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Gomes, Rita. "Walt Disney World(s) : os bastidores." Master's thesis, FEUC, 2010. http://hdl.handle.net/10316/14475.
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Curran, Kerrie Lea. "A tourist's guide to hyperreality destination : Disney." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23199.
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This thesis chronicles an attempt to delve into the murky world of image and semblance, illusion and contrivance. The examination and especially the celebration of image and style--of simulation--throughout recent cultural debate is incisively expressed through the framework of popular culture. Walt Disney World, as a cultural artifact and profit-making commodity, is the consummate model of all the entangled processes of popular culture: a turbulent melange of aesthetic, ethical, and sociological concerns.America is Disney World; borne of fantasy and ubiquitous iconism. Our cultural atlas reverberates with the energy of cinematic, pulsating and seductive imagery; restrained and unfulfilled by the voyeuristic stance of the pseudo-event.
This study registers a pilgrimage into the shadows of our own creative aspirations: how can we engage in exploring new possibilities for architectural making, addressing imaginatively and ethically the rupture of the fabric symbolically connecting the actor and the drama?
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Reyers, Anne. "Emotional regulation at Walt Disney World deep acting vs. surface acting." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5017.
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The objective of this study is to examine the emotional regulation strategies used by Walt Disney World on-stage employees as a way to fulfill requirements set forth by the company. Ten Disney on-stage employees were interviewed off-property in Orlando. The emotional regulation framework was divided into several categories: (1) a distinction between deep acting and surface acting, (2) emotional deviance, and (3) emotional exhaustion. "Surface acting" is a strategy by which employees display company-imposed emotions not genuinely felt, whereas "deep acting" occurs when employees do feel the emotions that they are required to express (Hochschild, 1983). Throughout the data reduction process, five key themes surfaced as the most relevant to the initial research questions: (1) Self-Motivated Deep Acting, (2) Organizational Expectations for Surface Acting, (3) "Back-Stage" vs. "Front-Stage" Dichotomy, (4) Benefits of Emotional Training, and (5) Negative Effects of Emotional Regulation. Overall, the researcher found that a key strategy of emotional regulation that Disney employees use frequently is surface acting, although deep acting was found to be more successful. In addition, while emotional exhaustion was a common problem among employees, very few of them will actually engage in emotional deviance in order to avoid the negative consequences of surface acting. Lastly, it was found that highly skilled Walt Disney World employees will have already internalized emotional regulation training and display rules that manage emotional behavior. Therefore, it becomes less essential for the Disney Company to formally monitor its employees' facial expressions and emotional behavior in the future.ID: 029809526; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 74-85).
M.A.
Masters
Communication
Sciences
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Harrington, Sean. "Walt Disney's world : homunculus, apparatus, utopia." Thesis, Brunel University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573595.
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This text seeks to provide an account of the subject as a consumer of mass-media. As such, the contemporary consumer must interact with corporate entities as socio-cultural institutions that enable a self-administration of gratification. The case under discussion is that of the Walt Disney Company, which is perhaps the most iconic purveyor of consumable media in the world. It is argued that the Walt Disney Company is structurally perverse, that the gratification of the Disney consumer is achieved at their expense, and that this expense is to the benefit of Disney commercially and structurally as a major socio-cultural institution. This text makes use of Lacanian psychoanalytic theory, film and cultural studies, and the industrial-organisational history of the Walt Disney Company to create an account of the subject's interactions within the apparatus of Disney media. The account of consumerism constructed within this text is organised by a synthesis of several theoretical constructs: the animated homunculus, the regressive cinematic apparatus and the Disney consumerist utopia. The homunculus refers to a point of contact for the subject's gratification. It is a fetishistic device used in animated films to create a focal point for the viewer's desire and identifications. This operates within the subject's relation to the screen as apparatus, which in the case of Disney is demonstrated to be regressive in its narrative structure and stylistic content. The regressive pleasures of Disney media support a system and economy of gratification that crystallizes in Disney as a commercial entity. The ideological and structural core of the Disney entity is demonstrated to be a utopian vision of consumerism and self-administration of gratification. The creation of socio-cultural structures that enable the subject to self-administrate their gratification is shown to be related to the problem of addiction; a dependency on consumables and consumption itself. Together these concepts create a holistic account of Disney as an object of study, as both commercial entity, visual medium and cultural institution.
