INVESTOR PRESENTATION September 2020 Who We Are
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The Charismatic Leadership and Cultural Legacy of Stan Lee
REINVENTING THE AMERICAN SUPERHERO: THE CHARISMATIC LEADERSHIP AND CULTURAL LEGACY OF STAN LEE Hazel Homer-Wambeam Junior Individual Documentary Process Paper: 499 Words !1 “A different house of worship A different color skin A piece of land that’s coveted And the drums of war begin.” -Stan Lee, 1970 THESIS As the comic book industry was collapsing during the 1950s and 60s, Stan Lee utilized his charismatic leadership style to reinvent and revive the superhero phenomenon. By leading the industry into the “Marvel Age,” Lee has left a multilayered legacy. Examples of this include raising awareness of social issues, shaping contemporary pop-culture, teaching literacy, giving people hope and self-confidence in the face of adversity, and leaving behind a multibillion dollar industry that employs thousands of people. TOPIC I was inspired to learn about Stan Lee after watching my first Marvel movie last spring. I was never interested in superheroes before this project, but now I have become an expert on the history of Marvel and have a new found love for the genre. Stan Lee’s entire personal collection is archived at the University of Wyoming American Heritage Center in my hometown. It contains 196 boxes of interviews, correspondence, original manuscripts, photos and comics from the 1920s to today. This was an amazing opportunity to obtain primary resources. !2 RESEARCH My most important primary resource was the phone interview I conducted with Stan Lee himself, now 92 years old. It was a rare opportunity that few people have had, and quite an honor! I use clips of Lee’s answers in my documentary. -
Orientalism Within the Creation and Presentation of Doctor Strange
Sino-US English Teaching, May 2021, Vol. 18, No. 5, 131-135 doi:10.17265/1539-8072/2021.05.007 D DAVID PUBLISHING Orientalism Within the Creation and Presentation of Doctor Strange XU Hai-hua University of Shanghai for Science and Technology, Shanghai, China Doctor Strange has become a representation of superheroes with magic in the world of Marvel. Considering his identity as Sorcerer Supreme, there is a crucial connection between the Orient and his magic. The paper will discuss the detailed symbols of Orientalism in the process of creation and presentation of Doctor Strange respectively to figure out the change of Orientalism with the times within the texts of Doctor Strange and its existence today. Keywords: Orientalism, Doctor Strange, magic in the world of Marvel Introduction Ever since his debut in 1963, Doctor Strange has become a representation of superheroes with magic in the world of Marvel. Noticeably, a number of eastern elements have never ceased to appear in the Doctor Strange series throughout the times. Several characters are from the east, and the mysterious Asian land is also the birthplace of Doctor Strange’s magic power. Considering his identity as Sorcerer Supreme, the first and strongest sorcerer in Marvel, there must be a crucial connection between the Orient and his magic, both in the entire Marvel world, and in traditional western culture. Eastern elements under the account of westerners can be well interpreted with reference to the general concept of Orientalism. Thus, this paper aims to discuss the way the idea of Orientalism evolves with the times that is showcased within the texts of Doctor Strange. -
February 26, 2021 Amazon Warehouse Workers In
February 26, 2021 Amazon warehouse workers in Bessemer, Alabama are voting to form a union with the Retail, Wholesale and Department Store Union (RWDSU). We are the writers of feature films and television series. All of our work is done under union contracts whether it appears on Amazon Prime, a different streaming service, or a television network. Unions protect workers with essential rights and benefits. Most importantly, a union gives employees a seat at the table to negotiate fair pay, scheduling and more workplace policies. Deadline Amazon accepts unions for entertainment workers, and we believe warehouse workers deserve the same respect in the workplace. We strongly urge all Amazon warehouse workers in Bessemer to VOTE UNION YES. In solidarity and support, Megan Abbott (DARE ME) Chris Abbott (LITTLE HOUSE ON THE