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IR Presentation Material
IR Presentation Material August, 2021 Oriental Land Co., Ltd. This material has been specifically prepared for institutional investors who are not familiar with our company, and is not presentation material for the earnings presentation. Contents I. Business Outline II. Growth Investments beyond FY3/22 I-I. Theme Park Business III. For Long-term Sustainable Growth I-II. Hotel Business IV. Appendix I-III. Overview Cautionary Statement The purpose of this document is to provide information on the operating results and future management strategies of the OLC Group, and not to solicit investment in securities issued by the Company. 2 The data disclosed in this document are based on the judgments and available information as of the date of publication. The OLC Group's business is sensitive to factors such as customer preferences, and social and economic conditions, and therefore the forecasts and outlook presented in this document contain uncertainties. Theme Park attendance figures have been rounded, and financial figures have been truncated. Please refrain from reprinting this document. 2 I. Business Outline Corporate Profile I. Business Outline Corporate Data Stock Information Established July 11, 1960 Tokyo Stock Stock Listing Code Exchange, First No. Total Assets Section 4661 ¥1,040.4 billion [consolidated] Shareholders’ Investment Unit 100 shares Equity ¥759.9 billion [consolidated] Stock Price ¥15,400 JCR : AA [Stable] Aggregate Market Bond Ratings 4 ¥5,600.8 billion R&I : AA- [Stable] Price [As of March 31, 2021] [As of July 28, 2021] Corporate Mission Business Domain Our mission is to create happiness and “We pursue businesses that fill your contentment by offering wonderful heart with energy and happiness” We strive to create new value in a high-value dreams and moving experiences created business for enriching and nourishing people’s hearts with original, imaginative ideas and appealing to abundant humanity and happiness 4 History and Business Description I. -
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. -
Cases on International Business and Finance in Japanese Corporations
Cases on International Business and Finance in Japanese Corporations Asia Case Research Centre The University of Hong Kong -Prelim (i-v).indd 3 2007/9/27 11:35:21 AM Hong Kong University Press 14/F Hing Wai Centre 7 Tin Wan Praya Road Aberdeen Hong Kong © The University of Hong Kong 2007 ISBN 978-962-209-891-6 All rights reserved. No portion of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the publisher. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Secure On-line Ordering http://www.hkupress.org Printed and bound by Pre-Press Limited in Hong Kong, China -Prelim (i-v).indd 4 2007/9/27 11:35:21 AM Contents Preface xi Acknowledgements xv About the Author xvii Introduction 1 1 Tokyo Disneyland: Licensing versus Joint Venture 11 Tokyo Disneyland was the result of a licensing agreement between Walt Disney (WD) of the US and Oriental Land Corporation (OL) of Japan. The agreement stated that WD would receive a licence fee of 7% of sales in exchange for WD providing OL its managerial and technological know-how, and assuming small risks in the venture. When WD proposed a second project with OL, OL’s senior executives tried to find a way to make WD a risk-taking partner through investment in the business as a precondition to venturing into the project. -
Winter 2015 • Volume24 • Number4
Winter 2015 • Volume24 • Number4 If Disney Files Magazine was a grocery store tabloid, the headline on this edition’s cover may read: Giant Reptile to Terrorize China! Of course, we’d never resort to such sensationalism, even if we are ridiculously excited about the imposing star of the Roaring Rapids attraction in the works for Shanghai Disneyland (pages 3-8). We take ourselves far too seriously for such nonsense. Wait a minute. What am I saying? This isn’t exactly a medical journal, and anyone who’s ever read the fine print at the bottom of this page knows that, if there’s one thing we embrace in theDisney Files newsroom, it’s nonsense! So at the risk of ending our pursuit of a Pulitzer (close as we were), I introduce this issue with a series of headlines crafted with all the journalistic integrity of rags reporting the births of alien babies, celebrity babies…and alien-celebrity babies. Who wore it best? Disney’s Beach Club Villas vs. the Brady family! (Page 13) Evil empire mounting Disney Parks takeover! (Pages 19-20) Prince Harry sending soldiers into Walt Disney World battle! (Page 21) An Affleck faces peril at sea! (Page 24) Mickey sells Pluto on the street! (Page 27) Underage driver goes for joy ride…doesn’t wear seatbelt! (Page 30) Somewhere in Oregon, my journalism professors weep. All of us at Disney Vacation Club wish you a happy holiday season and a “sensational” new year. Welcome home, Ryan March Disney Files Editor Illustration by Keelan Parham VOL. 24 NO. -
