DOCSLIB.ORG

BAB 2 DATA DAN ANALISA 2.1 Data Produk 2.1.1 Buku Cerita

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BAB 2 DATA DAN ANALISA 2.1 Data Produk 2.1.1 Buku Cerita 1 BAB 2 DATA DAN ANALISA 2.1 Data Produk 2.1.1 Buku Cerita Nusantara Indonesia Cerita nusantara dikenal dengan istilah legenda. Menurut Buku Sari Kata Bahasa Indonesia, Legenda adalah cerita rakyat jaman dahulu berkaitan dengan peristiwa dan asal-usul terjadinya suatu tempat. (Sumber: Jatmikoningtyas, Yuniati . (2009). Sarikata Bahasa Indonesia . Surabaya: Sinar Terang.) Cerita nusantara juga termasuk cerita tradisional. Cerita tradisional merupakan cerita yang disampaikan secara turun temurun. Suatu cerita tradisional dapat disebarkan secara luas ke berbagai tempat. Kemudian, cerita itu disesuaikan dengan kondisi daerah setempat. Cerita nusantara yang di ambil di sini adalah cerita tentang Jaka Tarub dan Tujuh Bidadari dimana cerita ini memiliki pesan moral dari mengintip, mencuri dan berbohong: “Janji adalah utang, kita tidak boleh mengingkari janji” dan “Jangan mengambil hak milik orang lain”. Para seniman luar negeri rajin menggarap cerita rakyat negeri mereka di berbagai media, komik termasuk salah satu media yang paling sering memunculkan tokoh-tokoh dan kisah cerita rakyat mereka. Beberapa contoh cerita rakyat luar negeri yang banyak muncul di komik adalah Rubah Berekor Sembilan ( Kumiho ) dari legenda Korea, muncul di komik Korea berjudul “Reborn Kumiho”. Cerita rakyat populer di Jepang, yang sering disajikan dalam bentuk komik adalah Kitsune dalam komik “Naruto”, Kuchisake Onna atau hantu wanita bermulut sobek dalam komik “Kuchisake Onna Densetsu” dan Momotaro dalam komik “Momotaro” oleh Seitaro Kitayama. Di negeri Barat pun, cerita rakyat seperti Hansel and Gretel dan Jack the Giant Killer banyak muncul di berbagai media, termasuk komik. Gambar 8 Reborn Kumiho Gambar 9 Naruto Sumber: hotaruizzy.blogspot.com Sumber: 4hdwallpaper.com 2 Gambar 10 Momotaro Gambar 11 Kuchisake Onna Densetsu Sumber: animepe.galeon.com Sumber: shs.scans.wordpress.com Gambar 12 Gambar 13 Jack the Giant Slayer Jack the Giant Killer Sumber: en.wikipedia.org/wiki/ Sumber: kidzcoolit.com Jack_the_Giant_Slayer Judul Adaptasi Tahun Keterangan Hansel und Gretel 1893 Dalam bentuk O pera , oleh director Engelbert Humperdinck Looney Tunes : Bewitched 1954 Suara Hansel oleh Mel Blanc Bunny dan Gretel oleh Bea Benederet Hansel and Gretel ft. Hugh 1987 Pertama kalinya muncul di film Pollard and Nicola Stapleton Hansel and Gretel Sesame Street with Hansel - Season 36 dan 37 (1812) oleh Brothers Grimm Hoodwinked Too! Hood 2011 Film Animasi vs.Evil, Hansel and Gretel Hansel & Gretel, a 2013 2013 Oleh director Anthony Ferrante direct to DVD mockbuster (The Asylum) Hansel & Gretel Warrior s 2013 Didistribusikan oleh Lionsgate, of Witchcraft director David DeCoteau Hansel & Gretel Get 2013 Horror -Comedy oleh produser Baked Mark Morgan 3 Hansel & Gretel: Witch 2013 Horror -Action -Fantasy oleh Hunter director Tommy Wirkola Tabel 2 Adaptasi Cerita Hansel and Gretel Sumber: http://wikipedia.org/ Gambar 14 Gambar 15 Gambar 16 Hansel and Gretel (1) Hansel and Gretel (2) Hansel and Gretel (3) Sumber: justshutterupandblog.com Sumber: storytimeforme.com Sumber: Hollywood.com Gambar 17 Gambar 18 Hansel and Gretel (4) Hansel and Gretel: WITCH HUNTER Sumber: traileraddict.com/poster Sumber: imdb.com/title/tt1428538 Istimewanya, beberapa cerita rakyat dari luar negeri yang disebutkan diatas saat ini mengalami pemodifikasian kearah yang lebih modern , misalnya film bioskop yang baru-baru ini, Hansel and Gretel : Witch Hunters dan Jack the Giant Slayer . Dengan berbagai usaha dan cara, para seniman di luar negeri seolah berusaha mengawetkan cerita rakyat mereka. 