Obscurity Point Horizons Written by Classyonabudget Prior to His Death in 1966, Walt Disney Conceived an Idea for a Utopian City
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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. -
An Award-Winning Nonprofit
“The SfS program has brought science alive for my students. It has provided the realization that perhaps, they too can aspire to an occupation in science. It has encouraged them to dream BIG!” AN AWARD-WINNING NONPROFIT Pinnacle Award $100Kfor100 Grant Hologic Award 100 Ways Grant @Scale Award THE U.S. IS BEHIND THE STEM WORKFORCE CRISIS 2014–2024 Projected Employment Growth The U.S. is facing a crisis in the STEM (Science, Technology, Engineering, Mathematics) workforce training pipeline. STEM job opportunities are projected to grow 50% faster than ○ non-STEM jobs by 2024; yet the U.S. is simply not producing enough candidates to fll them. 9% ○ 6% THE STEM EDUCATION CRISIS STEM JOBS NON STEM JOBS The Business Higher Education Foundation determined that by the time students reach high school, 83% report lacking profciency and/or interest in STEM. Thus, the STEM challenges must be addressed earlier, in elementary and middle school, 83% of students are where gaps in STEM content competency and interest begin. NOT proficient in STEM OUR SOLUTION IS UNIQUE Real Scientists Hands-On Experiences Expansive Reach Measurable Impact Our staf members We provide discovery- We bring STEM to every Our programs have are charismatic, based, curriculum- space by delivering our shown measurable passionate role models relevant, and exciting programs during school, impact, from raising with strong academic hands-on STEM activities after school, over standardized test scores backgrounds and/or designed to engage vacation, and for special to improving students' demonstrable research students and ignite their events. attitudes towards future experience in STEM. interest in STEM. -
A Critique of Disney's EPCOT and Creating a Futuristic Curriculum
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2019 FUTURE WORLD(S): A Critique of Disney's EPCOT and Creating a Futuristic Curriculum Alan Bowers Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the Curriculum and Instruction Commons, and the Curriculum and Social Inquiry Commons Recommended Citation Bowers, Alan, "FUTURE WORLD(S): A Critique of Disney's EPCOT and Creating a Futuristic Curriculum" (2019). Electronic Theses and Dissertations. 1921. https://digitalcommons.georgiasouthern.edu/etd/1921 This dissertation (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. FUTURE WORLD(S): A Critique of Disney's EPCOT and Creating a Futuristic Curriculum by ALAN BOWERS (Under the Direction of Daniel Chapman) ABSTRACT In my dissertation inquiry, I explore the need for utopian based curriculum which was inspired by Walt Disney’s EPCOT Center. Theoretically building upon such works regarding utopian visons (Bregman, 2017, e.g., Claeys 2011;) and Disney studies (Garlen and Sandlin, 2016; Fjellman, 1992), this work combines historiography and speculative essays as its methodologies. In addition, this project explores how schools must do the hard work of working toward building a better future (Chomsky and Foucault, 1971). Through tracing the evolution of EPCOT as an idea for a community that would “always be in the state of becoming” to EPCOT Center as an inspirational theme park, this work contends that those ideas contain possibilities for how to interject utopian thought in schooling. -
Theme Park Design and the Art of Themed Entertainment
Book Preview www.ThemeParkDesignBook.com Foreword ....................................................................................... vii Design Process .................................................................................. 26 Introduction .................................................................................... x Blue Sky ........................................................................................ 29 Using This Book ............................................................................. xii Concept Design ............................................................................ 31 Medium ........................................................................................... 1 Feasibility ..................................................................................... 37 Themed Entertainment ...................................................................... 