disneyland Disneyland opened in 1955, since then, the United States and overseas also have opened 5 Disney theme parks, they are located in 4 countries and regions. In September 12, 2005, Hong Kong Disneyland became the first Disney theme park in China, and the Disney Group has ensured the plan that building another theme park in the Chuansha town of Shanghai at that time. By the end of March 2010, there are six places having -
The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. -
CEO Activism and Firm Value
CEO Activism and Firm Value Anahit Mkrtchyan, Jason Sandvik, Vivi Z. Zhu* January 2021 Abstract We investigate the impact of CEO activism, the increasingly common practice of CEOs speaking out on social and political issues, on firm value. CEO activism may be beneficial for shareholders, as it can bolster firms’ relationships with customers and employees. Alternatively, CEO activism may be detrimental if it alienates stakeholders with opposing views. Consistent with the former, we find that CEO activism results in a positive market reaction and higher valuations. These results can be explained by increased employee productivity and innovation, suggesting that CEO activism may improve corporate reputation in labor markets. Additionally, activist CEOs benefit from more future directorships. Keywords: CEO Activism, firm value, productivity, innovation. JEL Classification Numbers: G34 *Anahit Mkrtchyan is from the D’Amore-McKim School of Business, Northeastern University and can be reached at [email protected]. Jason Sandvik and Vivi Z. Zhu are from the A. B. Freeman School of Business, Tulane University. Sandvik can be reached at [email protected] and Zhu can be reached at [email protected]. We thank John Bai, Jonathan Brogaard, Lucy Chernykh, James Conklin, Felipe Cortes, Laura Field, Davidson Heath, Udi Hoitash, Kate Holland, Peter Iliev, William Kerr, Michelle Lowry, Nadya Malenko, Stijn Van Nieuwerburgh, Yihui Pan, Miriam Schwartz-Ziv, Nathan Seegert, Kandarp Srinivasan, Kuncheng Zheng, and the participants of workshops at Florida State University and Tulane University for their helpful comments. Electronic copy available at: https://ssrn.com/abstract=3699082 1. Introduction Over the last decade, business leaders have increasingly engaged in CEO activism, i.e., the practice of speaking out on hot-button social and political issues. -
Fact Book 2004 Fact Book 2004
Fact Book 2004 Fact Book 2004 Table of Contents Welcome Letter 2 Management Executive Team 4 Board of Directors 4 Operations Media Networks Profile 6 Business 7 Key Dates 8 Fast Facts 10 Data 13 Studio Entertainment Profile 22 Business 22 Key Dates 23 Fast Facts 25 Data 27 Parks and Resorts Profile 34 Business 34 Key Dates 35 Fast Facts 40 Data 42 Consumer Products Profile 48 Business 48 Key Dates 49 Fast Facts 51 History 55 Financials Income Statements 73 Balance Sheets 76 Cash Flows 78 Quarterly Statements 2004 80 Quarterly Statements 2003 82 Financial Ratios 85 Stock Statistics 86 Reconciliations 87 1 Fact Book 2004 Welcome to The Walt Disney Company Fact Book 2004 The Walt Disney Company’s Fact Book 2004 profiles the company’s key business segments and performance, and highlights key events from throughout the company’s 81 year history. The Walt Disney Company strives to be one of the world’s leading producers and providers of quality entertainment and information. Our investment in new content and characters as well as building, nurturing and expanding our existing franchises, gives us an advantage to strengthen and reinforce the affinity that consumers have with our brands and characters across all of our business segments. By growing operating income, improving returns on capital and delivering strong cash flow, the company strives to provide long-term value to Disney’s shareholders. Disney enjoys competitive advantages that underpin all of our successes, both financial and creative. In the long run, we prosper from the inventiveness of our film, television, and other programming; our ability to connect with our audiences; the use of technological advances to enhance our products; the opportunity to delight people around the world with our toys, clothing and other consumer products; and the ability to surprise our Guests with magical experiences at the parks, cruise lines and resorts. -
Read More About Sheryl Sandberg by Jessica Wang
Jessica Wang on Sheryl Sandberg Sheryl Sandberg is currently the COO of Facebook, one of the first employees at Google, and was ranked in 2011 by Forbes as the 5th Most Powerful Woman in the World. Born in 1969, Sandberg grew up in North Miami Beach and attended Harvard where she majored in Economics. During her time at Harvard, she caught the attention of one of her professors, Larry Summers, who volunteered to serve as her thesis adviser. Sandberg graduated first in the economics department, and eventually went on to work for Summers at the World Bank. After two years there, she went to Harvard Business School, worked at McKinsey for a year, then went back to work as chief of staff for Summers, who was now Deputy Treasury Secretary under the Clinton Administration. In 2001, Sandberg joined Google after being convinced by Eric Schmidt to get on the “rocket ship”. While there, she took over AdWords and AdSense and made both products wildly profitable. She also oversaw AOL’s deal with Google in 2002 to make it AOL’s primary search engine. Eventually, Sandberg tried for the COO position at Google but couldn’t get it, and began talking to Mark Zuckerberg about Facebook. She joined Facebook as COO in 2008. One of the cornerstones of Sandberg’s life and advice to her mentees is Acting with Authenticity when it comes to choosing a profession – doing something you truly love. If this is not in place, then all domains of one’s life will suffer. Sandberg left her job at McKinsey, and then later at Google, when she felt that she was no longer passionate about her work or making an impact. -
By Gerald L. Aben Submitted in Partial Fulfillment of The
