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Hamel, Gérard. "Evolution d'une entreprise vouée à la communication et aux nouvelles technologies Walt Disney Productions." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37598221h.
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Barbosa, Miguel Sousa Montes Ferreira. "Equity research - The Walt Disney Company." Master's thesis, Instituto Superior de Economia e Gestão, 2020. http://hdl.handle.net/10400.5/20569.
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Mestrado em FinançasEste Relatório de Equity Research foi escrito como Trabalho Final de Mestrado em Finanças e segue o formato recomendado pelo CFA Institute. A escolha da The Walt Disney Company para este trabalho deveu-se a vários motivos: a longa e interessante história da empresa que, com pontos altos e baixos, é uma oportunidade de aprendizagem com o seu estudo; o seu negócio dividido em vários segmentos que, apesar de terem diferenças significativas, são altamente sinergéticos e, em alguns casos, estão mudar o paradigma da indústria do entretenimento; mais importantemente, sabiamos à partida que a empresa tinha passado por uma reestruturação e que se encontrava num processo de aquisição. A segunda e terceira razões elevaram o desafio significativamente, o que, na nossa opinião, seria apropriado para um verdadeiro Trabalho Final de Mestrado. Naturalmente, a pandemia COVID-19 desafiou-nos adicionalmente e, como tal, foi considerada neste projecto. Para avaliar a Disney, utilizámos um modelo DCF, bem como um DDM e uma anállise de múltiplos. Chegámos a um price target de USD 144.11, implicando um upside de 26.00% face ao preço de USD 114.37 a 19 de Maio de 2020 e levando a uma recomendação de Buy.
This Equity Research Report was written as a MSc in Finance's Final Work and follows the format recommended by the CFA Institute. The Walt Disney Company was chosen for this Final Work for several reasons: firstly, it is a company with a long and interesting history, with its ups and downs, which provides a learning opportunity while studying it; secondly, its business is across several segments which despite showing significant differences are highly synergetic and in some cases changing the entertainment business paradigm; thirdly and most importantly, we knew beforehand that the Company had gone through a business restructuring and was in the middle of an acquisition process. The second and third reasons increased the challenge considerably, which in our opinion was fitting for a proper Master's Final Work. Naturally, the COVID-19 pandemic increased the challenge even further and as such, was accounted for in this project. To value Disney, we employed a DCF Model as well as a DDM and multiples analysis. A price target of USD 144.11 was reached, implying a 26.00% upside potential from our reference price of USD 114.37 on May 19, 2020, and a Buy recommendation.
info:eu-repo/semantics/publishedVersion
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Hamel, Gérard. "Evolution d'une entreprise vouée à la communication et aux nouvelles technologies : Walt Disney Productions." Paris 13, 1986. http://www.theses.fr/1986PA131002.
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Cette étude se présente à la fois sous un aspect historique, couvrant la période 1901-1985, et comme une enquête qui dévoile toutes les activités qui se sont enchainées les unes aux autres pour aboutir au complexe de loisirs actuel. Nous avons d'abord retrace la vie de Walt Disney : son enfance, son adolescence, ses débuts, ses premiers succès, ses réussites en pleine maturité et sa fin prématurée a l'apogée d'une carrière hors du commun. Nous avons ainsi appris à le connaitre, à comprendre ses motivations profondes, à découvrir les traits de caractère de son personnage, tout ce qui lui a permis d'édifier un ensemble original qui procure du travail a des dizaines de milliers de personnes. Nous avons ensuite étudie toutes les réalisations et tous les produits de sa firme : 1- l'audiovisuel a travers les films, l'enseignement, les ensembles multi media, la télévision, l'informatique. A cause de l'image numérique, le film Tron a été choisi à fin d'analyse comme exemple le plus frappant de la production récente. 2- les parcs de loisirs : Disneyland, Walt Disney world, Tokyo- Disneyland. Une attention toute particulière a été portée a Ecot-center, manifestation la plus novatrice du génie de la firme. Partout nous retrouvons la présence efficace de l'ordinateur. 3- les activités annexes : publications, musique, ventes sous licences, spectacles divers, automates, moyens de transports originaux, télécommunications, immobilier. Tout ceci afin de mettre en valeur les facteurs de réussite : le dessin anime porte au niveau d'un art, l'organisation de la firme particulièrement efficace, le personnel fort motive, la communication interne, la diversification, la formation dans laquelle Walt Disney s'est vraiment distingue, la recherche qui a permis l'originalité de cette firme et enfin l'innovation omniprésente. L'examen des moyens financiers et la présentation des équipes dirigeantes concluent cet ouvrageThis thesis includes both an historical study, spanning the years 1901 through 1985, and a survey which reveals all the activities which, linked together, have given rise to the present amusement complex. We begin by recalling the life of Walt Disney: his childhood, his youth, his beginning in the motion picture industry, the successes of his middle years and his untimely death at the height of an exceptional career. We have thus come to know him, to understand his inner motivations, to discover the traits of character which allowed him to build up an original enterprise which now gives employment to tens of thousands of people. Next we examine all the activities of his firm: 1- audiovisual productions including motion pictures, educational material, and television and computer products. As a striking example of a recent production using computer imagery, we have chosen to analyze Torn. 2- Amusement parks: Disneyland, Walt Disney world. Tokyo-Disneyland special attention has been given to the Epcot-center, the most innovative demonstration of the firm's know-how. The effective support of computers can be found everywhere. 