2 Schematic Design ......................................................................... 41 Reasons to Theme .............................................................................. 5 Design Development ................................................................... 42 Theme Parks........................................................................................ 6 Build ............................................................................................. 42 Theme Park Product ........................................................................... 7 Handover..................................................................................... -
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. -
How Theme Park Rides Adapted the Shooting Gallery
How Theme Park Rides Adapted the Shooting Gallery Bobby Schweizer Texas Tech University Lubbock, Texas United States [email protected] Keywords Shooting galleries, theme parks, midways, arcades, media archeology EXTENDED ABSTRACT In 1998, Walt Disney Imagineering unveiled a new ride for Tomorrowland in the Magic Kingdom park in Orlando, Florida—one that introduced a new form of interactivity previously unseen in their parks. Buzz Lightyear Space Ranger Spin was a hybrid attraction: part dark ride, part shooting gallery. Riders boarded Omnimover vehicles armed with two blaster guns mounted to the dashboard that could be aimed with a limited range of motion to defeat the Emperor Zurg. An LCD screen tallied the score as passengers spun their vehicles to position themselves to shoot at “Z” marked targets throughout the blacklight neon ride. With the creation of this attraction and, most recently the opening of the Star Wars Millennium Falcon: Smuggler’s Run, the dark ride has seemingly adopted the values of videogame interactivity. Yet, while a comparison to videogames seems obvious, this transition did not happen overnight and was, in fact, part of a long tradition of target shooting forms of play. The shooting gallery has always been a perennial entertainment form seen in fairs, carnivals, and amusement parks across the globe (Adams 1991). Emerging out of military and marksmanship traditions, these games emulate the practice of real target shooting in which a marksman stands at one end of a booth or range while shooting pellets at stationary or moving targets (Tucker and Tucker 2014). Played for prizes or bragging right, the simple act of aiming and pulling a trigger has undergone technological adaptations to automate the process, place it into new venues, and create new feedback loops that construct new player experiences intended for social interaction. -
Disney World
26 Index A I Allemagne (World Showcase) 21 IllumiNations: Reflections of Earth American Adventure, The (États-Unis) 22 (World Showcase) 19 American Heritage Gallery (États-Unis) 22 ImageWorks (Imagination!) 14 Imagination! (Future World) 14 C Impressions de France (France) 24 Innoventions Fountain of Nations Show (Future Canada (World Showcase) 24 World) 10 Captain EO (Imagination!) 14 Innoventions (Future World) 17 Chine (World Showcase) 20 Italie (World Showcase) 22 Circle of Life, The (The Land) 16 J D Japon (World Showcase) 23 Dancing Waters, The (Future World) 10 Journey Into Your Imagination with Figment Das Kaufhaus (Allemagne) 21 (Imagination!) 14 Desert Farm (The Land) 16 L E Land, The (Future World) 15 Ellen’s Energy Adventure (Universe of Energy) 12 Leave a Legacy (Spaceship Earth) 11 Epcot 2, 3 Living with the Land (The Land) 16 États-Unis (World Showcase) 22 M F Maroc (World Showcase) 23 France (World Showcase) 23 Mexique (World Showcase) 19 Future World 9 Mission: SPACE Advanced Training Lab (Mission: SPACE) 13 G Mission: SPACE (Future World) 12 Galerie Bijutsu-Kan (Japon) 23 N Gate of the Golden Sun (Chine) 20 Norvège (World Showcase) 20 Gran Fiesta Tour Starring the Three Caballeros (Mexique) 19 O H O Canada! (Canada) 25 Hall of Prayer (Chine) 21 Outpost (World Showcase) 21 http://www.guidesulysse.com/catalogue/FicheProduit.aspx?isbn=9782765818526 27 P T Palais des Doges (Italie) 22 Temple of Heaven (Chine) 20 Phineas & Ferb: Agent P’s World Showcase Adventure Test Track Presented by Chevrolet (Future World) 13 (World Showcase) 20 Tomb Warriors - Guardian Spirits of Ancient China Place Saint-Marc (Italie) 22 (Chine) 21 Turtle Talk with Crush (The Seas with Nemo R & Friends) 17 Reflections of China (Chine) 21 U Royaume-Uni (World Showcase) 24 Universe of Energy (Future World) 11 S V Seas with Nemo & Friends, The (Future World) 17 Soarin’ (The Land) 16 Voices of Liberty (États-Unis) 22 Spaceship Earth (Future World) 10 St. -
