Chor See-Yu, Li Chuan-Bei. / Thesis (M.B.A.)--Chinese University of Hong Kong, 2000. / Includes bibliographical references (leaves 55-56). / EXECUTIVE SUMMARY --- p.ii / TABLE OF CONTENTS --- p.iii / LIST OF TABLES --- p.vi / Chapter / Chapter I. --- GENERAL INTRODUCTION OF WALT DISNEY CO --- p.1 / Theme Park and Resort --- p.1 / Creative Content --- p.2 / Filmed Entertainment --- p.2 / Television --- p.2 / Walt Disney Feature Animation --- p.3 / Walt Disney Theatrical Productions --- p.3 / Disney Consumer Products --- p.3 / Broadcasting --- p.4 / Problems Identified in the Company --- p.5 / Chapter II. --- INTERNAL ENVIRONMENT ANALYSIS --- p.7 / Organizational --- p.7 / Financial --- p.8 / Marketing --- p.9 / R&D --- p.9 / Conclusion of Internal Analysis --- p.10 / Chapter III. --- COMPETITIVE ANALYSIS OF LOCATION --- p.12 / Tourists --- p.13 / Number of Tourists --- p.13 / Purchasing Power of Tourists --- p.13 / Local Residents --- p.14 / Number of Local Residents --- p.14 / Earning of Local Residents --- p.14 / Political and Social Atmosphere --- p.14 / Political Atmosphere and Stability --- p.14 / Social Ethic Standard and Educational Level --- p.15 / Government Policy --- p.15 / Culture and Ethical Factor --- p.16 / Economic Factors --- p.16 / Cost of Doing Business --- p.16 / Resources For Development --- p.17 / Suitable Place For the Construction of the Park --- p.17 / Infrastructure --- p.17 / Overall Attractiveness of the City --- p.18 / Other Factors --- p.19 / Potential For Development of Other Segments --- p.19 / Climate and Weather --- p.19 / Summary of Analysis and Conclusion --- p.20 / Chapter IV. --- EXTERNAL ENVIRONMENT ANALYSIS --- p.22 / Five Forces Model --- p.22 / Suppliers --- p.22 / Buyers --- p.23 / Competitors --- p.24 / Substitutes --- p.24 / New Entrants --- p.25 / Political Environment --- p.25 / Economical Environment --- p.26 / Social Environment --- p.26 / Technological Environment --- p.27 / Conclusion of External Analysis --- p.27 / Chapter V. --- SWOT ANALYSIS --- p.28 / Strength --- p.28 / Weakness --- p.29 / Opportunities --- p.29 / Threats --- p.29 / Conclusion of SWOT Analysis --- p.30 / Chapter VI. --- PAST EXPERIENCE OF DISNEYLAND PARIS --- p.31 / Painful Experience of Disneyland Paris --- p.31 / Problems Found in Disneyland Paris --- p.32 / Over-optimistic Prediction and Ill Pricing Strategy --- p.32 / Poor Financial Arrangement --- p.32 / Culture Difference and Anti-America Emotion --- p.33 / Over-capacity and High Operating Cost --- p.34 / Financial Performance of Disneyland Paris --- p.34 / Measures to Solve Financial Problems of Disneyland Paris --- p.35 / Chapter VII. --- LESSONS LEARNT FOR HONG KONG DISNEYLAND --- p.38 / Right Pricing Strategy Is Essential For the Theme Park --- p.38 / Highly Leveraged Financial Situations Are Vulnerable --- p.39 / Culture Factors Are Too Critical to be Ignored --- p.39 / Measures Should be Taken to Avoid Over-capacity --- p.40 / Recommendations to Disney on Hong Kong Disneyland --- p.41 / Chapter VIII. --- THE PROGRESS ALREADY IN HONG KONG --- p.43 / General Information of Hong Kong Disneyland --- p.43 / Investment Summary --- p.44 / Project Costs --- p.44 / Financial Arrangement of Theme Park and Facilities --- p.44 / Financial Arrangement of Development of Penny's Bay --- p.45 / Land Lease of the Theme Park --- p.46 / The Reaction of Public Community --- p.46 / The Reaction of Stock Market --- p.47 / Chapter IX. --- CONCERNS IN THE FUTURE --- p.49 / Chapter X. --- CONSULSION AND RECOMMENDATIONS --- p.50 / APPENDIX --- p.53 / BIBLIOGRAPHY --- p.55