3- Other activities: books, comics, magazines, musical products, merchandizing, shows, the art of "audio animatronics", original means of transport, telecommunications, community development. . . We have emphasized the elements of the company's success : animation raised to the status of an art form, the particularly efficient organization of the firm, the highly motivated staff, the communication within the company, the field of education to which Walt Disney has made a noteworthy contribution, imaginative research, and, finally, the omnipresent innovation. A survey of the financial resources and of the managerial team concludes this study
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Guillaume, Cédric. "Genèse et construction d'un "empire ludo-industriel" : la Walt Disney Company (1923-2000)." Bordeaux 3, 2010. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2010BOR30086.
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Les loisirs sont devenus un phénomène global qui s’inscrit dans le développement d’une société industrielle et urbaine. Ils sont avant tout un phénomène social car ils sont le miroir d’une société. Cela, Walt Disney l’avait compris dès les années 40. Notre étude porte sur un temps relativement long, environ 80 ans, entre la création du Disney Brothers studio en 1923 et les années 2000. Nous pouvons donc étudier comment, par la démocratisation et la massification, la Walt Disney Company est passée d’une petite affaire familiale à une multinationale leader dans le cinéma, la télévision, la communication ou encore la presse enfantine, les parcs d’attractions et les produits dérivés. L’innovation a toujours été au coeur des actions/orientations de la Walt Disney Company. A première vue, cette société, fondée par un self-made-man parti de rien, correspond parfaitement au modèle défini par Schumpeter : innover dans un domaine et s’appuyer sur cette innovation pour progresser en permanence. Néanmoins, d’autres angles d’analyse peuvent être envisagés. Les travaux de l’économiste Paul A. David en constituent un. Pendant près de vingt ans après la mort du fondateur, la société est tombée dans une douce torpeur qui a failli lui être fatale, jusqu’à sa reprise en main par Michael Eisner en 1984, qui en a fait l’une des trois plus grandes sociétés de communication et de loisirs au monde, en transformant son mode de fonctionnement et en créant une culture d’entreprise très forte. C’est ainsi que la Walt Disney Company, peut-être plus que toute autre entreprise, est marquée par les effets de verrouillage (Lock in Effect) et surtout par la dépendance de sentier (Path Dependancy). La Walt Disney Company est donc une société particulière, complexe, voire même particulièrement complexe ! Cette machine à distraire, qui emploie près de 150 000 personnes dans le monde entier est marquée par un élément, l’éternel balance entre l’héritage du fondateur et l’orientation vers le marketing total… La devise de la société est « Where the Magic Lives », mais peut-on vendre du rêve ?Leisure has become a global phenomenon which logically comes with an industrial and urban society. They are a social phenomenon because it is the mirror of the society. Walt Disney had understood that in the early 40ies. Our survey deals with a long time (of about 80 years) between the creation of the Disney Brothers Studio and the beginning of the twenty first century. Therefore we can study how Walt Disney Company turned from a small family business into the leader of cinema, television, communication and of course amusement parks. Innovation has always been at the heart of all Walt Disney Company’s actions. At first sight, this company which was founded by a self-made-man can match with Schumpeter’s model: innovating in one field and keep focusing on it to always improve. However, another point of views can be explored. The economist Paul A David has worked on it ans his work is a true example of other possibilities. During almost twenty years after the founder’s death, the company has fallen into a soft torpor which was almost lethal until the arrival of Michael Eisner in 1984 which made out of Disney, one of the third biggest amusement and communication companies in the world. He also created a corporate culture which permits a deep change inside the company. This is why The Walt Disney Company, can be more than any company, influenced by the lock in effect and especially by the Path Depandancy. The Walt Disney Company is eventually a particular and complex company. We can even say that it is a very complex organization. This distracting machine, which employs 150 000 persons in the whole world is defined by one thing, the eternal balance between its creator’s legacy and the total marketing orientation. The company’s motto is “where the magic lives”, but can we sell dreams?