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Zitawi, Jehan Ibrahim. "Translation of Disney comics in the Arab world : a pragmatic perspective." Thesis, University of Manchester, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488196.
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The vast majority of studies drawing on pragmatics have focused on conversation and face-to-face interaction, with little or no attention paid to written text. Like much of pragmatic theory, Brown and Levinson's politeness theory also focuses on spoken discourse. At the same time, politeness theory claims to offer a universal framework for the study of politeness across different cultures and, one would therefore assume, across different genres of discourse. This study attempts to examine the applicability of the Brown and Levinson model to a particularly challenging genre, namely Disney comics, and to extend the model beyond monolingual and monocultural contexts, to look at politeness strategies in translation between two very different cultures. The study thus sets out to test politeness theory to ascertain whether it can offer credible and coherent explanations of the potential for comics in translation to threaten the face(s) of Arab readers, and whether it can provide a robust framework for describing the pragmatic strategies employed by translators seeking to maintain the face(s) of Arab readers. The study argues that Brown and Levinson's politeness theory can be fruitfully applied to Disney comics translated from English into Arabic, provided we can demonstrate that (a) it is possible to identify a composite speaker and composite hearer in Disney comics, and (b) Disney comics can be read as face threatening texts (FTTs). Disney comics are simply texts that have writers and readers. However, the complex nature of this discourse and the attempt to contextualise it within a totally different culture - Arab culture - point to certain limitations of the Brown and Levinson model. At the same time, they enable us to propose ways in which the model may be refined to read the nuances of complex discourses, such as Disney comics, that are normative and manipulative in nature while presenting themselves as benign entertainment. The data used in this study consists of 278 Disney comic stories: 140 English stories and 138 Arabic stories translated and published by Dar Al-Hilal in Egypt, Al-Futtain/ITP in Dubai, and Al-Qabas in Kuwait. The English stories appeared between 1962 and 2000. The Arabic stories appeared between 1993 and 2003. Most of these comics are aimed at 6-13 year-olds. The starting point of the analysis is a conventional application of Brown and Levinson's politeness theory to original and translated Disney comics, looking specifically at three sources of face threat in this context: verbal and/or visual signals that can be considered taboo or at least unpalatable to the reader; the raising of sensitive or divisive topics (e. g., Jewish and Christian imagery and colonial ideologies, stereotyping and ridiculing the target reader); and the use of address terms and other status-marked identifications that may be misidentified in an offensive or embarrassing way, either intentionally or accidentally. Politeness strategies used by Arab publishers and translators in the data examined in this study include all three categories proposed by Brown and Levinson: Don't do the FTA; Do the FTA on record with mitigation; and Do the FTA baldly with no mitigation. However, the study also reveals a number of weaknesses inherent in the Brown and Levinson model and highlights the need to refine politeness theory in order to make it more applicable to the analysis of complex genres such as comics and complex types of face threat encoded in discourses which are normative in nature but which present themselves as benign.
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Donofrio, Elaina C. "The Wonderful World of Gender Roles: A Look at Recent Disney Children’s Films." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3061.
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Thesis advisor: Lisa CuklanzFor my Communication Honors Program thesis for Boston College, I plan to analyze gender roles and how gender is constructed in recent children’s films produced by Disney. Since the Disney Corporation is so prominent in today’s culture and thus influential to its audience, this topic of study is very important. It impacts many people including its main target audience—children. Existing research proves that children develop their gender schemata early in life. Furthermore, the media they interact with influences children and their concepts of gender. Therefore, the way that Disney portrays gender in its children’s movies is worth analyzing since it can impact the way children develop and view gender and stereotypes
Thesis (BA) — Boston College, 2013
Submitted to: Boston College. College of Arts and Sciences
Discipline: Communication Honors Program
Discipline: College Honors Program
Discipline: Communication
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Jay, Lance Edward. "Total Quality Management within the decentralized orientation process of the Walt Disney World Company." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0016/MQ57180.pdf.
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Ray, Emily Grider. "Part of Their World: Gender Identity Found in Disney Princesses, Consumerism, and Performative Play." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3320.pdf.