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2017-05-09T13:27:47Z No. of bitstreams: 1 Simone de Novaes Costa Pereira_.pdf: 2594210 bytes, checksum: 40aa0222aecb8da7a5496942ef9f2246 (MD5) / Made available in DSpace on 2017-05-09T13:27:47Z (GMT). No. of bitstreams: 1 Simone de Novaes Costa Pereira_.pdf: 2594210 bytes, checksum: 40aa0222aecb8da7a5496942ef9f2246 (MD5) Previous issue date: 2017-03-21 / Nenhuma / A presente dissertação tem como objetivo conhecer o modo de ser da animação do desenho por meio da compreensão e observação dos princípios fundamentais Disney da animação cinematográfica. O método intuitivo, praticado por Henri Bergson, constitui o principal alicerce deste trabalho, no sentido de promover um estudo que tem como propósito compreender os modos de ser e de agir do objeto, tendo em conta suas duas tendências, virtual e atual. O conjunto dos doze princípios fundamentais é estudado a partir de uma abordagem tecnocultural, cujo enfoque reside na tentativa de apreender como técnicas e sensibilidades se transformam mutuamente. O conceito de imagem-movimento de Deleuze é fundamental na pesquisa, uma vez que os princípios são considerados tendo em conta uma dimensão relativa, referente às formalidades das operações no cinema, e uma dimensão absoluta, na qual se manifestam os regimes da imagem-movimento. A observação da dimensão absoluta se dá a partir da cartografia dos princípios, de acordo com a elaboração de duas constelações – Máscaras e Mecanicismos – em cenas de quatro longas-metragens de animação, quais sejam: Branca de Neve e os Sete Anões (EUA, 1937), Toy Story (EUA, 1995), A Viagem de Chihiro (Japão, 2001) e O Menino e o Mundo (Brasil, 2013). / The present dissertation aims to know the way of being of the drawn animation through the understanding and observation of the Disney’s fundamental principles of the cinematographic animation. The intuitive method, practiced by Henri Bergson, constitutes the main foundation of this work, in the sense of promoting a study whose purpose is to understand the ways of being and acting of the object, taking into account its two tendencies, virtual and current. The set of twelve fundamental principles is studied from a technocultural approach, whose focus lies in the attempt to learn how techniques and sensibilities transform each other. Deleuze's concept of image-movement is fundamental in the research, since the principles are considered taking into account a relative dimension, referring to the formalities of the operations in the cinema, and an absolute dimension, in which the regimes of the image-movement manifest themselves. The observation of the absolute dimension is based on the cartography of the principles, according to the elaboration of two constellations - Masks and Mechanics - in scenes of four animated feature films, namely: Snow White and the Seven Dwarfs (USA, 1937 ), Toy Story (USA, 1995), Spirited Away (Japan, 2001) and Boy and the World (Brazil, 2013).

Manufactured, experiential, consumption environments are increasingly mimicking the design techniques and principles on display within the Disney theme parks. One particular example of an experiential consumption environment which has been influenced by the Disney-style approach to business is the shopping mall. These commercialized attractions offer a distant alternative, and distraction, to everyday life. The theoretical concept of Disneyization offers insight into what visitors to these manufactured experiential consumption destinations are (assumed to be) searching for - and in-turn receiving. This thesis specifically focuses on 1) the development and design of the New Zealand shopping mall by assessing the extent to which identified elements of the Disney theme parks are replicated within the country's shopping destinations 2) the degree to which experiential consumption environments are being developed within New Zealand. Based upon the review of completed fieldwork, the 'System of Objects' theory proposed by Baudrillard and image association perspectives of Eco are added to the theoretical analysis as a complimentary aside to the Disneyization concept. These works also further highlight the link between experiential consumption environments and those who visit them.