4 2.1.2 Cerita Nusantara Indonesia : Jaka Tarub dan Tujuh Bidadari Jaka Tarub adalah seorang pemuda gagah yang memiliki kesaktian. Ia sering keluar masuk hutan untuk berburu maupun menimba ilmu, sampai akhirnya ia menemukan sebuah danau yang sangat indah di tengah hutan, beserta 7 bidadari sedang mandi dan bercanda ria. Ia mencuri salah satu selendang bidadari yang sedang mandi. Kemudian 6 bidadari pulang ke langit selesai mandi, namun seorang bidadari tidak bisa kembali ke langit dan kemudian menangis tersedu-sedu. “Bila ada yang menemukan pakaian dan kainku, bila laki-laki akan kujadikan suami dan bila perempuan akan kujadikan saudara,” sumpah sang bidadari. Jaka Tarub kemudian menampakkan dirinya dan menghibur sang bidadari. Ia memberikan selembar kain untuk dipakai bidadari itu, namun tetap menyembunyikan pakaiannya supaya ia tak bisa terbang ke khayangan meninggalkannya. Sang bidadari kemudian menikah dengan Jaka Tarub. Nawang Wulan nama bidadari itu, sejak menikah dengannya Jaka Tarub hidup berkecukupan. Panennya melimpah dan lumbung selalu dipenuhi oleh padi tanpa pernah berkekurangan. Mereka pun dikaruniai seorang anak dan hidup berbahagia. Setiap hari ia dan keluarganya selalu makan nasi, namun lumbung selalu tidak pernah berkurang seolah tak ada padi yang dipakai untuk mereka makan. Suatu hari Nawang Wulan hendak pergi ke sungai. Ia berpesan pada suaminya supaya menjaga api tungku di dapur, namun melarangnya untuk membuka tutup periuk. Jaka Tarub melakukan pesan istrinya, namun rasa penasaran yang sudah dipendamnya sejak lama akhirnya membuatnya melanggar larangan yang sudah dipesankan. Ketika Nawang Wulan pulang dan membuka tutup periuk, hanya ada sebutir beras di dalamnya. Marahlah Nawang Wulan karena suaminya telah melanggar larangannya, dan sejak saat itu ia harus memasak nasi seperti manusia biasa. Ia harus bersusah payah menumbuk padi banyak- banyak menjadi beras sebelum kemudian menanaknya menjadi nasi. Akibatnya karena dipakai terus menerus, lama kelamaan persediaan padi di lumbung Jaka Tarub semakin menyusut. Ketika suatu hari Nawang Wulan kembali mengambil padi untuk ditumbuk, dilihatnya seonggok kain yang tersembul di balik tumpukan padi. Ketika ditarik dan diperhatikan, teringatlah Nawang Wulan kalau itu adalah pakaian bidadarinya. “Rupanya selama ini Jaka Tarub yang menyembunyikan pakaianku,” pikirnya. Nawang Wulan kemudian mengenakan pakaian bidadarinya dan mengambil kainnya. Ia lalu menemui Jaka Tarub untuk berpamitan dan memintanya merawat anak mereka baik-baik. Jaka Tarub memohon dengan sangat agar istrinya tidak meninggalkannya, namun sudah takdir Nawang Wulan untuk kembali ke khayangan dan berpisah dengannya. “Kenanglah aku ketika melihat bulan. Aku akan menghiburmu dari atas sana,” kata Nawang Wulan. Ia pun kemudian terbang ke langit menuju khayangan, meninggalkan Jaka Tarub yang menangis dalam penyesalan. 