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Melberg, Alexandra, and Tilde Gustafson. ""And the World has Somehow Shifted." : En kvantitativ studie av genuskonstruktioner i Walt Disney Pictures animerade långfilmer." Thesis, Linnéuniversitetet, Institutionen för medier och journalistik (MJ), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-36176.
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The Disney princess line includes nine films, in our study we have extended this line to include the latest three films from Walt Disney Pictures that follow the same pattern. These films are Tangled (2010), Brave (2012) and Frozen (2013). We have conducted our study using the same method used by England, Descartes and Collier-Meeks (2011) in their study of the first nine films, starting with Snow White and the Seven Dwarfs produced in 1937 to Princess and the Frog from 2009. A quantitative study was executed where we focused on gender role portrayal, the main characters behavioral characteristics and performed rescues. We applied the following theories to our result; the Social Constructivism, Laura Mulvey’s theory of the Male Gaze, Michel Foucault’s theory of power and discourse, intersectionality and Claude E. Shannon and Warren Weaver’s model of communication. Our result of the content coding shows a more nuanced depiction of both male and female main characters where the roles have shifted. The female main characters have been asigned a more traditionally masculine role in the films. The story in all of our three films revolves around the female main characters efforts to achieve their goals. The male main characters have abandoned their shiny armour and white horse and persued a role as the one who leads the female to her goal. A one-way analysis of variance was implemented to see differences over time in gender role portrayal of men and women. The result suggest that the male and female roles have changed over time, altough the men are those who have changed the most.
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Palmer, Ann Marie. "Muslim cultures and the Walt Disney World theme parks the spread of religious perceptions in a global market /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0025036.
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Hookham, Williams Claire Lesley. "47 square miles of globalization : an ethnography of 'skin close' emotional labour control methods at Walt Disney World." Thesis, University of Liverpool, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569896.
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Martins, Fabrício Almeida Brandão. "Articulação de uma plataforma de experiência para engajamento: estudo da plataforma digital MyMagic+ da Disney." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20133.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation has as main research goal the design of the perceptive experience for structuring a platform of experience configured to promote the engagement between people and companies in large scale. For this, it features a MyMagic+, digital platform that connects all Disney attractions and narratives, promoting a comprehensive, engaging and irresistible experience. Making a counterpoint to marketing yearnings according to a vision of marketing executives and thinkers such as Steven J. Heyer, Kevin Roberts, Lee Cockerell, and Philip Kotler, this research addresses subjects such as experience, media, design, synaesthesia, and engagement through authors Like Merleau-Ponty, Maturana and Varela, McLuhan and Jenkins, an interdisciplinary analysis necessary also includes concepts worked by Donald Norman, emotional design researcher and game designer Scott Rogers. They are analyzed as perceptions of magic and dream described by Disney consumers, the importance of constructing a utopian thematic world, a technical articulation of the means for a configuration of desires and the role of affectivity in the interaction, always with a view to understanding what is engagement and the role of a platform in technology-mediated engagement
Esta dissertação tem como meta principal de pesquisa o design da experiência perceptiva para a estruturação de uma plataforma de experiência configurada para promover o engajamento entre pessoas e empresas em grande escala. Para isso, apresenta a MyMagic+, plataforma digital que conecta todas as atrações e narrativas Disney, promovendo uma experiência abrangente, envolvente e irresistível. Fazendo um contraponto com os anseios mercadológicos de acordo com a visão de executivos e pensadores do marketing como Steven J. Heyer, Kevin Roberts, Lee Cockerell e Philip Kotler, esta pesquisa aborda temas como experiência, meio, design, sinestesia e engajamento através de autores como Merleau-Ponty, Maturana e Varela, McLuhan e Jenkins em uma análise interdisciplinar necessária que inclui também conceitos trabalhados por Donald Norman, pesquisador do design emocional e o designer de games Scott Rogers. São analisadas as percepções de magia e sonho descritas pelos consumidores da Disney, a importância da construção de um mundo temático utópico, a articulação tecnificada dos meios para a configuração dos desejos e o papel da afetividade na interação, sempre tendo em vista o entendimento do que é engajamento e o papel de uma plataforma digital no engajamento mediado pela tecnologia
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Oh, Dongil. "Beautiful things in the world: a semiotic analysis on Disney and Japanese 2D feature-length animation through creative practice." Thesis, University of South Wales, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.591048.
