...INDUSTRY ANALYSIS OF AMUSEMENT PARKS HAN CHOE BRIAN CHEN MARCY LEON RUBEN BUGARIN J.D. PERALTA INTRODUCTION The history of theme parks stems from European pleasure gardens in the 16th century. Pleasure gardens were a place of recreation where the guests could also enjoy beautiful landscapes. These types of venues led to expositions and fairs in the United States. These large venues then paved the way to amusement parks, which then led to the creation of a different type of amusement park called a theme park. Theme parks are in fact amusement parks that are built and designed to portray specific themes or stories. The first of its kind was Santa Claus Land in Indiana, which is now known as Holiday World. However, it was the Walt Disney Company that utilized the theme park idea and made it popular. Today, the words amusement parks and theme parks are used synonymously. Theme parks provide attractions to their guests. These attractions are roller coasters, water rides, live shows, carnival type games, arcades, and merchandise stores. Dining is also provided to guests and come in the form of push carts, providing fast food, to seated indoor restaurants. Some theme parks offer tours as well as a resort to accommodate overnight guests. Large theme parks can also provide shoppertainment centers outside of their park walls. These shoppertainment centers are available for non park attendees as well. Shoppertainment centers offer retail stores, restaurants, and movie...
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...DAVID COLLIS MARY FUREY The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disneyowned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the...
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...temporarily till they tried multi-language productions. By 1933- dubbing was used to get to their non-English audience. This was expensive * Development of new genres (music and film): new genres emerged with sophisticated comedies replaced silent comedies of Charlie Chaplin; Hollywood musical period emerged; existing genres transformed. There were also new kinds of genres in music. (Hollywood music popular in late 1920’s to early 1950’s) * Transformation of employment structure (musicians vs. script writers): musicians weren’t needed as much, which was a blow (Depression time). Screenwriters were more in demand, so writers moved towards California. They needed better writers; movies could have proper scripts and all. Journalists became sought after and established authors were hired by studios. * The Star System: they were tied to long contracts, not allowed to switch between them, but could be fired anytime - studios successfully kept costs down and controlled performers this way. THE PRODUCTION SYSTEM COMPANIES...
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...Digital Rights Management 12/1/2010 Digital Rights Management 1 Introduction • Digital Rights Management (DRM) is a term used for systems that restrict the use of digital media • DRM defends against the illegal altering, sharing, copying, printing, viewing of digital media • Copyright owners claim DRM is needed to prevent revenue lost from illegal distribution of their copyrighted material 12/1/2010 Digital Rights Management 2 DRM Content and Actions • There are many capabilities covered by DRM Digital Rights Management Digital content: • Videos • Music • Audio books • Digital books • Software • Video games Possible Actions and Restrictions: • Play once • Play k times • Play for a set time period • Play an unlimited amount • Copy • Burn to physical media • Lend to a friend • Sell • Transfer to a different device 12/7/2010 Digital Rights Management 3 Early U.S. Copyright History • US Constitution, Article 1, Section 8 – “The Congress shall have the Power … To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries” • Copyright Act of 1790 – "the author and authors of any map, chart, book or books already printed within these United States, being a citizen or citizens thereof....shall have the sole right and liberty of printing, reprinting, publishing and vending such map, chart, book or books...." – Citizens could patent...
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...Identify an episode of strategic change for an organisation of your own choice. How appropriate was the approach to strategic change given the issues faced by the organisation? Critically evaluate the effectiveness of the strategic leadership during the change process. Identify the impact of the change episode upon the key resources and core competencies of your organisation. This paper will analyse a recent period of strategic change at The Walt Disney Company which began in 2005 with the appointment of current CEO Robert Iger. The company began to experience halted growth during the late 1990s. The former CEO Michael Eisner had been successful himself in the late 1980s in changing the company during what is known as the Disney Renaissance. Eisner successfully concentrated the company’s energy back into producing animated films and helped the company to create now-classic names such as The Little Mermaid, Beauty and the Beast, The Lion King, Aladdin and others. However starting in 1999 share prices began to fall as changes in Disney’s competitive environment, consumer preferences and technology combined to alter its strategic context – which posed problems for the company in aligning its strategic objectives with its organisational structure and culture. Eisner was well known for his micromanagement and top down approach to management (Gunther, 1999), which served the company well during the 1990s when he could focus on single brands. The production of animated feature films...