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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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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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Roy, Travis Brandon. "The Edutainer: Walt Disney, Nature Films, and American Understandings of Nature in the Twentieth Century." Master's thesis, Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/345277.
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HistoryM.A.
Throughout much of the twentieth century Walt Disney wielded considerable influence in American culture. By identifying and commercially exploiting a strain of environmental thought that sentimentalized and romanticized nature, Walt Disney influenced the attitudes of millions of Americans concerning how they conceptualized environmental issues. The Walt Disney Company’s nature documentaries and their popularity as both entertainment as well as educational material helped disseminate the virtues of conservation within the American mindset. The Disney interpretation of conservation clashed with other post-war environmental understandings of the ethic, as did the company’s consistently inaccurate representations of nature on film. Disney’s particular strain of environmentalism, based on an Edenic appreciation for nature, the belief that to conserve land it must be developed, and practice of moralizing to humans through anthropomorphized depictions of animal behavior, stood out in contrast to other existing post-war environmental mindsets during the controversy surrounded the proposed construction of a vacation resort in Mineral King, California, following Disney’s death.
Temple University--Theses
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Stålnacke, Annika. "Idioma y género en Disney : Un estudio de los rasgos de habla femenina en Moana, la princesa moderna de Walt Disney Company." Thesis, Uppsala universitet, Institutionen för moderna språk, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-385485.
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ResumenEste estudio tiene como objetivo explorar el lenguaje de la princesa moderna de Disney y qué mensaje transmite su discurso a los niños con el fin de clarificar si Disney hace uso del “lenguaje femenino” cómo ha sido investigado por la investigadora Robin Lakoff. Es fundamental analizar la visión de la princesa Disneyana transmitida por la multinacional ya que por el lenguaje empleado se averiguan los valores que van dirigidos al público infantil en todo el mundo. Aunque se puede rechazar la afirmación de que las películas infantiles transmitan ideas y valores, la carga ideológica de los medios sigue siendo grande. La película analizada en el estudio es la más moderna de Disney; Moana: Un Mar de Aventuras. Se prestó atención a los atenuantes, adjetivos vacíos, intensificadores y preguntas eco. Los resultados no demuestran ninguna coherencia relativa a diferencias lingüísticas entre los sexos: un aspecto lingüístico fue utilizado por el personaje femenino sola, lo que, sin embargo, podría ser relacionada con las características del personaje. Un hallazgo adicional reveló que el protagonista masculino pronuncia más palabras que la protagonista femenina, a pesar de tener menos exposición en la película.
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Linder, Anne. "Bücher zu Disney-Filmen - Vergleich von ausgewählten Filmen und ihrer Umsetzung in Buchform." [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11612102.
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Sammond, Nicholas S. "The uses of childhood : the making of Walt Disney and the generic American child, 1930-1960 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9956451.
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Harrs, Shawn. "Standards Directory: An Engineering and Technology Standards Digital Library and Information Retrieval System for The Walt Disney Company." NSUWorks, 2006. http://nsuworks.nova.edu/gscis_etd/568.
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Walt Disney Company (Company) engineers and architects utilize engineering and technology standards in the design, development, and maintenance of its physical infrastructure worldwide. There was a need to improve the methods by which Company standards are organized and retrieved. While the leading commercial information brokers for engineering and technology standards provide standards search engines and online standards catalogs, these search services are poor in supporting standards seekers who have only a general understanding of their information needs because their searches only utilize a standard's document number, title, and keywords as metadata for searching.