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Disney and Japanese feature-length animations, which have led the world's animation markets for a long time, show their own unique, inherent characteristics in the representation of animated images. As such, the analysis on the characteristics of the signification system of Disney and Japanese feature length animations that this thesis centrally deals with eventually examines the aesthetic characteristics and value of these two animations. Moreover, this thesis examines how the animated representations of Disney and Japanese feature-length animations, which individually have their OV..r1l signification system and aesthetic characteristics, are accepted by the audience. This can be considered the analyses on 'the reality effect' that these two animations pursue. In general, most animation works focusing on characters and stories contain the signification systems related to 'denotation' and 'connotation'. However, the aesthetic representational tendency that appears differently, depending on the characteristics of the signification system that each animation work pursues, can be known through creative practice. In addition, noteworthy is the fact that the tendency of aesthetic representation shown in each work appears differently, depending on the signification system that the director and animator pursue even if the same theme is dealt with. From this point of view, the characteristic difference of the two animations' signification system and aesthetic representation can be explained through the terms 'denotative' for Disney and 'connotative' for Japanese animation. Disney animation strongly shows the tendency that makes the audience directly immersed in the theme and message of the work conveyed further in the myths by pursuing denotative signification system and aesthetic representation. So characters movements based on 'typified animation principles', 'the typified character design ', 'the realistic background design' , 'the application of camera techniques of Hollywood live-action film', and the entertainment-like 'musical elements' to embody hyper-reality in the animated representation of Disney animation can be said to be aesthetic techniques and elements to make the consciousness of the audience immersed and led into animation works eventually. On the other hand, Japanese feature-length animation emphasises connotative signification system and aesthetic representation. Unlike Disney animation, the tendency to make the audience contemplate and look for the connotation contained in the work by itself appears prominently. And, unlike Disney animation, in the case of Japanese animation, the 'dissenting and arbitrary interpretation' of the theme, the message that the animation work intends to convey and myths pursued is bound to appear diversely, depending on the audience's experiences and cultural and social backgrounds. Through not only theoretical discourse on the research theme but also Beautiful Things in the World produced as a creative practice related to the research theme, this thesis also more practically approaches the characteristics of the signification system that these two Disney and Japanese feature length animations have. Particularly, by attempting to materialise and compare the signification systems that each Disney and Japanese feature length animation pursues in the one work through creative practice, eventually this research thesis more practically compares and analyses the essential differences that the characteristics of aesthetic representations of these two animations have from a communicative point of view.
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Whitaker, Janelle. "A Whole New World: A study on the impact the Disney Theatrical Group has made on Broadway theatre and Times Square over the past 20 years." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1514644833674716.
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Butler, Alissa Nicole. "The Pleasure in Paradox: The Negotiation Between Agency and Admiration in the Disney Fan Community." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1616696060337541.
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Brandão, Mariana da Fonseca. "Working an identity, buying a life: the remains of Disney way of life among ICP alumni." reponame:Repositório Institucional do FGV, 2013. http://hdl.handle.net/10438/11349.
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O Disney International College Program (ICP) é um programa de estágio patrocinado pela Walt Disney Company, destinado a estudantes universitários estrangeiros. Uma vez aceitos no programa, estes jovens viajam para os Estados Unidos durante as férias de verão para trabalhar por três meses no Walt Disney World Resort na Flórida. O ICP tornou-se um programa popular dentre os estudantes universitários brasileiros. Todos os anos, aproximadamente trinta mil jovens candidatam-se para o programa. Contudo, apenas cerca de oitocentos conseguem ser aprovados. Durante o programa esses jovens desenvolvem uma 'identidade Disney' que passará a fazer parte do self deles. O objetivo deste trabalho é explorar o papel ICP na vida dos seus participantes, assim como desvendar seus efeitos na construção do self destes jovens. O presente estudo também procurou avaliar como os participantes conseguem sustentar sua 'identidade Disney', mesmo após deixarem o programa. Para tanto, foi desenvolvido um estudo de caso qualitativo, no qual o caso analisado foi a identidade de participantes do ICP. Após uma breve análise da literatura sobre identidade, consideramos o self como a capacidade do individuo em manter viva uma narrativa particular. Assim, nossos dados foram coletados e analisados por meio do método de análise narrativo. Através deste estudo, descobrimos que a Walt Disney Company realiza um trabalho eficiente em convencer os participantes do ICP que a sua missão e seus valores são muito importantes. Com isso, estes jovens passam a louvar a marca Disney. Também foi observada a existência de uma comunidade de Disney Alumni (pessoas que participaram do ICP) unida por princípios, ideias e consumo.