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...Strategy in Entrepreneurial Ventures A case study by, Arun Venkatachalam FT MBA 2009/10 May, 2010 Table of Contents 1. 1.1. 1.2. 1.3. 1.4. 2. 2.1. 2.2. 2.3. 2.4. 2.5. 3. 3.1. 3.2. 3.3. 3.4. 4. 4.1. 4.2. 4.3. 5. BACKGROUND ....................................................................................................................................... 3 Who or What is ‘LOVEFiLM.COM’? ................................................................................................. 3 Why are they considered a high growth entrepreneurial company? ..................................................... 4 Where they are currently? .................................................................................................................... 6 What is the basis for this report? .......................................................................................................... 6 BEGININING OF ‘LOVEFiLM.COM’ .................................................................................................... 7 The Innovative Online Business Opportunity ...................................................................................... 7 The Market Analysis of 2001/2002 ...................................................................................................... 9 Strategic Analysis of the Business Environment ................................................................................ 10 Competitor Analysis ...........................................
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...Year 2011 Annual Financial Report And Shareholder Letter January 2012 Dear Shareholders, Fiscal 2011 was a year of great accomplishment for The Walt Disney Company, marked by creativity and innovation across our businesses globally, record financial results and numerous important steps to position the Company for the future. While 2011 brought us so much to cheer about, it was also marked by profound loss, with the passing of Steve Jobs. Steve’s incredible stewardship of Pixar, and his decision to sell Pixar to Disney in 2006, brought Steve into the Disney family, as a board member, a shareholder, a mentor, and a friend, and we were so lucky for all that he represented and all that he contributed. Disney, ESPN, ABC, Pixar, and Marvel are an amazing collection of brands that grow stronger every day as new platforms and new markets provide enormous new opportunities for high quality content and experiences. To that end, we are fortunate to have a talented group of employees who are committed day in and day out to building our brands around the world. Since becoming President and CEO in 2005, I have focused on three strategic priorities: creating high-quality family content, making experiences more memorable and accessible through innovative technology, and growing internationally. In fiscal 2011, net income attributable to Disney was a record $4.8 billion, an increase of 21% over last year, and revenue was a record $40.9 billion, up 7% from last year. Diluted earnings per share...
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...insurmountable. Making matters worse, the most likely other bidder for the show was the Columbia Broadcasting th System (CBS), a rival network to NBC and Graboff’s former employer. “On November 13 [2000], my last day at CBS, I was putting the finishing touches on CBS’s contract extension to Everybody Loves Raymond,” recalled Graboff. “And I was thinking, ‘Thank goodness this deal is almost done.’ The next day I began at NBC, and I was faced with an equally arduous negotiation.” Graboff watched the sun set over the Los Angeles skyline as he began familiarizing himself with the background documents on the negotiation. Industry Background Behind the glitz and the glamour, the stars and the scandals, Hollywood is, at its core, a business. Studios, such as Warner Brothers Television, Paramount Television Group, and Twentieth Century Fox Television, make television shows and license them to networks, such as NBC, CBS, and the American Broadcasting Company (ABC), for a specified period of time.a Networks, in turn, generate revenue by selling airtime that companies use to present advertisements. The higher the ratings for a...