Download "Information Book"
For Inquiries, Comments and Consultation Tokyo Disney Resort Information Center 0570-00-8632 (9:00 a.m. – 5:00 p.m.) From some mobile phones and IP phones, please call 045-330-5211. From overseas, please call +81-45-330-5211. 1-1 Maihama, Urayasu-shi, Chiba-ken 279-8511, Japan Automated Voice Information Service 0570-00-3932 (available 24 hours / in Japanese only) Tokyo Disney Resort Official Website Inquiry Form https://www.tokyodisneyresort.jp/en/tdr/bfree/info For Information on Driving to the Resort, Area Traffic, and Parking Tokyo Disney Resort Traffic Information Telephone Service 0570-00-3388 (available 24 hours / in Japanese only) The Automated Voice Information Service and Traffic Information Telephone Service are not accessible from mobile phones, IP phones, or international numbers. Note: The inquiry form is for Guests who cannot use a telephone. Tokyo Disney Resort Official Website in English https://www.tokyodisneyresort.jp/en/index.html Also available in Chinese, Indonesian, Japanese, Korean, and Thai As of Nov. 2019 Tokyo Disney Resort Information Tokyo Disney Resort Information The following facilities provide assistance to enhance your enjoyment of the Resort. Welcome to Tokyo Disney Resort®! Tokyo Disneyland® Tokyo DisneySea® Main Street House Guest Relations This Tokyo Disney Resort Information Book provides information on services and facilities available for Guests with disabilities, temporary impairments, or who require extra assistance, as well as expectant mothers and persons of advanced age, to enjoy their Resort visit to the utmost. Please use this information book as a supplement to the Tokyo Disneyland® Guide Map and the Tokyo DisneySea® Guide Map. -
Exciting Offerings Coming to Tokyo Disneyland and Tokyo Disneysea in Fiscal Year 2020
September 26, 2019 FOR IMMEDIATE RELEASE Publicity Department Oriental Land Co., Ltd. Exciting Offerings Coming to Tokyo Disneyland and Tokyo DisneySea in Fiscal Year 2020 URAYASU, CHIBA — Tokyo Disneyland® Park and Tokyo DisneySea® Park announced their annual schedule for fiscal year 2020 (April 1, 2020 - March 31, 2021). A new area at Tokyo Disneyland will open on April 15 as part of the large-scale development in Fantasyland. This area will feature many exciting elements including the new Enchanted Tale of Beauty and the Beast attraction and the indoor Fantasyland Forest Theatre. Tomorrowland will also see a new addition with the opening of the The Happy Ride with Baymax attraction. Opening in Toontown will be the new Disney Character greeting facility Minnie's Style Studio. Please see below for more details on the distinctive, Disney-style experiences that Tokyo Disney Resort® will offer Guests over the upcoming fiscal year through a variety of special events and programs. Opening April 15, 2020 at Tokyo Disneyland New Attraction Enchanted Tale of Beauty and the Beast This major attraction is situated within Beauty and the Beast Castle, which towers high above the surroundings. Guests will board ride vehicles that dance in rhythm to the Disney animated film’s well-known music and follow Belle and Beast on a romantic musical adventure. New Theater Fantasyland Forest Theatre This is the first full-scale indoor theater for live entertainment at Tokyo Disneyland. Signature Disney entertainment unique to Tokyo Disneyland and featuring the Disney friends will be presented in this storybook theater environment. All photos are concept images © Disney New Disney Character Greeting Facility Minnie's Style Studio In Toontown, Minnie’s Style Studio will be the first Disney character greeting facility in Tokyo Disneyland where Guests can meet Minnie Mouse in person. -
22 the Immersive Ingenuity of Attraktion!