This study is primarily about the theory of uneven geographical development. In an era when it is proclaimed that, through globalization, the world has become flat, the unevenness of economic and social development is often overlooked or suppressed. As the nexus between global and local processes, the urban space often becomes the site of conflict between those defining the hegemonic narrative of the space, from a global and flat perspective; and those experiencing heterogenous local narratives, whose uneven positions are reinforced by this hegemonic narrative. This study explores the conditions of uneven geographical development in the urban space of central Florida. Focusing primarily on the Reedy Creek Improvement District (RCID), better known by much of the world as Walt Disney World, and on Celebration, the community developed by the Disney Corporation in the 1990s, the relationship between urban development and tourism, the defining economic sector in the region, are explored in the context of space-place, global-local narratives. This is done using the four conditions of David Harvey's Theory of Uneven Geographical Development. First, the history of sociopolitical processes within the urban space are explored as creating a framework upon which contemporary uneven geographical development could be built. Second, the development and continued power of the RCID in central Florida are examined within the context of accumulation by dispossession. Third, Celebration as a consumed company town is examined in the context of accumulation across space-time. Finally, the relationships between the RCID and Celebration, and the rest of the central Florida region, are developed in the context of struggles occurring simultaneously across multiple scales. This study shows that the theory of uneven geographical development applies well to a region that is heavily dependent upon the tourist sector for its economy, and thereby works to control the narrative of that space to continue attracting consumers. It also shows that, while the theory of uneven geographical development works well for a space that is a primary global tourist sink, it needs additional theoretical sophistication in order to better suit rapidly changing global processes.

Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children's television programs. Animated films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals, such as such as Animation Journal and Wide Angle, to one of the most mainstream English-language publications, the Modern Language Association's Profession, which included Judith Halberstam's article "Animation" in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated feature film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated feature film, The Adventures of Prince Achmed (1926). Because of the international and interdisciplinary qualities of animation, my project draws upon a wide array of disciplines including film theory, historiography, and criticism; European modernisms; animation studies; early German culture; folklore; and literary adaptation. In order to explore such diverse subject matter I utilize feminist, discourse, Marxist/cultural, and film theories. My first chapter demonstrates inconsistencies concerning the development of the animated film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated feature film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization. In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German film industry. I argue that (German) national identity negatively impacted her and the film's discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balazs, and Arnheim. An analysis of the film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed's Berlin and Parisian releases, was a particularly difficult time for the German film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German film. Anti-German sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy. In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview of contemporaneous female artists and filmmakers elucidates the complicated relationships between women and film and women and modernity. Invoking Guyatri Chakravorty Spivak's interrelated concepts of the "politics of interpretation," "cultural marginalia," and "masculist centrality/feminist marginality," I posit Prince Achmed as a feminist celebration of handicraft and a critique of modern culture. Reiniger embraces her relegation to the private/domestic/feminine realm by revolutionizing silhouette cutting in the form of animated (feature) film. In Prince Achmed she critiques the contradiction between imagery of the New Woman and the actual plight of women in modernity. After situating animated film within the larger genre of film, in chapter four I reflect upon the scholarly tendency to relegate film to a status subordinate to traditional visual media, thereby further marginalizing animation. In this chapter I also define and debunk the Disney myth, which includes widespread misconceptions that Disney invented the multiplane camera and pioneered the animated feature film. I highlight contributing factors such as a noticeable lack of animation scholarship (Edera; Pilling) and a gap in interwar German history during which Prince Achmed was produced (Kracauer; Arnheim; Edera). The concept of "historical imaginary" developed by Elsaesser and Foucauldian "mechanisms of power" assist an understanding of the creation and nearly century-long perpetuation of the Disney myth, which has lost relevance to contemporary critical discourse. Having established primary and tertiary causes of the marginalization of Reiniger and Prince Achmed, I determine that this is a timely project since, according to Walter Benjamin, all images become intelligible only in later corresponding epochs. This "synchronicity" renders Prince Achmed comprehensible to critics in contemporary American animation-saturated culture. Because each chapter focuses on an element of otherness, my project illuminates the individual and culminating effects of national identity, gender, and genre on film history and discourse. By restoring Lotte Reiniger and Prince Achmed to their rightful discourse positions, my dissertation challenges existing understandings of the origins of animated film and development of the medium of film. Furthermore, my project encourages interdisciplinary scholarship, ongoing recovery of women and other historically overlooked groups, and interrogations of literary and other canonization.