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...Omgevingsanalyse digitale (online) distributiemodellen in de filmindustrie (in opdracht van BAM) Sophie De Vinck (FWO, IBBT-SMIT) 1 juli 2009 1 1 1 2 3 4 Inhoud Inhoud ................................................................................................................................ 2 Lijst van Afbeeldingen ........................................................................................................... 4 Inleiding .............................................................................................................................. 5 Kansen en uitdagingen voor de (Europese) filmdistributie ten gevolge van digitalisering: een 4.1 4.2 Impact van digitalisering op de filmsector: van waardeketen tot waardenetwerk ...................... 7 Online on demand distributie van film: cruciale issues .......................................................... 9 De long tail revisited ................................................................................................ 10 Rechten beschermen versus piraterij .......................................................................... 12 De chronologie van de verschillende media ................................................................. 13 Specifieke struikelblokken voor het online aanbieden van Europese films......................... 14 De problematiek van de multi-territoriale licenties .................................................. 15 Culturele diversiteit...
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...UNIVERSAL PICTURES and EMMETT / FURLA FILMS Present A MARC PLATT Production In Association with OASIS VENTURES ENTERTAINMENT LTD / ENVISION ENTERTAINMENT / HERRICK ENTERTAINMENT / BOOM! STUDIOS A BALTASAR KORMÁKUR Film PAULA PATTON BILL PAXTON JAMES MARSDEN FRED WARD and EDWARD JAMES OLMOS Executive Producers BRANDT ANDERSEN JEFFREY STOTT MOTAZ M. NABULSI JOSHUA SKURLA MARK DAMON Produced by MARC PLATT RANDALL EMMETT NORTON HERRICK ADAM SIEGEL GEORGE FURLA ROSS RICHIE ANDREW COSBY Based on the BOOM! Studios Graphic Novels by STEVEN GRANT Screenplay by BLAKE MASTERS Directed by BALTASAR KORMÁKUR –1– CAST Waitress Margie . . . . . . . . . . . . . . . . . . . . . LINDSEY GORT Roughneck #2 . . . . . . . . . . . . . . . . . HILLEL M. SHARMAN Robert “Bobby” Trench . . . . . . . . . DENZEL WASHINGTON Roughneck #3 . . . . . . . . . . . . . . . . . . . . . . . . AARON ZELL Marcus “Stig” Stigman . . . . . . . . . . . . MARK WAHLBERG Roughneck #4 . . . . . . . . . . . . . . . . . . . . . . . HENRY PENZI Deb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PAULA PATTON CREW Earl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BILL PAXTON Admiral Tuwey . . . . . . . . . . . . . . . . . . . . . . . FRED J. WARD Quince . . . . . . . . . . . . . . . . . . . . . . . . . . JAMES MARSDEN Directed by . . . . . . . . . . . . . . . . . BALTASAR KORMÁKUR Papi Greco . . . . . . . . . . . . . . . . . EDWARD JAMES OLMOS Screenplay by . . . . . . . . . . . ...
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...This year, we made yet another change. As the line between licensor and licensing agent continues to blur—with many licensors taking on the task of representing properties/brands outside of their portfolio, and many traditional licensing agents being charged with fueling power for the brands/properties they represent—we have widened our list to include overall retail sales figures for licensing agents. As a result, we have changed this feature's name from “Leading Licensors” to “Leading Licensing Companies” to better reflect the power of the licensing business. As for this year’s list, which reflects 2006 worldwide retail sales of licensed merchandise, No. 1 Disney recorded a $2 billion increase in retail sales fueled, in part, by consumer demand for all things Pirates of the Caribbean, High School Musical, Cars, and Disney Princess. Sanrio also saw a significant uptick in sales, rising from $4.2 billion in 2005 to $5.2 billion in 2006. Phillips-Van Heusen makes its debut on the list at No. 2 with $6.7 billion in sales driven by proprietary brands Van Heusen, Arrow, Izod, Bass, and Calvin Klein. Other newcomers include: Carte Blanche Greetings ($700 million); Sean John ($450 million); Taffy Entertainment ($98 million); Bang on the Door ($77 million); Just Born, Inc. ($33 million), and Jetix Consumer Products ($29.1 million). Tommy Bahama ($220 million) returns to the list after a brief hiatus. To be included on License! Global’s Leading Licensing Companies list, companies had to...