5 2.2 Data Kompetitor 2.2.1 Kompetitor Langsung : Komik Impor Peran komik impor tentunya berpengaruh dalam menggeser cerita rakyat Indonesia. Dengan sistem grafis yang lebih mudah dicerna, lebih banyak visual untuk mempermudah alur bagi para pembaca, tentunya dapat membuat anak-anak maupun orang dewasa tertarik dengan manga. Banyak alasan mereka menyukai komik impor baik dari gaya ilustrasi hingga konten atau cerita. Beberapa komik-komik impor yang mendominasi di pasaran komik Indonesia adalah komik Jepang, Korea dan Cina ( contoh : karya Tony Wong ). Berbeda dengan komik Amerika, yang memilik gaya ilustrasi dengan teknik yang jauh lebih rumit daripada komik – komik Asia. Jawaban kedua adalah konten. Isi cerita komik Amerika begitu berat, malah terkadang memiliki unsur politik dan masalah sosial yang sulit dicerna. Gambar 19 Gambar 20 Long Hu Men Tony Wong Sumber: micowendy.com Sumber: comicbitsonline.com 2.2.2 Kompetitor Tidak Langsung : Disney Buku-buku yang mengangkat dongeng Disney sudah lama merebak di Indonesia, sejak tahun 90’an sampai sekarang terus berkembang mengikuti perkembangan jaman dari segi visual serta konten sehingga tidak mengherankan sampai sekarang seri dongeng-dongeng fiksi Disney popularitasnya masih berada jauh dibanding dongeng atau cerita rakyat Indonesia. Hingga saat anak-anak ditanya tentang dongeng, yang ada di pikiran mereka pastinya lebih banyak dongeng-dongeng Disney daripada cerita nusantara. Contoh : Rapunzel, Snow White, Cinderella , dsb. 6 Gambar 21 Tokoh-tokoh di Disney . Sumber: thewaltdisneycompany.com/about-disney Waktu Perkembangan Awal dari dikenalnya The Disney Brothers Studio. 16 Oktober 1923 Walt menyetujui kontrak dengan M.J. Winkler untuk memproduksi serial dari Alice Comedies. Munculnya Steambo at Willie di Colony Theatre , New York. 18 November 1928 Hari pertama munculnya kartun Mickey Mouse dan Minnie Mouse. 13 Januari 1930 Debut komik strip Mickey Mouse. 09 Juni 1934 The Wise Little Hen , penampilan pertama Donuld Duck. 23 Februari 1935 The Band Concert , kartun Mickey Mouse berwarna yang pertama. 21 Desember 1937 Film animasi panjang pertama, Snow White and the Seven Dwarfs. 1 Oktober 1949 Terbentuknya Walt Disney Music Company 5 Februari 1953 Peterpan , dari karakter yang diciptakan Scottish playwright J.M. Barrie. 3 Oktober 1955 Debut Mickey Mouse Club di televisi. 17 Juli 1955 Disneyland , taman Disney pertama di Anaheim, California. 25 Desember 1969 Disney on Parade , menari dengan kostum Disney , debut di Chicago. 15 April 1983 Tokyo Disneyland , taman bermain Internasional pertama di Jepang. 18 April 1983 The Disney Channel mulai menyiarkan program selama 18 jam. 28 Maret 1987 Disney Store pertama dibuka di Glendale, California. 5 Mei 1987 Uang dolar Disney pertama dijual di Disneyland. 18 April 1994 Beauty and the Beast, Disney Broadway Show pertama di New York . 15 Juni 1994 The Lion King memasuki Los Angeles dan New York. 24 Oktober 2001 Fox Family Channel menjadi ABC Family . 16 Maret 2002 Taman bermain Walt Disney Studios dibuka di Prancis. 15 Mei 2004 The Muppets dan Bear in the Big Blue House. 12 September 2005
Load more

Recommended publications
  • The Glenville Mercury