Syftet med arbetet är att beskriva på vilket sätt tre Disneyfilmer, från olika tidsperioder, skulle kunna påverka barn mellan fyra och tio år, både religiöst och etiskt. De filmer vi analyserat är Askungen från 1950, Lilla sjöjungfrun från 1989 och Prinsessan och grodan från 2009. Genom att tillämpa den hermeneutiska tolkningsmetoden har vi analyserat och tolkat varje films religiösa och etiska budskap. Resultatet vi kommit fram till är att dessa filmer har budskap som härstammar från kristna etiska värderingar. Det religiösa budskapet blev synligt eftersom de religiösa och etiska budskapen ofta går hand i hand. Mycket av Bibelns innehåll är etiskt, då det har sin grund i de tio budorden. Resultatet visar att det finns en skillnad mellan filmernas budskap. Den första filmen, Askungen, har ett tydligt tolkbart kristet budskap medan budskapet har mer nyreligiösa inslag i den senaste filmen Prinsessan och grodan. Ett barn som ser filmerna hämtar sina idoler från dessa filmer och vill likna dem så mycket som möjligt. De kan välja att vara snälla som Askungen, nyfikna som Ariel eller hårt arbetande som Tiana.

A heterossexualidade não é natural, ela é uma condição culturalmente construída que precisa ser constantemente reiterada de modo a ‘normalizar’ os sujeitos. Esta pesquisa assume tal premissa como seu fundamento. No que se refere à perspectiva analítica, alinho-me aos Estudos Culturais em sua vertente pós-estruturalista e recorro a formulações dos Estudos Feministas e da Teoria Queer. Entendo que, no processo contínuo de reiteração da heterossexualidade como norma, inúmeras estratégias e artefatos culturais são utilizados. Nesta tese, analiso os mecanismos postos em ação pelos filmes infantis de animação da Disney, quais sejam: A Pequena Sereia, Mulan, A Bela e a Fera e O Rei Leão. Esses artefatos culturais têm grande importância não apenas no cotidiano das crianças, como também no funcionamento da economia global, movimentando milhões de dólares. Eles certamente constituem-se em importante recurso pedagógico contemporâneo. Interessam-me, aqui, especialmente os enunciados performativos que são repetidos nos filmes infantis, de modo a produzir identidades de gênero e sexuais e garantir a heterossexualidade como norma Acredito que a identidade hegemônica não é perseguida apenas e tão somente através da constante apresentação do Mesmo, mas também (e, talvez, principalmente) é reafirmada através da produção do estranho, do monstro, do abjeto, que funcionam, nesse contexto, como parâmetros de normalidade, como modos de garantir o cumprimento das normas regulatórias. Para desenvolver esta análise, utilizo como ferramentas analíticas fundamentalmente os conceitos de identidade, performatividade, abjeção e normalização.

Submitted by Daniele Santos (danielesantos.htl@gmail.com) on 2015-12-22T16:42:11Z No. of bitstreams: 1 Tsatsi.pdf: 2929577 bytes, checksum: 891aabbcf7fe3c8f88c52bdcc914d2b9 (MD5) / Approved for entry into archive by Janete de Oliveira Feitosa (janete.feitosa@fgv.br) on 2015-12-29T13:15:34Z (GMT) No. of bitstreams: 1 Tsatsi.pdf: 2929577 bytes, checksum: 891aabbcf7fe3c8f88c52bdcc914d2b9 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2016-01-07T11:55:31Z (GMT) No. of bitstreams: 1 Tsatsi.pdf: 2929577 bytes, checksum: 891aabbcf7fe3c8f88c52bdcc914d2b9 (MD5) / Made available in DSpace on 2016-01-07T11:55:52Z (GMT). No. of bitstreams: 1 Tsatsi.pdf: 2929577 bytes, checksum: 891aabbcf7fe3c8f88c52bdcc914d2b9 (MD5) Previous issue date: 2015-10-27 / In the contemporary societies, many children are drawn to digital media, using it in ways that were initially unfathomable. Changing digital habits among young children have been affiliated to the rapid development, witnessed in the technological field. Prevalently, new forms of technology are being developed and ingrained into young children’s day-to-day activities. The emergence of new forms of technology has in turn prompted significant changes in digital and media consumption particularly, among young children. Changes in media and digital consumption have in turn instigated linear transition in the analogue media industries. This has resulted in analogue media networks working towards digitalizing their industries in a manner that will befit changing digital habits among young children. This report aims at establishing and analyzing the different ways in which children’s digital habits have changed and revolutionized. To achieve this, the report will critically examine the existing scope of knowledge, with reference to changing digital habits among young audiences. Further, the report also aims at establishing the manner in which children television networks have adapted to the changing digital habits among young audiences. To achieve this, the report will focus on two children television networks, Disney channel, and Nickelodeon. After which, a comparative analysis will be conducted to establish the changes made by each of these television channels, with the aim of adapting to the new digital habits among children.