PRAIRIE; CAGNEY AND LACEY; MAGNUM, PI; HIGH SIERRA SEARCH AND RESCUE; DR. QUINN, MEDICINE WOMAN; LEGACY; DIAGNOSIS, MURDER; BOLD AND THE BEAUTIFUL; YOUNG AND THE RESTLESS) Melanie Abdoun (BLACK MOVIE AWARDS; BET ABFF HONORS) John Aboud (HOME ECONOMICS; CLOSE ENOUGH; A FUTILE AND STUPID GESTURE; CHILDRENS HOSPITAL; PENGUINS OF MADAGASCAR; LEVERAGE) Jay Abramowitz (FULL HOUSE; GROWING PAINS; THE HOGAN FAMILY; THE PARKERS) David Abramowitz (HIGHLANDER; MACGYVER; CAGNEY AND LACEY; BUCK JAMES; JAKE AND THE FAT MAN; SPENSER FOR HIRE) Gayle Abrams (FRASIER; GILMORE GIRLS) 1 of 72 Jessica Abrams (WATCH OVER ME; PROFILER; KNOCKING ON DOORS) Kristen Acimovic (THE OPPOSITION WITH JORDAN KLEPPER) Nick Adams (NEW GIRL; BOJACK HORSEMAN; -
The 26Th Society for Animation Studies Annual Conference Toronto
Sheridan College SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence The Animator Conferences & Events 6-16-2014 The Animator: The 26th oS ciety for Animation Studies Annual Conference Toronto June 16 to 19, 2014 Society for Animation Studies Paul Ward Society for Animation Studies Tony Tarantini Sheridan College, [email protected] Follow this and additional works at: http://source.sheridancollege.ca/conferences_anim Part of the Film and Media Studies Commons SOURCE Citation Society for Animation Studies; Ward, Paul; and Tarantini, Tony, "The Animator: The 26th ocS iety for Animation Studies Annual Conference Toronto June 16 to 19, 2014" (2014). The Animator. 1. http://source.sheridancollege.ca/conferences_anim/1 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Book is brought to you for free and open access by the Conferences & Events at SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. It has been accepted for inclusion in The Animator by an authorized administrator of SOURCE: Sheridan Scholarly Output, Research, and Creative Excellence. For more information, please contact [email protected]. THANK YOU TO OUR SPONSORS THE ANIMATOR THEThe 26th Society forANIMATOR Animation Studies Annual Conference TheToronto 26 Juneth Society 16 to 19, 2014 for www.theAnimation animator2014.com Studies @AnimatorSAS2014 Annual Conference Toronto June 16 to 19, 2014 • www.the animator2014.com • @AnimatorSAS2014 WELCOME Message from the President Animation is both an art and skill; it is a talent that is envied the world over. Having a hand in educating and nurturing some of the finest animators in the world is something for which Sheridan is exceptionally proud. -
Strawberry Shortcake: Berry Bitty Adventures
American Greetings Properties Green Lights Third Season of Popular CGI Animated Series, Strawberry Shortcake: Berry Bitty Adventures Thirteen New Episodes of CGI Animated Series to Debut in Spring 2013 New York, NY (May 2, 2012) – American Greetings Properties, the intellectual property and outbound licensing division of American Greetings Corporation (NYSE: AM), announced today that it has green lit production for a third season of its popular series, Strawberry Shortcake: Berry Bitty Adventures. The CGI animated series is currently in its second season on The Hub television network and continues to rank as the number one show for girls ages 2-5. Thirteen episodes have been ordered for the new season that will continue to showcase Strawberry Shortcake and her six best friends, including the group’s newest addition, Cherry Jam, as they embark upon new adventures. “We’re thrilled that today’s kids have embraced Berry Bitty Adventures by making it a bonafide hit and that Strawberry Shortcake continues to be one of the world’s most endearing characters,” said Sarah Finn, vice president of production. “The new season will continue to present the fun-loving adventures of Strawberry and her friends,” Berry Bitty Adventures airs daily on The Hub, a joint venture between Discovery Communications and Hasbro, Inc. The series follows Strawberry Shortcake, Blueberry Muffin, Raspberry Torte, Plum Pudding, Orange Blossom, Lemon Meringue and Cherry Jam as they run little shops and go on fantasy adventures in the whimsical land of Berry Bitty City, a tiny world underneath the leaves of a berry patch. There's always something fun to do in Berry Bitty City, and when someone needs help Strawberry Shortcake and her friends are always there to lend a helping hand. -
Business Segment Report V4 FINAL.Indd