    The Glenville Mercury Glenville State College, Glenville, W. Va. Number 8 Friday, October 15, 1976 Randall's '6 RIDs Riv Va' Showing On GSC Siage Queen Machelle To Reign Greet Homecoming with a smile! The script is handsomely adapted Attend Glenville, State College's warm, by eight GSC students and numerous sensitive comedy hit 6 Rms Riv Vu. talented technical persons. Characters Over Homecoming Activities The play, written by Bob Randall, range from an expectant mother and by Lois Chadwell p-remiered yesterday and will con­ a zany old maintenance man who has tinue tonight and tomorrow at 8:00· a marvelous sense of humor, to a At 11:00 Saturday morning Ms. a sophomore from Weston will be her Shelley Adolfson will officially begin escort. p.m. in the GSC auditorium. (Run­ mother of two who has a short-lived ning time - 1 m. 45 min.). but hilarious affair with a father of her reign as Glenville State College's Cindy Gunnoe. 10 attendance as one. In between unexpected events thirty-sixth Homecoming Queen. Shelley Junior Princess, has her home in Charles- during a picnic on the floor of an will be attended by Gennette Hall. ton. She is the daughter of Mr. and empty 6-room rent controlled apart­ Princess; Cindy Gunoe, Junior Princess; Mrs. John Gunnoe. Cindy currently Traditions ment, Anne and Paul come to grips Jill Crutchfield, Sophomore Princess; and serves as Standards Chairman for Delta with their own sense of right and Tammy Gunnoe, Freshman Princess. Zeta sorority and was elected to Student wrong, love and trust, when they de­ Shelley, a 5'2" blue eyed blonde, Congress.
    [Show full text]
  • Walt Disney Productions Publicity Ephemera, 1938-198X
    http://oac.cdlib.org/findaid/ark:/13030/kt738nd080 No online items Finding Aid for the Walt Disney Productions Publicity Ephemera, 1938-198x Processed by N. Vega; machine-readable finding aid created by N. Vega and J. Graham UCLA Library, Performing Arts Special Collections University of California, Los Angeles, Library Performing Arts Special Collections, Room A1713 Charles E. Young Research Library, Box 951575 Los Angeles, CA 90095-1575 Phone: (310) 825-4988 Fax: (310) 206-1864 Email: [email protected] http://www2.library.ucla.edu/specialcollections/performingarts/index.cfm © 2005 The Regents of the University of California. All rights reserved. Finding Aid for the Walt Disney 280 1 Productions Publicity Ephemera, 1938-198x Descriptive Summary Title: Walt Disney Productions Publicity Ephemera Date (inclusive): 1938-198x Collection number: 280 Creator: Walt Disney Productions Extent: 8 boxes (4.0 linear ft.) and 3 flat oversize boxes (3 linear ft.) Abstract: Walt and Roy Disney founded the Walt Disney Company in ca. 1923. The Disney company starting producing feature-length animated films in the 1930s and went on to become a leader in both animation film production and family entertainment. The collection consists of photographs, press books, press kits, and other printed publicity ephemera related to Walt Disney Production film projects (ca. 1938 into the 1980s). Repository: University of California, Los Angeles. Library. Performing Arts Special Collections. Los Angeles, California 90095-1575 Physical location: Stored off-site at SRLF. Advance notice is required for access to the collection. Please contact the UCLA Library, Performing Arts Special Collections Reference Desk for paging information.