Land Liner Notes (Disc 1)
The Land Liner Notes 1. LISTEN TO THE LAND (ENTRANCE PLAZA) The fourth of seven incredibility innovative compositions created for EPCOT Center’s Entrance Plaza. ‘Listen to the Land’ is a near perfect combination of electronic accents and sweeping Aaron Copland style orchestral chords. It’s percussively upbeat rhythms are only surpassed by the uplifting strings of its medley. As the middle composition for the Entrance Plaza, it serves as a wonderfully impactful climax to EPCOT Center’s Overture. 2. PAVILION ATMOSPHERE An unusual hybrid of American Folk songs and electronically based arrangements. ‘The Pavilion Atmosphere’ conveys an image of agrarian harmony in a technological world that perfectly complements the futuristic green house for which it underscores. THE HARVEST THEATER 3. SYMBIOSIS, A CREATIVE PARTNERSHIP This 70mm film depicts the delicate balance between technological progress and environmental integrity. , ‘Symbiosis displays the resourcefulness of nearly 70 countries, the history of agriculture, and the challenges and triumphs of providing nourishment to an ever expanding population while balancing ecological concerns that effect the planet. THE GOOD TURN RESTAURANT 4. REVOLVING RESTAURANT With its Burgundy walls and chrome fixtures, the ‘Good Turn Restaurant’ is decidedly refined. Yet, for all its sophistication, the atmospheric music of this perpetually rotating café is presented in sharp contrast to surroundings. One of several variations of Bob Moline’s Listen to the Land, this traditional country version speaks to the agrarian theme of the pavilion during the Kraft years. LISTEN TO THE LAND 5. LISTEN TO THE LAND Bob Moline’s choral Folk style of The Land’s main theme music, this version begins our journey through “Tomorrow’s Harvest”. -
Open Violathesis.Pdf
The Pennsylvania State University The Graduate School College of Earth and Mineral Sciences DECONSTRUCTING THE MYTH OF CALIFORNIA: GENDER AND RACE IN DISNEY’S CALIFORNIA ADVENTURE A Thesis in Geography by Marina R. Viola 2009 Marina R. Viola Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science December 2009 The thesis of Marina R. Viola was reviewed and approved* by the following: Lorraine Dowler Associate Professor of Geography and Women‘s Studies Thesis Advisor Melissa W. Wright Associate Professor of Geography and Women‘s Studies Karl Zimmerer Professor of Geography Head of the Department of Geography *Signatures are on file in the Graduate School ABSTRACT Disney turns fantasy into reality. ―Imagineers‖ are Disney‘s team of dream makers responsible for creating the magic. Nearly one dozen international theme parks, a cruise ship line, shopping centers, hotels and ownership of the community Celebration, Florida attest to Imagineering‘s cultural influence and success. This vast and variant space along with widely recognized topographic neologisms such as ―Disneyscapes,‖ and ―Disneyfied,‖ illustrate the Company‘s ability to transform ordinary landscapes into fantasy-scapes. In 2001, Disney deviated from its traditional Imagineering practices and attempted to re-recreate reality. Disney‘s California Adventure park opened as a celebration of the Golden State and the Golden Dreams that brought countless individuals in search of opportunity. Using qualitative methods, this study textually analyses the stories conveyed throughout the park‘s artwork, architecture, landscape and iconography. This thesis reveals that the lives and ―dreams‖ of various California subcultures are represented in demeaning and stereotypical manners that reinforce the superiority and dominance of white males over California‘s landscape. -
The Economic Impact of Theme Parks on Regions