SPIN MASTER CORP. BUSINESS SEGMENT REPORT APRIL 2020 REMOTE CONTROL & INTERACTIVE CHARACTERS Our Remote Control business brings motion and interaction to a diverse group of consumers and includes a wide range of innovative land vehicles and ying toys. Our product range emphasizes innovative, interactive and gravity-defying experiences. Using industry-leading advanced technology we are incorporating new forms of motion and control methods to deliver immersive and exciting experiences to consumers. Together with our strong licensed partnerships, we are leveraging technology and innovation, bringing new forms of motion to iconic brands in the most compelling ways. Our Interactive Characters business is driven by innovation through our leading-edge robotics expertise that blends technology and compelling characters, bringing them to life for ™ interactive and immersive experiences. We continue to push the boundaries in this category, expanding our repertoire with new unboxing experiences and unique twists on classic play ™ patterns as seen in two secret items we are expecting to launch in the fall. One item will be targeted at boys and one at girls, both o ering something completely new in this area. Spin Master Corp. Spin Master NEW FOR 2020 2 In 2019, we saw the introduction of Owleez™, Spin Master’s rst interactive ying toy pet and the only interactive pet that can be nurtured and taught to y using programming and sensors, creating a magical ight experience without any controller. Based on the response to Owleez ® and appeal of character based ight, we have expanded our interactive ight technology incorporating it into our licensed product How to Train Your Dragon® Flying Toothless as well as Spin Master’s owned intellectual property Hatchimals Pixies™ Crystal Flyers™. -
Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
Merchandising, Transmediality and Nostalgia in Power Rangers Super Megaforce Ross P
[email protected] @DefConG Going Legendary: Merchandising, Transmediality and Nostalgia in Power Rangers Super Megaforce Ross P. Garner School of Journalism, Media and Cultural Studies Cardiff University Introduction • Research questions: • How do forms of nostalgia become constructed in programmes primarily targeting children? • What cultural issues do these industrially-located strategies intersect with? • Approach taken: • Nostalgia as discourse. • Addressing social, cultural, historical and industrial contexts. • Case study: • Power Rangers Super Megaforce (Saban Brands 2014) Introducing Legendary Mode Diegetic Codings of Objects Decontextualized Nostalgia Decontextualized Nostalgia and Imagined Audiences • Audiences targeted: • Fans • ‘Child’ = primary audience: • “Boys aged 4-8” (Saban Brands 2013: 2) • “As they get older, children repeatedly (and often fiercely) reject their former enthusiasms: differences of as little as a couple of years carry enormous significance.” (Buckingham and Sefton- Green 2004: 15). • Adults: • Intertextual pleasures (Gordon 2003) • Inter-generational bridging. Decontextualized Nostalgia, Adults and Reassurance • Useful framework = Giddens (1991)…: • Trust in abstract systems = subjective anxiety and powerlessness. • Counter this through reflexive self-narratives and ontological security. • …but add to this: • Davis (1979: 41) on nostalgia and self-identity. • Holdsworth (2011) – TV rememberance = show and context. • Discourses constructing the Power Rangers: • Violence; consumerist; aesthetic dismissals -
Toy Box Wish List
Toy Box Wish List Children being treated for cancer and blood disorders at Palmetto Health Children’s Hospital must undergo months and sometimes years of tests, procedures, and treatments. To help make this easier, the patients earn coupons for cooperating with physical exams, treatments and painful procedures.These coupons can then be redeemed for prizes from our toy box. Getting to go “shopping” at the end of a clinic visit creates great excitement for our children. Holiday donations also are used to help "Santa" fill bags for any children or teenagers who may have to be in the hospital during Christmas. We also use toys during the week of CAMP KEMO in our prize room. Each year during our carnival, patients are able to earn tickets for playing games. At the end of the evening they are able to take their tickets to the “Prize Room” and pick out their prizes. Below is a list of