10 years #55 • volume 10, issue 5 • 2014 www.inparkmagazine.com 22 32 the immersive ingenuity 8 InPark looks of Attraktion! Ocean back at ten years Kingdom roundtable COMING SOON TO LOTTE WORLD VISIT US AT THE GALLERY OF BIG IDEAS BOOTH 1358 WWW.GARYGODDARD.COM | 310.601.2000 DESTINATION RESORTS THEME PARKS ATTRACTIONS LIVE ENTERTAINMENT © 2014 GARY GODDARD ENTERTAINMENT COMING SOON TO LOTTE WORLD VISIT US AT THE GALLERY OF BIG IDEAS BOOTH 1358 WWW.GARYGODDARD.COM | 310.601.2000 DESTINATION RESORTS THEME PARKS ATTRACTIONS LIVE ENTERTAINMENT www.inparkmagazine.com #55 • volume 10, issue 5 Chimelong Ocean Kingdom, game changer advertisers 8 An InPark roundtable • edited by Judith Rubin Alcorn McBride 7 From Shanghai to Yeosu to Milan Alterface Projects 74 12 How creative teamwork and private funding saved the Attraktion! 17 US Pavilion • by James Ogul BaAM 37 VR: It’s back for good BRC 32 18 Themed entertainment’s “golden age” is just warming up • by Brent Young The Business Creative 4 The immersive ingenuity of Attraktion! &RORU5HÁHFWLRQV 59 22 Markus Beyr’s companies redefine international entrepreneurship Cost of Wisconsin 38 and themed entertainment genres • by Judith Rubin ECA2 77 29 Bumping up the bumper car Entertainment Design Corporation 32 New advances in bumper car tech appeal to operators Electrosonic 49 ETI 62 InPark’s 10th anniversary section 32 /RRNEDFNDWIHDWXUHVIURPRXUÀUVWWHQ\HDUVRISXEOLVKLQJ FUNA 52 Gary Goddard Entertainment 2-3 Intellectual property values Gateway Ticketing 55 68 The industry speaks out on the evolution -
Zach Riddley Walt Disney World Resort Portfolio Executive Walt Disney Imagineering
Zach Riddley Walt Disney World Resort Portfolio Executive Walt Disney Imagineering @TheZachRiddley An architect by trade, Zach applies a narrative-led treatment to the design and development of Disney’s experiences at Walt Disney World Resort. Zach helps drive the vision and design execution for all Imagineering efforts at Walt Disney World Resort. With Disney’s largest resort approaching its 50th anniversary, Zach’s team is ushering in an impressive slate of enhancements, including new magic to the major transformation of EPCOT – the most ambitious theme park undertaking in Disney’s recent history. Zach joined Walt Disney Imagineering in 2004 where he worked on design concepts for Hong Kong Disneyland, Tokyo DisneySea, and Disney California Adventure Park. He subsequently partnered on the research, planning strategy, and successful relaunch of Disney California Adventure Park; and contributed to the planning and development for Shanghai Disney Resort. Over the course of his career, Zach has led teams in charge of master planning and developing our slate of projects for each global destination – marrying creative vision and business strategy into projects our teams execute across the world. With a strong sense of curiosity and wonder, Zach believes that inspiration can come from anywhere. He was first compelled by the magic of Disney parks during a family trip to Walt Disney World shortly after EPCOT opened. “So much of what Disney creates sparks ideas that last a lifetime. For me it was seeing the power design has to capture ideas, optimism, inspiration and storytelling that drew me to the study of architecture. And eventually a career at the center of where magic is made.” Zach graduated from Clemson University with a Bachelor of Science in Architecture and received his Master of Architecture from Princeton University. -
A Reader in Themed and Immersive Spaces
A READER IN THEMED AND IMMERSIVE SPACES A READER IN THEMED AND IMMERSIVE SPACES Scott A. Lukas (Ed.) Carnegie Mellon: ETC Press Pittsburgh, PA Copyright © by Scott A. Lukas (Ed.), et al. and ETC Press 2016 http://press.etc.cmu.edu/ ISBN: 978-1-365-31814-6 (print) ISBN: 978-1-365-38774-6 (ebook) Library of Congress Control Number: 2016950928 TEXT: The text of this work is licensed under a Creative Commons Attribution-NonCommercial-NonDerivative 2.5 License (http://creativecommons.org/licenses/by-nc-nd/2.5/) IMAGES: All images appearing in this work are property of the respective copyright owners, and are not released into the Creative Commons. The respective owners reserve all rights. Contents Part I. 1. Introduction: The Meanings of Themed and Immersive Spaces 3 Part II. The Past, History, and Nostalgia 2. The Uses of History in Themed Spaces 19 By Filippo Carlà 3. Pastness in Themed Environments 31 By Cornelius Holtorf 4. Nostalgia as Litmus Test for Themed Spaces 39 By Susan Ingram Part III. The Constructs of Culture and Nature 5. “Wilderness” as Theme 47 Negotiating the Nature-Culture Divide in Zoological Gardens By Jan-Erik Steinkrüger 6. Flawed Theming 53 Center Parcs as a Commodified, Middle-Class Utopia By Steven Miles 7. The Cultures of Tiki 61 By Scott A. Lukas Part IV. The Ways of Design, Architecture, Technology, and Material Form 8. The Effects of a Million Volt Light and Sound Culture 77 By Stefan Al 9. Et in Chronotopia Ego 83 Main Street Architecture as a Rhetorical Device in Theme Parks and Outlet Villages By Per Strömberg 10. -