    [Show full text]
  • Jury Continues Soil Removal Probe Openings Stand Marlboro Bond Issue
    Jury Continues Soil Removal Probe SEE STORY BELOW Sunny, Sunny, pleasant today. THE BAII7 Cloudy, mild tonight. Becom- ing fair, pleasant tomorrow Keel Bank, Irtcliold FINAL l^ong Branch and Sunday. 7 7 EDITION County's Oufsfaiuliiig Homo \owspapor VOL.94 NO. 34 RED BANK, NJ. FRIDAY, AUGUST 13,1971 TEN CENTS ECOM By DORIS KULMAN signed a 20-year lease at He said he hasn't any plans , Hexagon building, will be in Mr. Dworman said he {2,851,550 a year for the build- yet for the remainder of the the shape of the letter "x" . doesn't know if he's the lower NEW SHREWSBURY - ing. The lease also has four tract. "(the Xagon?) with excess to bidder, There were two bid- The $25 million, six-story five-year renewal options. Others Expected - the government area from the ders—Tinton Realty Corp., building a New York City And, Mr. Dworman said, "But we expect other busi- center core. Army security New York City, was the oth- builder will put tip here for the office of Rep. James J. nesses will come in.. .firms regulations will govern the er-who reportedly submitted lease to Ft. Monmouth's Howard, D-N.J., was mistak- that want to do business with building beyond the first floor proposals for four sites. The Army Electronics Command en when it said Wednesday the government," he said. 'Sales areas, he said. GSA has said the bids were will hou,se retail stores as well that the building will become Mr. Dworman said con- Federal specifications call "negotiable" and not com- as ECOM offices.
    [Show full text]
  • Winter 2008 Vol. 17 No. 4
    Winter 2008 vol. 17 no. 4 Jada and Lawrence Smith of Florida, Members since 2005, cruise past the construction site of the Treehouse Villas at Disney’s Saratoga Springs Resort & Spa. Illustration by Keelan Parham Disney Files Magazine is published by the good people at Disney Vacation Club If I were to list what I love most about living in Florida P.O. Box 10350 and working for the Mouse, “employer’s liberal use of Lake Buena Vista, FL 32830 code names” would have to make my top 10, somewhere behind “sunscreen in January” and slightly ahead of All dates, times, events and prices “humidity in January.” (Just missing the cut: “saltiness of printed herein are subject to turkey legs” and “abundance of white pants.”) change without notice. (Our lawyers Nothing delights middle managers more than sitting do a happy dance when we say that.) around a conference table acting like the room is bugged. MOVING? The rapid dropping of names like “Project Quasar” (Disney’s Update your mailing address Animal Kingdom Villas) and “Project Crystal” (Bay Lake Tower online at www.dvcmember.com at Disney’s Contemporary Resort) can transform any meeting into a scene from Windtalkers (albeit with more nametags and less Nicolas Cage). Of course, not MEMBERSHIP QUESTIONS? all codes are tough to decipher. Case in point: our cloaking of the Treehouse Villas at Disney’s Contact Member Services from Saratoga Springs Resort & Spa with the code name “Project Tarzan.” Not very subtle, but I 9 a.m.-5:30 p.m. Eastern daily at suppose it beats “Project Treehouse.” (800) 800-9800 or (407) 566-3800 You’ll read more about “Project Tarzan” in this edition of your magazine (pages 2-4), but allow me to first introduce a few other key features by revealing their rejected code names.
    [Show full text]
  • Guide to the Aladdin Industries, Inc. Records
    Guide to the Aladdin Industries, Inc. Records NMAH.AC.0844 Alison L. Oswald December 2003 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Biographical / Historical.................................................................................................... 2 Arrangement..................................................................................................................... 3 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Historical Background, 1919-1997............................................................ 5 Series 2: Victor S. Johnson Sr. Files, 1906-1983.................................................... 9 Series 3: Victor S. Johnson Jr. Files, 1914-1983................................................... 12 Series 4: Employee/Personnel Records, 1910-2001............................................