A heterossexualidade não é natural, ela é uma condição culturalmente construída que precisa ser constantemente reiterada de modo a ‘normalizar’ os sujeitos. Esta pesquisa assume tal premissa como seu fundamento. No que se refere à perspectiva analítica, alinho-me aos Estudos Culturais em sua vertente pós-estruturalista e recorro a formulações dos Estudos Feministas e da Teoria Queer. Entendo que, no processo contínuo de reiteração da heterossexualidade como norma, inúmeras estratégias e artefatos culturais são utilizados. Nesta tese, analiso os mecanismos postos em ação pelos filmes infantis de animação da Disney, quais sejam: A Pequena Sereia, Mulan, A Bela e a Fera e O Rei Leão. Esses artefatos culturais têm grande importância não apenas no cotidiano das crianças, como também no funcionamento da economia global, movimentando milhões de dólares. Eles certamente constituem-se em importante recurso pedagógico contemporâneo. Interessam-me, aqui, especialmente os enunciados performativos que são repetidos nos filmes infantis, de modo a produzir identidades de gênero e sexuais e garantir a heterossexualidade como norma Acredito que a identidade hegemônica não é perseguida apenas e tão somente através da constante apresentação do Mesmo, mas também (e, talvez, principalmente) é reafirmada através da produção do estranho, do monstro, do abjeto, que funcionam, nesse contexto, como parâmetros de normalidade, como modos de garantir o cumprimento das normas regulatórias. Para desenvolver esta análise, utilizo como ferramentas analíticas fundamentalmente os conceitos de identidade, performatividade, abjeção e normalização.

Made available in DSpace on 2015-08-18T17:46:38Z (GMT). No. of bitstreams: 1 166445.pdf: 36841 bytes, checksum: c700a62e5aa4703acefb63be2341342b (MD5) Previous issue date: 2005-02-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O parque temático surgiu em 1955 pela vontade de Walt Disney de criar um mundo, o qual fosse um ambiente controlado, limpo, seguro, sem nenhuma interferência do exterior. Após o sucesso deste modelo, os outros parques começaram a utilizá-lo como exemplo. No Brasil têm-se os parques temáticos Hopi Hari (SP) e Beto Carrero World (SC), que seguem o modelo norte-americano. O Hopi Hari, considerado o maior parque e o que recebe mais visitantes, foi tematizado como sendo um país. Neste país há a bandeira, o hino e os habitantes que circulam pelas suas cinco áreas, recebendo os visitantes. A hospitalidade é um fator importante para o bom funcionamento de um parque. Assim, além de ser um ambiente cuja finalidade principal é fornecer a diversão para seus visitantes, se for um ambiente hospitaleiro, que recebe bem, que faz com que as pessoas se sintam acolhidas, a satisfação dos visitantes é maior. Podendo aparecer a fidelização, com isto obtem-se a volta do cliente. No trabalho foi realizada uma pesquisa com pessoas que haviam visitado o Hopi Hari, para verificar se os visitantes conseguiam perceber a sensação de hospitalidade, através de itens, como arquitetura, alimentação e segurança dentro do parque. O resultado desta aferição, bem como o que é o modelo Disney de parque temático, e suas influências em terras brasileiras, estão demonstrados neste trabalho, a seguir.