Agreement Reached on Plan for Largest Ever Tokyo Disneysea Expansion Project, Opening in 2022; the Walt Disney Company Licenses Extended
June 14, 2018 FOR IMMEDIATE RELEASE Publicity Department Oriental Land Co., Ltd. Agreement Reached on Plan for Largest Ever Tokyo DisneySea Expansion Project, Opening in 2022; The Walt Disney Company Licenses Extended URAYASU, CHIBA—Oriental Land Co., Ltd. announced that an agreement has been reached with The Walt Disney Company on plans for developing a new themed port at Tokyo DisneySea®, which will also include a new Disney hotel. With this agreement and upon the completion of the Tokyo DisneySea and Tokyo Disneyland® expansions, the licenses for the Disney theme parks and other key licenses between The Walt Disney Company and Oriental Land, which currently run until 2046, will be extended to 2076. The expansion at Tokyo DisneySea will create an eighth themed port that is inspired by a magical spring leading to a world of Disney fantasy. The themed port will be comprised of three distinct areas recreating the worlds of the Disney films Frozen, Tangled and Peter Pan, as well as a deluxe hotel with a one-of-a-kind luxury wing that will be the most luxurious accommodations ever at Tokyo Disney Resort®. Also, four new attractions will be developed just for this expansion. Operations are projected to begin in fiscal year 2022*. Oriental Land will invest about 250 billion yen in this project, the largest additional investment to date for existing facilities. Together with the large-scale enhancement of Tokyo Disneyland, scheduled to start operations in 2020, this new project marks a major step in the evolution of Tokyo Disney Resort into a one-of-a-kind themed resort where Guests will enjoy even more magical experiences. -
Theme Park Fandom Theme Park Fandom
TRANSMEDIA Williams Theme Fandom Park Rebecca Williams Theme Park Fandom Spatial Transmedia, Materiality and Participatory Cultures FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Theme Park Fandom FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Transmedia: Participatory Culture and Media Convergence The book series Transmedia: Participatory Culture and Media Convergence provides a platform for cutting-edge research in the field of media studies, with a strong focus on the impact of digitization, globalization, and fan culture. The series is dedicated to publishing the highest-quality monographs (and exceptional edited collections) on the developing social, cultural, and economic practices surrounding media convergence and audience participation. The term ‘media convergence’ relates to the complex ways in which the production, distribution, and consumption of contemporary media are affected by digitization, while ‘participatory culture’ refers to the changing relationship between media producers and their audiences. Interdisciplinary by its very definition, the series will provide a publishing platform for international scholars doing new and critical research in relevant fields. While the main focus will be on contemporary media culture, the series is also open to research that focuses on the historical forebears of digital convergence culture, including histories of fandom, cross- and transmedia franchises, reception studies and audience ethnographies, and critical approaches to the culture industry and commodity -
Anime in America, Disney in Japan: the Global Exchange of Popular Media Visualized Through Disney’S “Stitch”
Anime in America, Disney in Japan: The Global Exchange of Popular Media Visualized through Disney’s “Stitch” Nicolette Lucinda Pisha Asheville, North Carolina Bachelor of Arts, University of North Carolina at Chapel Hill, 2008 A Thesis presented to the Graduate Faculty of the College^oEWilliam and Mary in Candidacy for the Degree of Master of Arts American Studies Program The College of William and Mary January, 2010 APPROVAL PAGE This Thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts NicoletteAucinda Pisha Approved ®y the £r, 2009 Associate Professor Arthur Knight, American Studies and English The College of William and Mary,, Visiting Assistant Professor Timothy Barnard, American Studies The College of William and Mary Assistant Professor Hiroshi Kitamura, History The College of William and Mary ABSTRACT PAGE My thesis examines the complexities of Disney’s Stitch character, a space alien that appeals to both American and Japanese audiences. The substitutive theory of Americanization is often associated with the Disney Company’s global expansion; however, my work looks at this idea as multifaceted. By focusing on the Disney Company’s relationship with the Japanese consumer market, I am able to provide evidence of instances when influence from the local Japanese culture appears in both Disney animation and products. For example, Stitch contains many of the same physical characteristics found in both Japanese anime and manga characters, and a small shop selling local Japanese crafts is located inside the Tokyo Disneyland theme park. I completed onsite research at Tokyo Disneyland and learned about city life in Tokyo.