    [Show full text]
  • The Walt Disney Company: the Entertainment King
    For the exclusive use of Y. Zhang, 2016. 9-701-035 REV: JANUARY 5, 2009 MICHAEL G. RUKSTAD DAVID COLLIS The Walt Disney Company: The Entertainment King I only hope that we never lose sight of one thing—that it was all started by a mouse. — Walt Disney The Walt Disney Company’s rebirth under Michael Eisner was widely considered to be one of the great turnaround stories of the late twentieth century. When Eisner arrived in 1984, Disney was languishing and had narrowly avoided takeover and dismemberment. By the end of 2000, however, revenues had climbed from $1.65 billion to $25 billion, while net earnings had risen from $0.1 billion to $1.2 billion (see Exhibit 1). During those 15 years, Disney generated a 27% annual total return to shareholders.1 Analysts gave Eisner much of the credit for Disney’s resurrection. Described as “more hands on than Mother Teresa,” Eisner had a reputation for toughness.2 “If you aren’t tough,” he said, “you just don’t get quality. If you’re soft and fuzzy, like our characters, you become the skinny kid on the beach, and people in this business don't mind kicking sand in your face.”3 Disney’s later performance, however, had been well below Eisner’s 20% growth target. Return on equity which had averaged 20% through the first 10 years of the Eisner era began dropping after the ABC merger in 1996 and fell below 10% in 1999. Analysts attributed the decline to heavy investment in new enterprises (such as cruise ships and a new Anaheim theme park) and the third-place performance of the ABC television network.
    [Show full text]
  • How Hong Kong People Use Hong Kong Disneyland
    Lingnan University Digital Commons @ Lingnan University Theses & Dissertations Department of Cultural Studies 2007 Remade in Hong Kong : how Hong Kong people use Hong Kong Disneyland Wing Yee, Kimburley CHOI Follow this and additional works at: https://commons.ln.edu.hk/cs_etd Part of the Race, Ethnicity and Post-Colonial Studies Commons, and the Sociology of Culture Commons Recommended Citation Choi, W. Y. K. (2007). Remade in Hong Kong: How Hong Kong people use Hong Kong Disneyland (Doctor's thesis, Lingnan University, Hong Kong). Retrieved from http://dx.doi.org/10.14793/cs_etd.6 This Thesis is brought to you for free and open access by the Department of Cultural Studies at Digital Commons @ Lingnan University. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of Digital Commons @ Lingnan University. Terms of Use The copyright of this thesis is owned by its author. Any reproduction, adaptation, distribution or dissemination of this thesis without express authorization is strictly prohibited. All rights reserved. REMADE IN HONG KONG HOW HONG KONG PEOPLE USE HONG KONG DISNEYLAND CHOI WING YEE KIMBURLEY PHD LINGNAN UNIVERSITY 2007 REMADE IN HONG KONG HOW HONG KONG PEOPLE USE HONG KONG DISNEYLAND by CHOI Wing Yee Kimburley A thesis submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Arts (Cultural Studies) Lingnan University 2007 ABSTRACT Remade in Hong Kong How Hong Kong People Use Hong Kong Disneyland by CHOI Wing Yee Kimburley Doctor of Philosophy Recent studies of globalization provide contrasting views of the cultural and sociopolitical effects of such major corporations as Disney as they invest transnationally and circulate their offerings around the world.
    [Show full text]
  • Hong Kong DISNEYLAND Beckons with Added Attractions
    INDUNIL HEWAGE IN HONG KONG The Summit. The Waterfront and The Sum- ong Kong is a world-class trading, financial and mit areas are connected by the business center and it is a historical meeting Cable Car and Ocean Express place for East and West, blending Chinese herit- funicular train Aqua city, age, British colonial influences. Chinese and an all new marine English are the official languages of Hong Kong themed area with Hand it is among the highest population density cities in the biggest the world. aquarium view- Hong Kong Disneyland is a must-see because of its ing dome in the special attractions and the unique sense of Chinese cul- world was ture. opened in 2011. Being the newest Disneyland in the world, Hong Kong The newly- Disneyland comprises unique scenic spots, delicate build- unveiled Grand ing and Disney Theme Hotels and many more special Aquarium features features. around 5,000 marine ani- The main attractions of the Hong Kong Disneyland are mals of over 400 species. Toy Story Land, Mystic Point , Grizzly Gulch, Adventure- The Giant Panda Habitat, land ,Main Street ,USA, Fantasyland and Tomorrowland. home to two lovely pandas is The financial chapter of Hong Kong Disneyland's cur- another popular area of Ocean rent expansion project was opened in May 2013. Today, Park. There is the Ocean Express the size of the existing theme park has been enlarged by Waterfront Station, where you 25% after the expansion, with more than 30 new attrac- can take a fantastic train journey tions added, bringing the total number of attractions in to the summit, the Rain Forest at the park to over 100.