The economic impact of theme parks on regions LOREDANA GAL Critical analysis on the economic, social and environmental impact of theme park on regions based on Michael Braun’s article of NEURUS (– participant 1999/2000(UCI – WU). Analytical description of case studies: Expansion of Disneyland in Los Angeles, Designing of Istanbul Theme Park and Ankara Kingdom of Wild In Turkey. HOUSING RES.AND DESIGN S T U D I O I I ( 7 1 4 ) Middle East Technical University S u p e r v i s o r : P r o f . A L İ CENGİZKAN 6 / 2 0 / 2 0 1 4 1 INDEX • THE ECONOMIC AND SOCIAL IMPACTS OF TOURISM • THE IMPACT OF TOURISM ON LOCAL GOVERNMENT EXPENDITURES • EMPIRICAL TOURISM DATA • THEME PARKS • THE AMUSEMENT PARK INDUSTRY • MAJOR THEME PARKS REQUIREMENTS AND PROBLEMS • CASE STUDY: THE DISNEYLAND EXPANSION, ISTAMBUL THEME PARK, ANKARA KINGDOM OF THE WILD. INTRODUCTION How does the establishment of a Resort park affect the surrounding region? • Is it advantageous for a region to own a Resort park? • How are parks linked to the rest of the region’s economy? • How exactly does the park enrich the region economically? In the following paper will be analyzed the general issues regarding the projecting, expanding, constructing and managing an amusement park and it’s effective consequences on local government economy and social life of area’s inhabitants. Afterwards will see this aspects in case study: the expansion of Disneyland resort in Los Angeles, California ( costs, management, expected results); Designing and construction of Istanbul Theme Park, Turkey ( methods, procedures and expectation); Ankara Kingdom of Wild, Turkey ( land management, management problem, social results expectation) THE ECONOMIC AND SOCIAL IMPACT OF TURISM Theme parks of a size like Disneyland, Walt Disney World, Knott's Berry Farm, Universal Studios are visited by tourists frequently. -
JUN 1 41976 Ii
AtJSEMENTr PARKS - A REIEVANT FORM OF PUBLIC RECREATION by BRITIMARI WIUND Baccalaureate, Enskilda Gymasiet, Stockholm (1969) SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIP-1ENTS FOR THE DBX=Es OF MASTER OF ARCHITCTURE at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY June, 1976 Signature of Author. / -- Department of Architecture May 11, 1976 Certified by....... Tunney Lee, Associate Professor Thesis supervisor Accepted by......................................................... Michael Underhill, Chairman, Departmental Committee for Graduate Students Rotcn JUN 1 41976 ii AMUSEMENT PARKS - A RELEVANT FORM OF PUBLIC RECRFATION Brittmari Wilund Submitted to the Department of Architecture on May 11, 1976 in partial fulfillment of the requiremrents for the degree of Master of Architecture At every point in history there has been something which the enterprising American businessman could capitalize on, from the Puritan work ethic, the prudishness of the Victorian era, and the new industrial workers' quest for self education, to the increased nobility and the separation of homej work, and recreation created by the acceleration of the capitalist economy and the creation of the interstate highway system. A few forms of commercial recreation have been dealt with in this thesis, concentrating on the development of amusement parks, from the first pic- nic parks built by the traction companies and others in order to increase the use of their particular means of transportation through the develop- ment of traditional amusement parks which we see today on the edges of met- ropolitan areas struggling against the forces of rising property prices and declining business, to the advent of Disneyland and the beginning of a new era in the history of amusement parks - the theme parks. -
Fiscal Year 2019 Annual Financial Report 13DEC201905470521 UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
6JAN201605190975 Fiscal Year 2019 Annual Financial Report 13DEC201905470521 UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended September 28, 2019 or TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from __________ to __________. Commission File Number 001-38842 Delaware 83-0940635 State or Other Jurisdiction of I.R.S. Employer Identification Incorporation or Organization 500 South Buena Vista Street Burbank, California 91521 Address of Principal Executive Offices and Zip Code (818) 560-1000 Registrant’s Telephone Number, Including Area Code Securities registered pursuant to Section 12(b) of the Act: Title of each class Trading Symbol(s) Name of each exchange on which registered Common Stock, $0.01 par value DIS New York Stock Exchange Securities Registered Pursuant to Section 12(g) of the Act: None. Indicate by check mark if the registrant is a well-known seasoned issuer, as defined in Rule 405 of the Securities Act. Yes No Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Act. Yes No Indicate by check mark whether the registrant (1) has filed all reports required to be filed by Section 13 or 15(d) of the Securities Exchange Act of 1934 during the preceding 12 months (or for such shorter period that the registrant was required to file such reports), and (2) has been subject to such filing requirements for the past 90 days.