In order to provide a tool for distributing and retrieving standards in an online environment that fulfilled the needs of Company engineers and architects, the Standards Directory, a digital library and information retrieval system, was developed with two main features in mind: categorization and search. First, the Standards Directory utilizes an engineering and technology taxonomy to provide grouping and classification of standards. Second, the Standards Directory supports various forms of search and improves the overall relevance of search results by, among other things, providing stem word full-text searching and browsing capabilities within disciplines. A study was conducted to investigate the effectiveness of the Standards Directory compared with leading commercial information brokers of engineering and technology standards. The study found that the Standards Directory provided a higher level of relevance of search results as established by end-user relevance judgments made by Company engineers and architects seeking information for their actual information needs. Standards-based engineering, architectural, and other high technology organizations may benefit from the implementation of a Standards Directory as it can increase employee productivity, improve product quality, enhance the accuracy of organizational decision-making, and foster organizational learning.
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Lachance, Julie. "L'actualisation de la pensée amoureuse platonicienne dans les films d'animation de Disney." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30594/30594.pdf.
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Ce travail aborde les relations existant entre l’amour platonicien et l’amour présent dans les films d’animation de Walt Disney. Disney étant l’un des plus grands médias culturels occidentaux, si ce n’est mondiaux, retrouver Platon chez Disney, c’est voir l’influence de la philosophie grecque sur l’Occident actuel et son héritage. La comparaison sera déployée selon quatre grands thèmes : le rôle du beau dans l’amour, ἔρως comme intermédiaire, l’amour comme folie divine, l’amour comme méthode éducative. Nous commencerons par exposer les mœurs en Grèce antique, pour présenter adéquatement la position de Platon. Nous nous demanderons ensuite les causes pouvant expliquer l’apparition de la théorie platonicienne de l’amour chez Disney. Nous présenterons par la même occasion les contes qui ont inspiré Disney et qui peuvent parfois avoir des racines platoniciennes. Finalement, nous comparerons les films de Disney avec la pensée de Platon au sujet de l’amour.This paper presents the existing correlations between the concept of platonic love and the love displayed in Walt Disney's animated movies. Disney being one of the biggest media in Occident, if not in the world, finding Plato's theory in Disney movies means seeing the traces of Greek philosophy in today’s occidental world, and its heritage. We will ask ourselves why there is an existing relationship between Plato’s theory and Disney. The comparison will be made around four themes: the role of beauty in love, ἔρως as intermediary, love as divine foolishness, love as educational method. We will first expose the customs of ancient Greece in order to present adequately Plato’s position. We will present the fairy tales that inspired Disney, which sometimes find their origin in Platonism. Finally, we will compare Disney movies with Plato’s reflections about love.
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Cheang, I. Ian. "Deconstruction of the Disney Princess Empire." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1874212.
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Clément, Thibaut. "De la mise en récit de l'environnement et de ses usages cognitifs, sociaux et techniques : le cas des parcs Disney." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030196/document.
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En tant que première destination touristique aux Etats-Unis, les parcs à thèmes Disney représentent un phénomène culturel important et une opportunité unique d’évaluer les médias de masse à l’aune de leur influence sur les usages et les conduites. L’analyse se propose d’interroger le concept d’imachination (imagineering), qui désigne chez Disney la conception des environnements thématiques et narratifs des parcs. Au travers de l’examen des protocoles de création des parcs, il s’agit de déterminer comment leurs concepteurs réunissent dans l’environnement certains critères de la narrativité ainsi que les récits qu’ils s’attachent à y raconter. Ainsi, le parc offre l’image d’un monde fictionnel qui, reflétant sous une forme objective certaines valeurs portées par la société américaine, décrit les conditions d’une bonne entente entre le visiteur et son environnement. Investi par le moyen de récits d’attributs psychologiques (souvenirs, valeurs), l’espace du parc oeuvre à la répartition des tâches entre le paysage et l’usager : en assignant un rôle à l’un et à l’autre, l’espace narratif soumet leurs interactions à un script préalable, si bien que les conduites et les émotions du second y relèvent d’une performance.En même temps qu’ils décrivent implicitement les conditions du bon usage du parc, les récits servent à la mobilisation d’acteurs distincts, et, ce faisant, à l’élaboration d’un système sociotechnique : de grands récits de progrès technique et économique ont ainsi permis à la compagnie de s’attacher le concours de grandes corporations américaines et d’obtenir pour son complexe floridien un statut juridique particulier, donnant