The Walt Disney Company: Mickey Mouse Visits Shanghai

2017 ◽  
Author(s):  
Elliott N. Weiss ◽  
Gerry Yemen ◽  
Stephen E Maiden
Keyword(s):  
Walt Disney Company ◽  
Walt Disney ◽  
Mickey Mouse

The Walt Disney Company: Mickey Mouse Visits Shanghai

2016 ◽  
pp. 1-11
Author(s):  
Stephen Maiden ◽  
Case Writer ◽  
Gerry Yemen ◽  
Elliott N. Weiss ◽  
Oliver Wight
Keyword(s):  
Good Reason ◽  
Chinese Economy ◽  
Chinese Stock Market ◽  
Walt Disney Company ◽  
Cost Overruns ◽  
Walt Disney ◽  
Mickey Mouse ◽  
Disney World ◽  
Disney Theme Park ◽  
The Right

The strategic and tactical problems of managing the operations function in a service environment can be examined through the context of the Walt Disney Company (DIS) opening Shanghai Disneyland. The company and its investors were excited about the Shanghai opening for a good reason: demographics. The resort would be located in the Pudong district of Shanghai, easily the wealthiest of all of China’s districts. A massive 330 million people lived with a three-hour driving radius of the resort site, compared with 19.6 million who lived within the same radius at DIS’s most profitable park, Walt Disney World in Orlando, Florida. Still, risks remained. Construction complications had delayed the opening almost a year longer than expected and cost overruns and alterations had increased the final price tag of the project. The Chinese economy had also hit a rough patch following the Chinese stock market slump in the summer of 2015. With the world watching, could the classic Disney theme park experience be delivered with the right cultural balance to appeal to its largely Chinese customers? Could DIS get it right?

Mickey Mouse Muzak: Shaping Experience Musically at Walt Disney World

2017 ◽  
Vol 11 (1) ◽  
pp. 53-69 ◽  
Author(s):  
GREGORY CAMP
Keyword(s):  
Critical Theory ◽  
Film Music ◽  
Social Effects ◽  
Audience Response ◽  
Middle Ground ◽  
Walt Disney Company ◽  
Academic Assessment ◽  
Walt Disney ◽  
Mickey Mouse ◽  
Disney World

AbstractThe academic assessment of the products of the Walt Disney Company is usually highly negative, drawing out their sexist, racist, and mercenary factors. Although such views are not easily denied, their strong ideology often hides how Disney texts actually operate and how their audiences interact with them. This article explores how recorded music is used in the Disney theme parks to condition audience response, finding a middle ground between an ideological view, exploring the part music plays in social control, and a hermeneutic view, seeing how music functions in articulating and enhancing the experiences in which Disney's guests participate. Disney's Imagineers draw on the language of film music to create a wide variety of narrative musical spaces that give guests the impression that they navigate through these carefully staged narratives as protagonists. Film-musicological models show that guests are encouraged to feel that they control the respective spaces, although filtering the model through critical theory will demonstrate that the spaces can actually be seen as controlling them. While critical theory and structuralist hermeneutics might seem at first like strange bedfellows, analyses of both the narratives themselves and of their social effects can usefully reflect each other, together providing a more nuanced view of Walt Disney World's experiential texts than has been presented either in the academy or by Disney itself.

Horror and Death: Rethinking Coco's Border Politics

2020 ◽  
Vol 73 (4) ◽  
pp. 41-49
Author(s):  
Orquidea Morales
Keyword(s):  
The United States ◽  
Horror Film ◽  
Walt Disney Company ◽  
Life And Death ◽  
Walt Disney ◽  
Day Of The Dead ◽  
Animated Film ◽  
Border Politics ◽  
The Dead ◽  
The U.S

In 2013, the Walt Disney Company submitted an application to trademark “Día de los muertos” (Day of the Dead) as they prepared to launch a holiday themed movie. Almost immediately after this became public Disney faced such strong criticism and backlash they withdrew their petition. By October of 2017 Disney/Pixar released the animated film Coco. Audiences in Mexico and the U.S. praised it's accurate and authentic representation of the celebration of Day of the Dead. In this essay, I argue that despite its generic framing, Coco mobilizes many elements of horror in its account of Miguel's trespassing into the forbidden space of the dead and his transformation into a liminal figure, both dead and alive. Specifically, with its horror so deftly deployed through tropes and images of borders, whether between life and death or the United States and Mexico, Coco falls within a new genre, the border horror film.

scholarly journals Fairy tales between transformation and repetition: How audiences rethink the big romantic myth through Disney princess stories

2020 ◽  
Vol 47 (3/4) ◽  
Author(s):  
Tatjana Menise
Keyword(s):  
Fairy Tales ◽  
Cultural Context ◽  
Fairy Tale ◽  
English Language ◽  
Participatory Culture ◽  
Promising Material ◽  
Walt Disney Company ◽  
Walt Disney ◽  
Complex Process ◽  
Professional Critics

One of the ways in which culture becomes enriched is through reconsideration and reinterpretation of well-known stories, and classic fairy tales provide promising material for investigation of the nature of this complex process. The Walt Disney Company is among the most powerful tellers of classic tales, its line of princess animations being an example of simultaneous development and preservation of the fairy-tale phenomenon in a changing cultural context. We analyse the dialogue among classic and modern princess stories and the discussions that these stories give rise to in English-language academic criticism and English-based participatory culture. We focus on the interaction among authors, texts and readers, showing how traditional tales balance between mythological and nonmythological consciousness, between innovative and canonical art. The diversity of fans’ practices may be seen as a key to possible explanation of why fairy tales exist in culture as a complex, constantly growing web, not as a limited number of selected final versions. Amateur authors demonstrate their interest in the mythopoetics of classic fairy tale plots. They are attracted by the old romantic myth that stands behind princess stories, participate in the creation of the romantic antimyth that is supported by the professional critics, and expect the appearance of new modern myths that might be generated by the new productions of Disney. New fairy tales appear, but this does not result in the disappearance of the old ones. Not only the interests towards the plots themselves, but also discussions and conflict around classic stories keep them topical for contemporary heterogeneous audiences.