The Disney International College Program (ICP) is an internship program sponsored by The Walt Disney Company, in which foreign university and college students travel to the United States, to spend their summer vocation working on the Walt Disney World Resort on Florida. The ICP has become very popular among Brazilian university students. Every year, almost thirty thousands of them apply for this program, though only about eight hundred manage to become a cast member. While on the program these youngsters develop a Disney Identity that is joined to their self. This research's goal is to explore the ICP role on the participants` life, showing its effects on these youngsters self-construction. In addition, we have aimed to investigate how ICP Alumni (people who took part of the ICP) manage to sustain their Disney identity, even after leaving the program. In order to meet our goal we have developed a qualitative case study, in which the case studied was the ICP alumni identity. Moreover, through our literature review we have acknowledged that someone’s self lays in the capacity to keep a particular narrative going on. Hence, our data was collected and analyzed through a narrative inquire method. Athwart our study, we have found out that the Walt Disney Company does an efficient job in convincing these youngsters that their mission and values are very important and thus, the ICP alumni become to praise the Disney Company and brand. We have also observed the existence of an actual Disney alumni community bonded by principles, ideas and consumption.
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Rowland, Michelle M. "Manifestations of Ebenezer Howard in Disneyland." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0002225.
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Alcobia, Rodrigo Araújo. "Dimensões da hospitalidade nos parques temáticos." Universidade Anhembi Morumbi, 2005. http://sitios.anhembi.br/tedesimplificado/handle/TEDE/1501.
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Previous issue date: 2005-02-24Coordenação 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.
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Bezdecny, Kristine. "Placing Reedy Creek Improvement District in Central Florida: A Case Study in Uneven Geographical Development." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3010.
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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.
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Cokely, Carrie Lynn. "Discovering the magic: Readings, interpretations and analyses of the wonderful worlds of Disney." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.
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Eggers, Barbara. "The precautionary principle in WTO law." [S.l. : s.n.], 2001. http://www.sub.uni-hamburg.de/disse/451/Disse.pdf.
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McCreanor, James Edward. "The health effects of disel exhaust in asthma patients : a real world study." Thesis, Imperial College London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499059.
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Hightower, William Patrick Davis Frederick R. "Disney and the domestication of nature." 2004. http://etd.lib.fsu.edu/theses/available/etd-11102004-131409.
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Thesis (M.A.)--Florida State University, 2004.Advisor: Dr. Frederick Davis, Florida State University, College of Arts and Sciences, Dept. of History. Title and description from dissertation home page (viewed Jan. 12, 2005). Includes bibliographical references.
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CHIN, FU FENG, and 傅鳳琴. "Deconstrucion of Disney-modeled fairy world For xamples of the Disney''s motion pictures In Taiwan from 1991 to 2002." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/30778610048410228983.
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碩士臺東師範學院
兒童文學研究所
91
Every summer entertainment companies brought forth movies which targeted at children. The marketing was becoming more and more novel while the box office was always reaching new highs. Disney Pictures, among others, put on a motion picture applicable to all ages almost each year. The stories ranged from western tales to oriental ones, and the materials renovated year by year, either by revised from world masterpieces or by creating a brand new one. The success to business advertisement of these pictures lured a lot of children. In addition, the creativity and style also counted for the inevitable attraction, and even formed a model by themselves. This research, based on Vladimir Propp’s Functions of Narrative, analyzes the motion pictures published by Disney Pictures. These movies always began with narrative scenario, and the roles were all good or evil. The leading character went through mountains of trials, passed all the crises with magic, and finally defeated the evil side and completed the mission. In the end, the evil lead was punished; the prince and the princess had lived happily together forever and ever. However, this kind of fixed composition is not changed by different kinds of plays. Disney uses a conventional fairy-tail narrative style in her motion pictures. By exploiting media like movies, though, Disney chooses the structure of fairy tales. Disney’s also breaks the limitation of traditional cast to add some delightful tastes other than paper-based plays. The originality of all parts in the movies is elaborately portrayed as well. The cast is designed for entertaining in the first place, besides the plot of the play.