    [Show full text]
  • The Walt Disney Company: Los Reyes Del Entretenimiento
    702-S10 REV: JULIO 25,2001 MICHAEL G. RUKSTAD DAVID COLLIS The Walt Disney Company: Los reyes del entretenimiento «Sólo espero no olvidar nunca una cosa: que todo esto empezó por un ratón». Walt Disney El resurgimiento de The Walt Disney Company bajo la dirección de Michael Eisner se consideraba como una de las grandes historias de transformación de finales del siglo XX. Cuando Eisner llegó, en 1984, Disney languidecía y había escapado por poco a una adquisición y a la fragmentación. A finales del año 2000, sin embargo, los ingresos habían aumentado de 1.650 a 25.000 millones de dólares, mientras que los beneficios netos lo hacían de 100 a 1.200 millones (véase Anexo 1). Durante los primeros 15 años de Eisner, Disney generó para sus accionistas un rendimiento total anual del 27%.1 Los analistas atribuían a Eisner gran parte del mérito de la resurrección de Disney. Descrito con «más dedicación que la Madre Teresa», Eisner tenía fama de duro.2 «Si no eres duro –decía–, no consigues calidad. Si eres blando e indeciso, como nuestros personajes, te conviertes en el enclenque de la playa, y a la gente de este negocio no le importa echarte arena en la cara».3 El rendimiento de Disney en 1998 y 1999 había sido muy inferior al objetivo de crecimiento establecido por Eisner, que era del 20%. El beneficio neto sólo subió un 4% en 1998, y cayó un 28% en 1999. La rentabilidad de los recursos propios había sido de un promedio del 20% durante los diez primeros años de la era Eisner, pero empezó a decaer tras la fusión con ABC en 1996, y cayó por debajo del 10% en 1999.
    [Show full text]
  • View-Master Reels and Packets by Harry Zur Kleinsmiede
    View-Master Reels and Packets by Harry zur Kleinsmiede Volume 1: World Travel Volume 2: U.S.A. and Canada Volume 3: Showtime and Education Index to the Three Volumes 18-Reel Album Volume 3: 410, 481 3D-Aktiv Volume 3: 864 3DQ Volume 2: 23 Volume 3: 605 3-D Book Productions Volume 3: 755 3-D Imagics Volume 1: 60 Volume 3: 628 3-D International Times Volume 3: 846 3-D Past and Present Volume 1: 59 Volume 3: 759, 627 3-D Movies Volume 3: 446 3-D Reel Card Volume 1: 27 3-D Tour, View-Master Volume 1: 28 Volume 2: 13 7-Up Reels Volume 3: 728 A ABC Wide World of Sports Volume 3: 66, 639 Act III Theatres Promo Reels Volume 3: 463 Adventure Stories Volume 3: 303 Afghanistan Volume 1: 196 Africa Volume 1: 176 Africa, Central Volume 1: 178 Africa, South Volume 1: 184 Aircraft Volume 3: 606 Airports Volume 3: 612 Alabama Volume 2: 64 Alaska Volume 2: 65 Algeria Volume 1: 177 Aliens Among Us Volume 3: 762 Alpha Cine Volume 3: 41, 144, 161 Alpine Wild Flowers Volume 3: 583 Alvater's POV computer art Volume 3: 690 America, Central Volume 1: 156, 160 America, South Volume 1: 156 America the Beautiful Volume 2: 24 American Geographical Society Volume 3: 736 American Greetings Volume 3: 271 American History Volume 2: 35 Andorra Volume 1: 88, 95 Angola Volume 1: 178 Anheuser-Busch Gift Box Volume 3: 734 Animals Volume 3: 547 Animation Movies, Disney Volume 3: 493 Anniversary Reels Volume 3: 155, 160 Antarctica Volume 1: 221 Antilles Volume 1: 174 Apollo Moon Landing Volume 3: 596 Architecture Volume 3: 678, 692 Argentina Volume 1: 157 Arizona Volume 2:
    [Show full text]
  • 2000 Annual Report