The Wonderful World of Human Resources at Disney

2017 ◽  
pp. 1-14
Author(s):  
Lynn A. Isabella ◽  
Gerry Yemen
Keyword(s):  
Human Resources ◽  
Human Resource ◽  
Organizational Design ◽  
Young Animal ◽  
Animal Kingdom ◽  
Walt Disney Company ◽  
Walt Disney ◽  
Human Resource Policies ◽  
Resort Hotels

“What kind of culture does Walt Disney Company (WDC) want to create? This case uses the experiences of a young visitor to one of WDC's resort hotels to set the stage for an analysis of selecting, hiring, training, and retaining and how those practices are governed by the culture of a large American company. The situation provides an opportunity to explore human resource policies, organizational design as well as how all those elements reinforce the culture.The case opens with an interaction between a young Animal Kingdom Lodge guest and an employee (or cast member as the company refers to employees). There were many different ways the exchange could have unfolded yet the experience was magical for the youngster. What made this exchange a memorable experience for this young guest? Would Walt Disney have been surprised?”

scholarly journals Val d’Europe – ville du XXI siècle

2019 ◽  
Vol 2019 (30) ◽  
pp. 11-32
Author(s):  
Elżbieta Muszyńska ◽  
Elżbieta Tomaszewska-Taton
Keyword(s):  
Walt Disney Company ◽  
Walt Disney

Val d’Europe c’est une nouvelle ville réalisée en Région Parisienne, sur la base d’une convention PPP (Partenariat Public-Privé), signée en 1987 entre l’Etat Français et Euro Disney Associés filiale de The Walt Disney Company. La ville prévue initialement pour 60 000 habitants, compte actuellement 35 000 et reste la dernière composante d’une ville linéaire de quarante kilomètres – Marne-La-Vallée, satellite de Paris. La ville a été réalisée initialement en tant qu’une ville « service » du plus grand complexe touristique d’Europe – Euro Disney, accueillant 15 000 000 millions de visiteurs par an, mais progressivement elle est devenue un organisme indépendant et multifonctionnel. Depuis plus de 20 ans Val d’Europe se développe harmonieusement, son territoire est passé de 5 000 à 35 000 habitants et de quelques dizaines d’emplois agricoles à 27 000 emplois diversifiés. La méthodologie du développement de la ville proposée par Euro Disney a épousé les méthodes de travail d’EPA (Etablissement Public d’Aménagement), riche de 50 ans d’expérience dans la réalisation des villes satellitaires autour de Paris. La grande force qui guide les deux équipes réside dans la vision commune de la ville et dans leurs capacités à mettre leurs expériences au service du territoire. L’objectif commun des tous les acteurs publics et privés étant la création d’une ville où la dynamique économique rime avec la qualité de la vie et l’écologie. Dans la recherche de la vision du Val d’Europe, les architectes et les urbanistes ont décidés de s’inspirer de ce que Paris et l’Europe ont fait de mieux dans ces domaines. La ville neuve est composée de quartiers à l’échelle humaine, dont les limites sont fixées par le temps de marche. La communication piéton est la base de la circulation dans la ville, les voitures pour lesquelles les parkings sont prévus dans les sous-sols des bâtiments sont tolérées, mais leur circulation est limitée. La conception et la réalisation de la ville a été conçue par des urbanistes et des architectes américains, luxembourgeois, grecs, italiens et français. Afin d’assurer la qualité des espaces publics et semi-publics, tous les bâtiments ont étaient réalisés suite aux concours promoteurs-architectes. Ce projet urbain d’une indéniable qualité a été réalisé grâce à un art de compromis, où dans l’intérêt général, tous les acteurs ont accepté la réalisation de leurs visions architecturales dans le cadre de la même composition urbaine. Ils ont tout simplement décidé d’agir de concert, comme un orchestre, dans lequel les musiciens interprètent la même partition sur différents instruments.

scholarly journals Book Review: The Ride of a Lifetime: Lessons in Creative Leadership from the CEO of the Walt Disney Company, Robert Iger

2021 ◽  
Vol 29 (04) ◽  
pp. 118-121
Author(s):  
Ajay Arora ◽  
Keyword(s):  
Mass Media ◽  
Walt Disney Company ◽  
Walt Disney ◽  
Creative Leadership ◽  
The World ◽  
Bill Gates

Laying out the Vision and Executing It – the Disney Way There haven’t been many organizations which not just survive but continue to thrive during their lifespan. One of these is the Walt Disney Company, among the most valued firms (current market cap of $325 billion) in the world, an American diversified multinational mass media, and entertainment conglomerate headquartered in California.Having had a shaky start, with its predecessor having filed for bankruptcy, Disney has continued to innovate and evolve during its existence of nearly a century.The Ride of a Lifetimeis authored by Robert Iger, Disney’s sixth CEO since establishment in 1923 comes out as an absorbing business book. In the words of Bill Gates, “unlike most books on leadership, this one is worth the time”. He has already suggested it to several friends and colleagues, including Satya Nadella.

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