toys and prize suggestions. Action figures - Spiderman, Transformers, wrestlers, etc. Arts & crafts kits Balls – (Nerf, footballs, basketballs, etc.) Board games Cars and trucks Card games – ex. Uno, playing cards, etc. Coloring books Dinosaurs Dolls (baby dolls, Polly Pockets, Dora, princesses, Strawberry Shortcake) Fingernail polish Games - handheld Lego kits Play food sets Play jewelry sets Small cars, trucks, motorcycles Sticker books For teenage patients: $10 gift cards to Wal-Mart or Target Gift cards for i-Tunes, Amazon, Best Buy, etc. For more information contact: Children’s Center for Cancer and Blood Disorders Palmetto Health Children’s Hospital 7 Richland Medical Park Drive, Suite 7215, Columbia, SC 29203 . -
El Cine De Animación Estadounidense
El cine de animación estadounidense Jaume Duran Director de la colección: Lluís Pastor Diseño de la colección: Editorial UOC Diseño del libro y de la cubierta: Natàlia Serrano Primera edición en lengua castellana: marzo 2016 Primera edición en formato digital: marzo 2016 © Jaume Duran, del texto © Editorial UOC (Oberta UOC Publishing, SL) de esta edición, 2016 Rambla del Poblenou, 156, 08018 Barcelona http://www.editorialuoc.com Realización editorial: Oberta UOC Publishing, SL ISBN: 978-84-9116-131-8 Ninguna parte de esta publicación, incluido el diseño general y la cubierta, puede ser copiada, reproducida, almacenada o transmitida de ninguna forma, ni por ningún medio, sea éste eléctrico, químico, mecánico, óptico, grabación, fotocopia, o cualquier otro, sin la previa autorización escrita de los titulares del copyright. Autor Jaume Duran Profesor de Análisis y Crítica de Films y de Narrativa Audiovi- sual en la Universitat de Barcelona y profesor de Historia del cine de Animación en la Escuela Superior de Cine y Audiovi- suales de Cataluña. QUÉ QUIERO SABER Lectora, lector, este libro le interesará si usted quiere saber: • Cómo fueron los orígenes del cine de animación en los Estados Unidos. • Cuáles fueron los principales pioneros. • Cómo se desarrollaron los dibujos animados. • Cuáles han sido los principales estudios, autores y obras de este tipo de cine. • Qué otras propuestas de animación se han llevado a cabo en los Estados Unidos. • Qué relación ha habido entre el cine de animación y la tira cómica o los cuentos populares. Índice -
Women in Toys Recognizes Industry Innovators at Annual Awards Gala
WOMEN IN TOYS RECOGNIZES INDUSTRY INNOVATORS AT ANNUAL AWARDS GALA Mattel Honored with Game Changer Award; Hasbro, SpinMaster, Moose Toys and Walmart Top Winners New York City – February 15, 2016 – More than 500 executives in toys, licensing and entertainment gathered Sunday night to honor women leaders at the 12th Annual Wonder Women Awards Gala, Celebrating 25 Years of Women in Toys in New York City. The event, hosted by leading global organization for professional women in the toy, licensing and children’s entertainment industry, Women in Toys (WIT), awarded 12 distinguished winners from over 50 nominees from around the world. Among the Wonder Women Gala Award Winners, WIT presented awards to special honorees that included the: Founders Award to Anne Pitrone and Susan Matsumoto who created WIT 25 years ago. Started in a restaurant over the quarter century, the professional group has grown to service thousands of professionals from around the globe at more than 50 events annually. Game Changer Award to Mattel for the evolution of its Barbie brand with the recent expansion of the Barbie Fashionistas. The award was presented by fashion and celebrity stylist Micaela Erlanger, and globally recognized advocate for positive body image and self-esteem supermodel EMME. Wonder Girl Award to Sydney and Toni Loew, two young toy making entrepreneurs and the creators of Poketti pocket plush. Wonder Women Awards Gala Winners Manufacturer, Cat Demas, Vice President & Global Business Head, Preschool Girls Spin Master Rising Star, Laura Guilbault, Director of Product & Marketing Strategy for Disney Princess and Frozen, Hasbro Public Relations, Tara Tucker, Vice President of Global Marketing Communications, Spin Master Designer / Inventor, Jacqui Tobias, Director and Head of Girls Product Development, Moose Toys Licensing & Entertainment, Joan Grasso, Vice President of Licensing North America, Entertainment One Marketing, Kimberly Willis Boyd, Vice President of U.S.