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Day, Yeong-Jia, and 戴永家. "A study of tourists' risk information search tactic and decision-making on theme parks: examples of Yamay Discovery World and Disney World." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/18893393471771846465.
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碩士國立成功大學
交通管理學系碩博士班
93
ABSTRACT This study begins by indicating ten travel issues/risks which theme park travelers may concern: they are the risks of Travel Dispute, Satisfaction,Accommodation, Timing, Transportation, Financial, Law and Order,Sightseeing Spot, Terrorism and Medical Support. Each traveler concerns/acknowledges the different degree of the issues/risks; he or she therefore ends up with different Tourist characteristics, Risk information search strategy and Behaviors. Next, we continue by comparing some basic characteristics from tourists who travel to domestic or foreign theme parks.Also, by applying statistic approaches, Two-stage clustering and Self-Organizing Map, to analyze 553 valid domestic and 192 foreign traveler questionnaires, we goes to the core of the study and cluster tourists in different levels, according to their different level of concern to the travel risks.Different statistic methods present different statistic results; we thus compare their differences. The study is concluded with some interesting findings: Tourists who travel to domestic or to foreign theme parks present different testing results in issues of travel risks concerning, decisive information and tourist characteristics; The more attention is paid to the travel risks, the wider areas of them will be cared by tourists; Tourists look at the risk information, which is handy and is presented professionally; The issue of transportation risk is a universal concern; With regard to the subject of perceived risk, domestic theme park tourists prefer uncertainties; foreign theme park travelers, on the other hand, concern their decision-making consequences.
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Scalera, Marisa N. "You're on stage at Disney World : an analysis of Main Street, USA in the Magic Kingdom." 2002. http://purl.galileo.usg.edu/uga%5Fetd/scalera%5Fmarisa%5Fn%5F200208%5Fmla.
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Robertson, Thomas B. "The wonderful world of Walt Disney nature and nation in Bambi and the "true life" adventures /." 1999. http://catalog.hathitrust.org/api/volumes/oclc/45106811.html.
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Ribera, Robert. "Between patriotism and pacifism: Jacob Lawrence, John Huston, Bill Mauldin, and Walt Disney during World War Two." Thesis, 2016. https://hdl.handle.net/2144/20712.
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During World War II, four artists—filmmakers Walt Disney and John Huston, painter Jacob Lawrence, and cartoonist Bill Mauldin—were among the soldiers fighting on the front lines, and the officers and staff who supported them at home and abroad. I argue that the art they created during the war and in their themes, overt and covert resonates beyond the rhetoric of patriotism. Their work reveals the tension between an artist’s desire to support the soldiers and the cause, while questioning the purpose of the war and its destructiveness. The works discussed in this dissertation all operate on these two levels. Created within the historical context of patriotism and anti-fascism, they present a product aimed at support, designed to inform and persuade the American public about the threat of fascism, the realities of war, the strength and reserve of the soldiers fighting it, and the ultimate righteousness of the task ahead. At the same time, these works also reveal a skepticism about the war. Chapter 1 examines Jacob Lawrence’s paintings from his time in the Coast Guard, as well as his War and Hiroshima series. I explore the ways Lawrence’s experience shaped the form and the content of his war paintings. Chapter 2 looks at the wartime documentaries of John Huston: Report from the Aleutians (1943), San Pietro (1945), and Let There Be Light (1946) as well as Huston’s adaptation of The Red Badge of Courage (1951). This chapter shows Huston’s increasingly ambivalent attitude and skepticism about the war. Chapter 3 analyzes Bill Mauldin’s cartoons for Stars and Stripes, as well as his political cartoons printed after the war and his 1956 congressional campaign. I relate Mauldin’s own skepticism towards the war through my analysis of his main characters Willie and Joe, common soldiers frequently overwhelmed by the tedium of war and military bureaucracy. Chapter 4 explores the propaganda cartoons of the Walt Disney Studios, particularly Chicken Little, Education for Death, Der Fuehrer’s Face, and Reason and Emotion, situating them as precursors to Disney’s future works as an educator.