le jour à un système de production inéditAs the number-one tourist destination in the United States, the Disney theme parks are asignificant cultural phenomenon and present a unique opportunity to evaluate mass communication inlight of its influence on the user’s behavior and practices. This study aims to provide an analysis of “Imagineering”—that is, the design of narrative environments in the Disney-branded theme parks. By examining the design processes at work in the parks, the analysis shows what stories theso-called “Imagineers” intend to tell as well as how these stories fulfill the requirements of narratives in the very environment of the parks. The park thus presents the image of a fictional world that reflects the values of American society in an objective form, and in so doing provides the conditions for conformity between the user and the environment. As the repository of subjective and psychological traits (memories, values), the narrative space of the park distributes the tasks at hand between the visitor and the environment. By assigning each its role, the park subjects their interaction to a pre-established script—so well that the visitor’s behaviorsand emotions take on the appearance of performances. Besides providing implicit instructions for the proper use of the parks, narratives also serve to mobilize various social agents and in doing so create new sociotechnical systems. Grand narratives of technical and economic progress have thus helped the company secure the collaboration of prominent American corporations as well as a specific legal status for its Florida resort, giving rise to a new production system
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Bohas, Alexandre. "La firme Disney : analyse du capitalisme culturel d'Hollywood." Paris 1, 2007. http://www.theses.fr/2007PA010334.
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Une littérature abondante et critique porte sur la firme Disney. Dans l'ensemble, les études académiques se sont montrées très hostiles à l'égard de ses activités. Dépeinte tour à tour comme conservatrice, sexiste et commerciale, elle est devenue le sujet favori des recherches menées sur la commodification et le fétichisme de la consommation. Elle constitue en outre un objet de choix pour les travux de déconstruction.
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Persson, Ida. "”Andra till höger och så rakt fram till morgonen” : – En komparativ studie av Peter Pan." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-67461.
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Denna komparativa analys jämför J.M. Barries Peter Pan och Wendy (2013) med Disneys Peter Pan (2015) för att se hur karaktärerna förändrats genom adaptionen av berättelsen. En narrativ analys presenterar berättelsens intrig och följs av en komparativ analys av de två verken där fokus ligger på vad som tagits bort vid adaptionen och hur karaktärerna framställs. Analysen visar hur mycket som vid adaptionen tagits bort och att detta påverkar bilden läsaren får av karaktärerna.
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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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Luís, João de Oliveira Vasconcelos. "Equity valuation dissertation Walt Disney Company." Master's thesis, 2014. http://hdl.handle.net/10400.14/17183.
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This dissertation aims to evaluate Walt Disney Company (ticker: DIS US Equity). The evaluation process is done through three different mechanisms in order to achieve a more accurate and complete valuation exercise.
The first valuation method is the Discounted Cash Flows model, in which each company’s segment is valued separately, therefore obtaining the company’s overall valuation by combining them all. This model provides a Walt Disney share price estimation of $88,52 which, compared to its market price of $85,38, represents a buying opportunity.
The second valuation method is the Economic Value Added model. Through this valuation technique, the Walt Disney share price is estimated as of $77,89 which, compared to its market price, represents a selling opportunity.
The third and last valuation method presented is the relative valuation. By applying the Enterprise Value to EBITDA multiple, it is achieved a company share price of $83,96 which also represents a selling opportunity.
Lastly, it is compared the valuation obtained through this dissertation to the one accomplished by J.P.Morgan, in which the Walt Disney share price is estimated as $90,00. By doing so, one can conclude that the valuation in this dissertation is more conservative, being the different assumptions made examined further in this report.
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"Walt Disney: eyes on Hong Kong." 2000. http://library.cuhk.edu.hk/record=b5890182.
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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
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Carvalho, Pedro Nuno Almeida Ferreira. "Shared value and entertainment : the Walt Disney Company case study." Master's thesis, 2021. http://hdl.handle.net/10400.14/35420.
Full textAbstract:
The social scope of business has been discussed more than ever in the recent decades
through the concept of Corporate Social Responsibility (CSR). Some authors go even further
and argue that addressing societal needs has the potential to be a wave of innovation and
competitiveness, allowing companies to generate social value while create economic value,
creating Shared Value (Porter & Kramer 2011).