A WHOLE NEW WORLD: SUPPORTING SOCIALLY RESPONSIBLE BUSINESS THROUGH LEGISLATION by Gerald L. Aben Submitted in partial Fulfillment of the requirements of the King Scholar Program Michigan State University College of Law Under the Direction of Professor Bruce Bean Spring, 2009 INTRODUCTION A fundamental question that commentators have asked since the inception of the corporation is whether a corporation is merely a tool to make profits for its shareholders, or, as a construct of society, does it owe that society certain obligations.1 Currently, corporate law in the United States mandates that a corporation’s sole obligation is to its corporate shareholders.2 While this view of corporations is popular among investors and free market proponents, many activists and commentators have argued that corporations should actively consider the effects corporate decisions have on other constituencies, most notably employees, customers, and neighbors.3 However, advocates differ on what Corporate Social Responsibility (CSR) is, and how a corporation can ensure that it is a responsible member of society.4 At the same time, critics argue that the only social responsibility corporations have is to their shareholders and that CSR violates the principles of free market society.5 Many corporations, such as Nike, Inc. (Nike) and BP, plc (BP) have voluntarily implemented CSR programs for a variety of reasons.6 These programs have had mixed success and are often met with skepticism from the public as mere ploys for publicity.7 Additionally, the legality of CSR -
2021 Matrix Awards
SPONSORSHIP OPPORTUNITIES 2021 MATRIX AWARDS VIRTUAL EVENT | MONDAY, OCTOBER 18, 2021 | 12:00 P.M. ET Combining the success of last year’s virtually produced event with the return to normalcy we’re all feeling, we are thrilled to offer a hybrid awards ceremony this year. A professionally produced event broadcast for all to attend coupled with an invitation-only VIP reception for honorees, their guests, and exclusive sponsors. PRESENTED BY HOSTED BY New York Women in Communications (NYWICI) celebrates the 51st Anniversary of its Matrix Awards in 2021 Since 1971, the Matrix Awards have been given annually to a group of outstanding women leaders who exemplify excellence, the courage to break boundaries and steadfast commitment to champion the next generation of trailblazers, creatives and communicators. But this year will be different, bigger and better. The 2021 Matrix Awards will be delivered as a virtual event, on Monday, October 18 at 12pm ET. This digital presentation offers many new exciting possibilities, breaking down barriers of time and geography to reach a wider audience and new communities. We’ll be able to expand the audience and influence of the usual in-person gathering several-fold. NYWICI will welcome back past winners and presenters, celebrate our scholarship winners and spotlight our longstanding and newly engaged partners who make this all possible. Over the past 50 years, we’ve celebrated some iconic women like Gloria Steinem, Padma Lakshmi, Norah O’Donnell, Halle Berry, Kirsten Gillibrand, Andrea Mitchell, Joanna Coles, Bonnie Hammer, Sheryl Sandberg and Tina Fey, among many more. This event is NYWICI’s largest fundraiser and we invite you to join us as an event sponsor, demonstrating your support of NYWICI, women in the communications field and the incredible class of 2021 Matrix honorees. -
Pixar Studios/Walt Disney Company Date
Galluccio 1 To: Dr. Hollifield & Mr. Lewis From: Marena Galluccio Re: Pixar Studios/Walt Disney Company Date: March 21, 2016 When Pixar, Inc. was bought out by the Walt Disney Company in 2005 it was seen as both a good fit and a bad problem. While John Lasseter and Edwin Catmull, the creative leaders of Pixar, saw the acquisition of Pixar, Inc. by Disney as a way to continue their creative endeavors they worked on since the beginning of computer animation, others saw it as a way as being owned by a corporate entity and not having as many creative rights as they would have if only Disney distributed their works. The 2004 SWOT analysis however argued that as Pixar’s products came out only every 12 to 18 months and Disney’s household brand name was well- known and respected, it would be smart to continue the partnership between the two companies. Also, as Disney’s market strategies can be seen as a market synergy, Pixar’s films would become more than just films: they would become rides, merchandise, parade floats, and household stories. Pixar could use Disney’s market strategy as one to help fund their future projects and continue research to make the best films that they wanted to make. And so, Pixar was bought by the Walt Disney Company. A Brief History of the Walt Disney Company By the beginning of the 20th century, the concept of animation had been slowly growing and developing. In the mid-19th century, inventions and discoveries began to create the idea of animation and film (Mosley). -
October 13, 2020
October 13, 2020 Robert A. Iger Executive Chairman and Chairman of the Board The Walt Disney Company 500 South Buena Vista Street Burbank, CA 91521 Bob Chapek Chief Executive Officer The Walt Disney Company 500 South Buena Vista Street Burbank, CA 91521 Dear Mr. Iger and Mr. Chapek: I write to express concern about The Walt Disney Company’s (Disney) recent decision to lay off 28,000 workers during an economic recession1 while reinstating pay rates for highly compensated senior executives.2 In the years leading up to this crisis, your company prioritized the enrichment of executives and stockholders through hefty compensation packages3, and billions of dollars’ worth of dividend payments4 and stock buybacks,5 all of which weakened Disney’s financial cushion and ability to retain and pay its front-line workers amid the pandemic. While I appreciate that your company has continued to provide health-care benefits to furloughed workers for the past six months,6 thousands of laid off employees will now have to worry about how to keep food on the table7 as executives begin receiving hefty paychecks again.8 I would like to know whether Disney’s financial decisions have impacted the company’s 1 Disney Parks, Experiences and Products, “Statement from Josh D’Amaro, Chairman, Disney Parks, Experiences and Products (DPEP),” September 29, 2020, https://dpep.disney.com/update/. 2 Deadline, “Disney & Fox Corporation End Temporary Executive Pay Cuts Related To COVID-19 Pandemic,” Nellie Andreeva and Dominic Patten, August 20, 2020, https://deadline.com/2020/08/disney-fox-coronavirus-pay- reductions-restored-1203018873/. -
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.