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Gschrey, Christoph. "Investing Disney´s beta: is there a change in systematic risk trough 21 CF?" Master's thesis, 2020. http://hdl.handle.net/10362/107357.
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The World Disney Company bought particular 21st Century Fox assets in FY2019. This paper investigates the risk profile of both companies, before and after the acquisition. Moreover, the valuation impact of a possible change in the risk profile is measured.
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Barall, Elfriede Michi. "Brand New Worlds: Disney's Theatre Assemblages." Thesis, 2020. https://doi.org/10.7916/d8-h8zb-s361.
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The significance of brands within our media-intensive culture can hardly be overstated. Having emerged in the mid-20th century as platforms for the distribution of commodities, brands have since become, as scholar Celia Lury argues, “the logos of the global economy.” Brand interfaces not only differentiate mass production, but produce cultural assemblages that rewrite social and political relations. This dissertation concerns itself with the meaning of theatrical production within brand performance, with a specific focus on the Walt Disney Company. Although there are many corporate producers in commercial theatre today — Warner Brothers, MGM, Universal, and Cirque du Soleil, to name a few — Disney has the distinction of being the first to make live theatre a cornerstone of its brand relationships. Disney has also had, in branding terms, the most depth, breadth and consistency of any global entertainment brand.
Using the concept of assemblage as an applied framework, I consider how Disney’s brand theatre functions as a form of communicative/affective capitalism, as an interface for consumer interactivity and exchange. Following Deleuze and Guattari, DeLanda and Lury, I argue that Disney’s theatre assemblages are heterogeneous, contingent, emergent and most of all generative. At the heart of this project is the question of how Disney’s theatre assemblages cohere – the question of identifiable, intensive continuities. What kinds of historical contingencies are replicated in Disney’s texts and territories? How does the company code cultural flows? In what ways are Disney’s theatre assemblages networked to social formations like childhood, gender, race, sexuality, and nation? What kinds of consumer interactions and socio-technical conditions are most important to the ongoing process of developing brand relations? Although Disney’s multi-modal theatre assemblages are a function of neoliberal logic and labor norms, and sustain dominant modes of production, they are also highly mutable, often supporting contested claims of intelligibility and citizenship.
The company produces a vast range of theatre experiences. This dissertation focuses on character encounters, children’s theatre, Broadway musicals, a re-creation of Buffalo Bill’s Wild West and animal/safari performance. The chapters are composed as a nested set of assemblages, starting with theatre for Disney’s most important demographic: children. I then move into larger social fields/assemblages, considering theatre that addresses the nation, theatre that reframes transnational/global space, and finally, animal/ecological theatre. Taken together, the chapters present an argument for the significance of brand theatre as a localized, expressive, collaborative and extremely flexible site of cultural affiliation, agency and assembly.
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CHEN, HUI-JUNG, and 陳慧榮. "The Effectiveness of Applying Disney Animated Films to Enhance Taiwanese 5th Graders’ English Word Recognition Abilities and Gender Awareness." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/85019475206155213016.
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碩士國立臺北教育大學
兒童英語教育學系碩士班
105
The quasi-experimental study aims to explore the impact of applying Disney animated films into English classes on word recognition and gender awareness of 47 fifth graders in New Taipei City, 23 of whom served as the experimental group watching films and 24 of whom served as the control group doing worksheets after theme song instruction. The study was conducted 40 minutes a week for eight weeks. Data were collected through pre- and posttests of word recognition, pre- and post-questionnaires of gender awareness and a feedback questionnaire. The collected data are analyzed with descriptive statistics and independent t-test. The results of the study are that both groups’ English word recognition abilities progressed significantly but their gender awareness was not improved significantly after the experimental instruction. While the experimental group holds highly positive attitude toward applying Disney animated films into their English classes. Based on the research results, some suggestions are offered for pedagogical applications and future studies.