This dissertation provides a case study on The Walt Disney Company’s commitment for
diversity and inclusion as a potential source of Shared Value. Specifically, it focuses on
investigate and discuss whether the company’s CSR commitment to create animated stories and
characters that promote diversity and inclusion has been accomplished, and to what extent it has been created social value, simultaneously increasing Disney’s competitiveness. Through
this case study, students have an opportunity to explore and discuss the concept of Shared
Value.
The main outcome of the study confirms that The Walt Disney Company has been
considerably produced animated feature films which promote diversity and inclusion, in the last decade, particularly addressing social topics as gender and racial equality, and multiculturalism,
and suggests that this practice has been a source of differentiation to the company productions,
simultaneously, creating social value through the influence that its content represent for young
generations.O âmbito social das empresas tem sido bastante discutido nas últimas décadas através do conceito de Responsabilidade Social Corporativa (RSC). Alguns autores vão ainda mais longe e argumentam que atender às necessidades e problemas da sociedade tem o potencial de representar uma onda de inovação e competitividade, permitindo que as empresas possam geral valor social enquanto criam valor económico, criando Valor Partilhado (Porter & Kramer 2011). Esta dissertação apresenta um estudo de caso relacionado com o compromisso da The Walt Disney Company para com a promoção de diversidade e inclusão, como uma potencial fonte de valor partilhado. Mais concretamente, o estudo procura investigar e discutir se o compromisso de RSC da empresa, que visa criar histórias e personagens de animação que promovam diversidade e a inclusão, tem-se verificado e em que medida foi gerado valor social, aumentando simultaneamente a competitividade da Disney. Por meio deste estudo de caso, os alunos têm então a oportunidade de explorar e discutir o conceito de Valor Partilhado. O principal resultado do estudo confirma que a The Walt Disney Company tem produzido, na última década, filmes de animação que promovem valores relacionados com a diversidade e inclusão, abordando principalmente temas sociais como igualdade de género e de etnia, e o multiculturalismo, sugerindo ainda que essa prática tem sido uma fonte de diferenciação dos filmes de animação da empresa de entretenimento, simultaneamente, criando valor social através da influência que o seu conteúdo representa para as crianças e gerações jovens.
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Joffe, Sheri Lee. "A critical and contextual analysis of the changes in African-American character representation in Disney animated films from Dumbo (1941) to the Princess and the Frog (2009)." Thesis, 2014.
Find full textAbstract:
This paper explores how ethnic character representations in Disney films have
changed in response to changing cultural attitudes and historical context over time in
response to variations in the broader American sensitivity to race and ethnicity.
When we today look at instances of African American representation from the 1940s,
such as in the Film Dumbo (1941), we are shocked at how overtly stereotypical these
representation are. According to today’s standards, it would be unacceptable to show
such caricatured racial representations. But at the time in America such standards, and
the attitudes that inform them, did not exist.
In view of the progress made in the intervening 70 years in thinking about race and
the extent to which attitudes to racial representations have changed, we should now
see the representation of African Americans being dealt with very differently in recent films such as The Princess and The Frog (2009), which featured Disney’s first
African- American princess (Breaux 413).
In order to answer this question I in this paper critically assess African-American
representation in Disney films from the 1940s to today. In order to see how race has
been dealt with in one of the studio’s first feature-length films and in one of its most
recent releases I analyzed specific instances of racial representation in two case
studies: Dumbo (1941) and The Princess and the Frog (2009). This analysis is
informed by an awareness that the offensiveness of such representations is culturally
determined and has changed over time. By textually reconstructing the contexts in
which the films were produced and then analyzing instances of racial representation
according to how they have been constructed, making reference to concepts of
Stereotyping, Othering and Hierarchy.
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Fricke, Philipp. "Valuation of the Walt Disney company and the influence of Disney Plus´ perception in social media on its future subscriber growth." Master's thesis, 2020. http://hdl.handle.net/10362/104642.
Full textAbstract:
The Walt Disney Company has repositioned its conglomerate with the realignment of its business units, the composition of the new business segment “Direct-to-Consumer &International”, and the acquisition of 21stCentury Fox. In the followingreport,the impact of these drastic changes on The Walt DisneyCompany areanalyzedfor valuation purposes.The DCF valuation is basedon a sum-of-the-partsapproach to determine the company’s fair value. According to the following analysis,the company is undervalued compared to its stock price as of 31 December2019. The total expected return to shareholders is 17.6% including 1.3% dividend yield.