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...Television History - A Timeline 1878-2005 1878 William Crookes confirmed the existence of cathode rays by building a tube to display them in. 1897 German scientist Karl Ferdinand Braun constructs the cathode ray tube scanning device. 1900 Russian Constantin Perskyi introduces the word "television" at the 1st International Congress of Electricity at the World's Fair in Paris. Souvenir trading cards are sold at the same fair, two predicting color television and news radio in the year 2000. 1905 Philipp Lenard wins the Nobel Prize in physics for his research on cathode rays. 1907 A.A. Campbell Swinton in England and Boris Rosing in Russia independently propose an electronic scanning system in which a cathode ray tube could produce an image on a phosphorus-coated screen. 1923 Vladimir Zworykin, working for Westinghouse Electric, patents the iconoscope, a television transmission tube and in 1924, patents the kinescope, the receiver tube. 1925 In England, John Logie Baird demonstrates the first moving television pictures via a mechanical system based on Nipkow's disk; they were recognizable human faces in 1925 and moving objects in 1926. He had shown a still image of Felix the Cat in 1924. 1927 Philo Farnsworth transmits the first electronic television image and applies for a patent on the first complete electronic system, the Image Dissector. The first practical demonstration of television is arranged by Bell Labs and AT&T, when Commerce Secretary Herbert...
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...COURSE PROJECT Anal Patel UPS STRIKE Date: - 10/10/2011 Table of Content:- INTRODUCTION……………………………….……………………………PAGE 3. BACKGROUND……………………………………………………………...PAGE 3. STRIE SETTLEMENT…………………………………………..………….PAGE 7. RECOMMENDATION / STAND POINT……….………………………….PAGE 10. CONCLUSION……………………………………………………………….PAGE 13. REFERENCE…………………………………………………………………PAGE 13. INTRODUCTION:- The strike against United Parcel Service conducted by the Teamsters was seen as both disruptive and successful. It was disruptive to the national shipping patterns and so to business in general, yet the public supported the strikers over the company by a wide margin. This might have changed had the strike continued any longer than it did, but the Teamsters, as led by President Ron Carey, managed to make good use of public sentiment to pressure UPS to settle the strike. From the first, the Teamsters had the high ground given the nature of the dispute and the fact that the public was also concerned about the issue of part-time work and the way companies were using part-time workers to avoid paying full price for full-time employees in the same jobs. UPS said the strike cost them about $650 million in lost business. The union paid about $10 million in strike benefits to members who got $55 a week for manning the picket lines. An analysis of the UPS strike shows that it is a case of hard bargaining in which the Teamsters benefited from being able to generate public support and also from the good fortune...
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...Integrated Company Analysis December Integrated Company Analysis15, 2010 December, 15 2010 Scott Meyer Scott Meyer Angela Faloye Anjali Krishnan Nathan Schaff Matt Reuer Scott Meyer 26 Table of Contents Introduction .............................................................................................................................................................. 3 Executive Summary ................................................................................................................................................. 3 Marketing Analysis ............................................................................................................................................. 3 - 7 Competitive Analysis and Positioning ................................................................................................................... 3 Target Segments ..................................................................................................................................................... 4 Product ................................................................................................................................................................... 5 Price ....................................................................................................................................................................... 5 Marketing Communications ...............................................................................
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...thomas a . meyer How Great companies Get Started in terrible times Innovate! Innovate! How Great Companies Get Started in Terrible Times THOMAS A. MEYER John Wiley & Sons, Inc. Copyright © 2010 by Thomas A. Meyer. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey. Published simultaneously in Canada. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at http://www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose...
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