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Previous research demonstrates a consistent association between the media and body and eating related issues in children. Recent research has highlighted a role for “fat talk” to describe discourses around body size and food. One key source of media information is Disney animation films, yet to date no research study has explored the verbal content of this genre.

The present study used a content analysis to examine fat talk in Disney animation films (1937–2021; n = 53) with a focus on the frequency of fat talk, changes over time and differences between the genders and heroic statuses of the givers and receivers of fat talk. Fat talk was defined as relating to both body size and food and could be either positive or negative.

Results revealed that there was more negative than positive fat talk per film; no significant changes over time; males were the givers of significantly more positive and negative fat talk than females and were also the receivers of more negative fat talk; good characters were the givers and receivers of more positive and negative fat talk and more self-directed negative fat talk than bad characters.

The results are discussed in terms of possible legislation and parenting interventions to minimise the harm of this genre on young children.

Disney animation films may not be as benign as often thought.

The aim of this paper is to analyze the interrelationship between film-induced tourism and visits to theme parks by tourists and examine the most viewed movies worldwide (2010–2022) which are related with theme parks and their attractions.

The methodology used in this study is a set of qualitative and quantitative indicators for measuring the most visited theme parks worldwide and the most viewed movies that have allowed to answer the research questions.

This research provides a new contribution to tourism and entertainment industries. Results have shown that film-induced tourism can be the perfect marketing tool to attract more tourists to theme parks through movies and their real or fictional characters represented in films such as Marvel, Minions, Avatar, Harry Potter and Disney, amongst many others. These famous characters are part of theme park’s rides to attract tourists to visit film theme parks These rides allow users to travel in a fantasy experience and interact with film characters of cartoons or fictions. There is a high correlation between film-induced tourism and theme parks’ attractions. Film-induced tourism provides great benefits to the society, theme parks, cinemas and tourist destinations. Indeed, movies help to increase the number of visitors to theme parks. In 2019, 215 million people visited the top 20 theme parks worldwide analyzed in this study, this figure is quite lucrative to entertainment and tourism sectors, local and regional economies where these theme parks are localized.

This study presents the importance of theme parks at tourist destinations because theme parks are an extension of movies, thus is, the end of the physical perfect experience at theme parks which began in a movie seat or on your TV/videogame/PC screens.

本文的主要目的是分析电影引起的旅游和游客参观主题公园之间的相互关系, 并研究与主题公园及其景点有关的全球最受欢迎的电影（2010-2022年）。

本研究使用的方法是一套定性和定量的指标来衡量全球访问量最大的主题公园和观看次数最多的电影, 使我们能够回答本研究中提出的问题。

这项研究为旅游和娱乐业提供了新的贡献, 结果表明, 电影引起的旅游可以成为完美的营销工具, 通过电影及其影片吸引更多的游客到主题公园。通过电影和他们在电影中所代表的真实或虚构的人物, 如漫威、小人、阿凡达、哈利波特、迪斯尼等, 主题公园。这些著名人物是主题公园景点的一部分, 以吸引游客参观与电影有关的景点。这些景点让游客有一个幻想的体验, 并与卡通人物互动。电影引起的旅游和主题公园景点之间存在着高度的相关性。我们必须认识到, 电影引发的旅游为社会、主题公园、电影院和旅游目的地提供了巨大的利益。事实上, 电影有助于增加主题公园的游客数量。2019年, 有2.15亿人参观了本研究中分析的世界前20大主题公园, 这个数字对于娱乐和旅游部门、这些主题公园所在的地方和区域经济来说是相当有利可图的。

本研究揭示了主题公园在旅游目的地的重要性, 因为这些旅游景点是电影的延伸, 也就是说, 主题公园及其基于电影和动画的景点是游客在主题公园生活体验的最后一部分, 而这种体验是从电影院的座位上、电视、视频游戏或电脑屏幕前开始的。

El principal desafío de este artículo es analizar la interrelación entre el turismo inducido por las películas y las visitas a los parques temáticos por parte de los visitantes, y examinar las películas más vistas en todo el mundo (2010-2022) relacionadas con los parques temáticos y sus atracciones.

La metodología utilizada en este estudio es un conjunto de indicadores cualitativos y cuantitativos para medir los parques temáticos más visitados a nivel mundial y las películas más vistas que nos han permitido responder a las preguntas planteadas en esta investigación.

Esta investigación proporciona una nueva contribución a las industrias del turismo y el entretenimiento. Los resultados han demostrado que el turismo inducido por el cine puede ser la herramienta de marketing perfecta para atraer más visitantes a los parques temáticos a través de películas y sus personajes reales o ficticios representados en películas como Marvel, Minions, Avatar, Harry Potter, Disney, entre muchos otros. Estos personajes famosos son parte de las atracciones de los parques temáticos para atraer a los visitantes a visitar las atracciones relacionadas con las películas. Estas atracciones permiten a los visitantes tener una experiencia de fantasía e interactuar con personajes de películas de dibujos animados o ficción. Existe una alta correlación entre el turismo inducido por el cine y las atracciones de los parques temáticos. Debemos reconocer que el turismo inducido por el cine ofrece grandes beneficios a la sociedad, parques temáticos, cines y destinos turísticos. De hecho, las películas ayudan a aumentar el número de visitantes a los parques temáticos. En 2019, 215 millones de personas visitaron los 20 parques temáticos más importantes del mundo analizados en este estudio, esta cifra es bastante lucrativa para los sectores de entretenimiento y turismo, y la economía local y regional donde se encuentran estos parques temáticos.