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Fan, Po-Yu, and 范博毓. "The Study on Business Model of Walt Disney Company: A View from Animation Business." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/62569210255459740778.
Full textAbstract:
碩士國立臺灣大學
商學研究所
94
The growth of animation industry is pretty high recently, especially for the production value of computer animation. American animation industry attracts the consumers by collocating with Hollywood movie production. The animated film is always on the list of top 10 films during 2001 to 2005. Nevertheless, now the animated film produced by Disney doesn’t earn the reputation as before, and it cannot hit on the list of top 10 films. Disney depends on the popular animated film co-produced by Disney and Pixar to support the past great achievement. Disney still influences some aspects, such as entertainment and media, because of the existence of animation. This research explains the success of Disney in the past few years and the unsteadiness in the recent time by understanding the development and business model of Disney. The research demonstrates that the business model of Disney origins from distinct target customers and value proposition. Disney targets child as its main customer and enlarge the business into the home entertainment. The value proposition of Disney, which is to provide the product and service suitable for the whole family, is established as well. All of its product and service contribute to create joyful experience. And the core value of the product and service come from Disney animation. In this research, we could understand that Disney combine originality, ability of distribution and the brand value on all product and service to attract consumers and partners. The Disney group creates the synergy and maps out the complete strategy to bring huge profit. Disney cannot keep pace with the changeable market thus it faces the decent from 1995 because of the lack of creative ability, the change of original management team, and stronger competitive environment. Furthermore, when Disney pursues to become big group, the bureaucratic organization and over-extended ability of distribution diminish the creative capability. Disney seems to focus too much on the ability of distribution. Disney ignores the creative capability that is important to operate its business and stronger its brand value. The suggestions for Disney provided by this research showed as follows: 1.Disney should strengthen continually the ability of distribution on various media channels to increase its own influence. Therefore, Disney would not be imposed restrictions by other competitors. And Disney could find potential profit from various media channels as the importance of market windows increases besides movie theaters. 2.Disney should rebuild its creative capability. Unpopular animated films produced by Disney hinder the operation of whole group and cause the inferior performance. With regard to the origin of Disney development, Disney cannot abandon the production of animated film. The main factor whether the animated film could maintain high box office is the creative capability. 3.Disney should maintain its distinct value proposition. Disney can take advantage of strong brand to extend its potential profitable channels.
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"Walt Disney Company: The 1984 Attempted Takeover and the Recovery Plan Devised by Michael Eisner." TopSCHOLAR, 1997. http://digitalcommons.wku.edu/stu_hon_theses/54.
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Yeh, Cheng-Chen, and 葉承蓁. "The Research of Glocalization Process on Culture and Entertainment Industry—The case study of The Walt Disney Company in China." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/sv2p7z.
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Ige, Barbara Kaoru. "Virtual textualities postmodern dialectics of democracy /." Diss., 1997. http://catalog.hathitrust.org/api/volumes/oclc/38045267.html.
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Lin, Yu-ting, and 林瑜婷. "The Research of the Development in Mainland China''s Entertainment Market of Transnational Corporations--The Case Study of The Walt Disney Company." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/fjujdb.
Full textAbstract:
碩士國立中山大學
大陸研究所
95
The thesis primarily concentrates on studying the development of transnational corporations in Mainland China’s entertainment market. The Research tries to figure out what kind of environment and problems transnational corporations will face while they invest in Mainland China’s entertainment market which involve in media and culture. Can transnational media corporations integrate their abundant resources around the globe in Mainland China ? The research is based on the perspective of stakeholders and proposed a framework to explain transnational corporation’s administration in Mainland China’s entertainment market. Take Disney for an example, the research discovers that the Chinese government is still playing the most important role in business development. The Chinese government creates attractive environment, however, it also poses threats to those enterprises. This research tried to provide readers a sketch about the investment environment in Mainland China’s entertainment market.
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Barall, Elfriede Michi. "Brand New Worlds: Disney's Theatre Assemblages." Thesis, 2020. https://doi.org/10.7916/d8-h8zb-s361.
Full textAbstract:
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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Ventosa, António Nuno Lourenço Da Luz. "Dynamics and rationale of M&A amongst media & entertainment giants: the case of the Walt Disney company´s acquisition of twenty-first century fox." Master's thesis, 2020. http://hdl.handle.net/10362/120734.
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