    The Company ANNUAL REPORT 2000 CONTENT LISTING Financial Highlights 1 Walt Disney Company and Subsidiaries Letter to Shareholders 2 Financial Review 10 Management’s Discussion and Analysis 49 Parks and Resorts 14 Consolidated Statements of Income 59 Walt Disney Imagineering 22 Consolidated Balance Sheets 60 Studio Entertainment 24 Consolidated Statements of Cash Flows 61 Buena Vista Music Group 30 Consolidated Statements of Stockholder’s Equity 62 Media Networks 32 Notes to Consolidated Financial Statements 63 Broadcast Networks 33 Quarterly Financial Summary 76 Cable Networks 37 Selected Financial Data 77 Publishing 39 Management’s Responsibility of Financial Statements 78 Consumer Products 40 Report of the Independent Accountants 78 Walt Disney International 44 Walt Disney Internet Group 45 Walt Disney Internet Group Management’s Discussion and Analysis 79 Combined Statements of Operations 84 Combined Balance Sheets 85 Combined Statements of Cash Flows 86 Combined Statements of Group Equity 87 Notes to Combined Financial Statements 88 Quarterly Financial Summary 98 Management’s Responsibility of Financial Statements 99 Report of the Independent Accountants 99 Board of Directors and Corporate Executive Officers 100 FINANCIAL HIGHLIGHTS The Walt Disney Company Better (In millions, except per share data) 2000 1999 (Worse) Revenues $25,402 $23,435 8% Operating income (1) 4,081 3,720 10% Diluted earnings (loss) per share Disney common stock (2) 0.92 0.65 42% Internet Group common stock (3) (1.40) n/a n/a Cash flow from operations 6,434 5,588 15% Borrowings 9,461 11,693 19% Stockholder’s equity 24,100 20,975 15% (1) 2000 excludes amortization of intangible assets of $1.2 billion and gains on the sale of Ultraseek and Fairchild Publication of $153 million and $243 million, respectively.
    [Show full text]
  • Mattress Program
    Save the dates! The Aerospace Players tentatively announce our next three productions . Camelot February 3, 4, 5, 10, 11, 2012 Director: Chuck Gustafson Producer: JoMarie Rosser Bye Bye Birdie July 20, 21, 22, 27, 28, 2012 Director: John Woodcock Producers: Susan Tabak and Chuck Gustafson Fiddler on the Roof July 19, 20, 21, 26, 27, 2013 Director: Melissa Brandzel The Aerospace Players present Once Upon a Mattress ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Concessions Snacks and cold beverages are available in the lobby at intermission 50/50 Drawing The winner receives 50% of the money collected at each performance. The winning number will be posted in the lobby prior to the end of each performance. Paul’s Photo Gift Certificates The winner at each show receives a $100 gift certificate for photography classes at Paul’s Photo. Improve your ability to capture treasured memories! Actor/Orchestra-Grams: $1 each “Wish them Luck for Only a Buck” All proceeds support The Aerospace Players production costs – Enjoy the Show! Director’s Note Welcome to the theater! Once Upon a Mattress is one of my all-time favorite shows in musical theater history. This production marks my 12th production of it, having performed as one of the first Prince Dauntlesses on tour when the show was first released back in the ’60s. I’ve played Dauntless five times and directed and choreographed the show six other times. When I was offered the chance to do the TAP production I was beyond excited. Now on to the challenge! Many classic shows should not be touched. Standards like most Rodgers and Hammerstein shows should be done as a classic.
    [Show full text]