Este estudio revela la importancia de los parques temáticos en los destinos turísticos, dado que estas atracciones turísticas son una extensión de las películas, es decir, los parques temáticos y sus atracciones basadas en películas y animaciones son la parte final de una experiencia vivida por los visitantes en dichos parques y que comenzó en un asiento de cine, frente a su TV, un videojuego, o pantalla de ordenador.

The learning outcomes of this paper are as follows: to critically assess and analyse public and private funding options and determine which private option is best suited to a company (finance – decision-making). To calculate the internal rate of return (IRR) of a project (finance – analytical). To critically assess the underlying structures of traditional and new industries (Strategy/BMI – analytical). To analyse the challenges and disruption potential of intermediated industries (Strategy/BMI – analytical).

The Triggerfish case looks at how films are funded in South Africa. The company is currently funding films mostly through government channels, but CEO Stuart Forrest would prefer to independently and privately fund their projects. The case looks at what returns can be expected by investors in film through the “recoupment waterfall” – the means whereby the producers and investors of a film recoup their investments and earn returns. The investment horizons of select private lenders (bank, mezzanine financiers, risk financers and venture capital firms) and public funders are explored. The case also explores the impact that video-on-demand platforms, such as Netflix and Disney+, is having on the traditional models of filmmaking.

This teaching case is aimed at postgraduate business students such as Master’s degrees in Business Administration degrees, postgraduate diplomas, executive education or specialist Master’s degrees.

Teaching notes are available for educators only.

CSS 3: Entrepreneurship.

The case describes the popular Russian children's animated TV series named the Smeshariki, its parent company (Marmelad), the domestic animation industry, and the principal international rivals and their respective animated products and/or services. The series' success led to the organic growth of vertically and horizontally related business units. Marmelad's business units' scope included producing more than 200, six and one-half minute episodes of the Smeshariki, branded children's products (e.g. educational games), granting licenses to manufacturers, establishing a network of kindergartens, and licensing the Smeshariki animated series to exhibitors in international markets. Key issues the company faces include: brand management for the Smeshariki and Marmelad, domestic and international competition in the Russian animation industry, and the need for professional management. The case provides instructors with a range of options including a holistic marketing case, or one that concentrates on focused marketing issues (i.e. all or parts of the marketing mix, brand architecture, brand equity and brand management).

This secondary source case is based mainly on legislative documents (that tracked the initiation and progress of the Parental Rights in Education bill that later became an Act), corporate documents (published by The Walt Disney Company) and news articles from publications such as The New York Times and Bloomberg. All sources are cited in the case narrative and as end notes.

In April 2022, The Walt Disney Company and its CEO, Robert Chapek, were at the center of a controversy over the company’s opposition to the State of Florida’s Parental Rights in Education bill. The bill, dubbed “Don’t Say Gay” by its critics, prohibited instruction on sexual identity and gender orientation in the state’s elementary schools. The controversy stemmed from Disney’s initial non-reaction to the bill and its later strident opposition and call for its repeal. Chapek was pressured by negative media publicity and employee disgruntlement on the one hand and adverse economic consequences for opposing the bill by the state’s Governor, Ron DeSantis. Chapek and the Board had to respond to the political threats to Disney’s economic well-being while appeasing its employees and other stakeholders who wanted the company to be a corporate champion in diversity, equity and inclusion.

The case is best suited for advanced undergraduate or graduate leadership, strategic management and marketing courses. From a leadership and strategic management perspective, the case is well-suited for demonstrating the evolving expectations of leaders and corporate social responsibility, as well as the concepts of issue framing and nonmarket management. Instructors may also leverage the case in marketing courses (e.g. brand management), as CEO activism (i.e. messaging and practice) is one characteristic of brand activism (Animation Guild, 2022).

This paper aims to provide reasons for developing an anime collection within academic libraries as well as providing guidance in starting such a collection.

This paper is based upon research of literature and anime-related websites, as well as familiarity gained through viewing anime.

Anime is a medium that can be used to explore all genres, as well as universal themes, and provide a glimpse of Japanese life. The study of film has been accepted for decades and the study of animation has grown from that but has been restricted to primarily American animation. Anime is animation specific to Japan which can inspire students and faculty to explore another culture. Libraries should provide classic anime that can support cross-cultural and interdisciplinary studies. By creating an anime collection, a library will provide their community with engaging materials that can be used for enjoyment as well as study. A list of core titles is included.

This paper reflects recent trends toward increased interest in Japanese popular culture, specifically anime, and offers academic libraries a rationale for including such materials within their collection to connect with their students and faculty. There are no articles on the topic of collecting anime in academic libraries.

Creativity can be one of the key drivers in business today. At the Walt Disney Company, creativity is not just a tool or a technique to increase productivity; it is the heart of the business. The creative process is practiced and nurtured at Disney, and the application of a similar approach could dramatically impact businesses in a multitude of industries.

“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?”

The mere sight of Disney villains have struck fear into the hearts of many a child. From the Evil Queen, to Maleficent, to Ursula. From the black flowing capes to the ashen skin and pointy horns, the aesthetic of these villains alone is often enough to evoke a sense of dread in the audience. Ursula from The Little Mermaid (1989) may not be officially a queen in the Disney universe, but she is a notorious villain amongst fans. Although The Little Mermaid was released in 1989, the film, and thus Ursula, have a fanbase that has evolved and grown up to now, despite the film not being remade into a live-action version as yet. This chapter will analyse the comments of three fan-made YouTube videos regarding Ursula, and will examine the fan comments, with specific focus on the comments regarding Ursula's physicality or any positive comments about her. This will show fan positivity towards a villainous character, despite what may be depicted as a negative body image. Ursula, an octopus, looks quite different from other villains. The primary research methodology will include participatory culture and discourse analysis in order to understand why fans adore her, and how they do not necessarily accept her as a villain, but that there is an outpouring of positivity towards her body image.