...Case 2 - The Walt Disney Company’s ”Sleeping Beauty” Bonds Why long-term bonds? Disney Company’s management may speculate that the interest rate will rise in the long run, although the interest rate at that time was very low. Actually this speculation was opposite to the Federal Reserve, who tended to use more short-term debts rather than long-term ones. Based on Disney’s speculation, the company has much incentive to issue long-term bonds to lock a relatively low cost of capital from the market. Higher yield than 30-year US Treasury bonds Disney Bond has higher yield than 30-year US Treasury bonds for the following three reasons: First, Disney bond has a payment period for 100 years, with more liquidity risk; Second, since Disney bond is a global securities with higher credit risk compared with US Treasury bonds; Third, Disney’s bond incorporates a call option. Thus, investors require larger yield of this bond. Face value vs. coupon value From the perspective of the bondholder, semi-annual coupon payments are more valuable than the final payment of face value in terms of present value. If we use the coupon yield 7.55% as YTM, we could derive that present value for face value is $207,052.17, while present value for coupon payment is $149,999,785.65. Callable vs. non-callable a. From the investors’ perspective, the Company’s call option will make the bond less attractive at issuance date, because investors will bear the interest risk when the interest declines in 30 years...
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...Disney’s Portrayal of Women and Simplification of Morals For most people, the first image that comes to mind when the subject of Walt Disney’s animated movies comes up is the studio’s popular princesses. Ever since Snow White made her debut in 1937, Disney has cornered the market on princesses. One primary topic that critics have discussed in Disney’s films is the way princesses are portrayed. The roles of the female characters are especially drawing the interest of academic critics. Jack Zipes, author of Breaking the Disney Spell, believes that the Disney princesses have regressed. On the other hand, Libe Zarranz, author of Diswomen Strike Back? The Evolution of Disney’s Femmes in the 1990s, and Rebecca Do Rozario, author of The Princess and the Magic Kingdom: Beyond Nostalgia, The Function of the Disney Princess, believe that the Disney princess has progressed. Another aspect of Disney’s movies that catches the eyes of critics is the moral simplification in the films. They believe that the morals from the original fairy tales are being manipulated and simplified in the Disney films. A. Waller Hastings, author of Moral Simplification in Disney’s The Little Mermaid, and Finn Mortensen, author of The Little Mermaid: Icon and Disneyfication, both agree that Disney’s simplification of morals is giving viewers the wrong depiction of life. Disney’s portrayal of women and simplification of morals are giving viewers the wrong impression of life and women. Many critics call the process...
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...In my paper, I discuss the purpose that motivates how antagonists in Disney movies are portrayed visually and behaviourally, and how these portrayals are intended to engage and assist the audience’s perception of such characters. Many Disney productions are adaptations of traditional fables and fairy tales which can often be traced back to Victorian times. In particular, stories from “Kinder -und Hausmärchen” written by Jacob and Wilheim Grimm are commonly employed in producing Disney films which adapt and elongate their storylines for the big screen. Consequently, much of the original storylines are altered for theatrical and practical purposes when adopted by the Walt Disney Company, and creative liberties often distort the intended portrayals of the characters that were determined in the original stories. For instance, in Walt Disney’s film “Cinderella” (1950), Cinderella’s stepsisters are portrayed as unattractive, with boyish figures and rectangular frames as well as facial features which may be considered ‘manly’. The discrepancy between the physical traits of the stepsisters featured in Disney’s film versus Grimms’ original description, which characterized them as having “beautiful features but proud, nasty and wicked hearts” (69), illustrates how Disney employs physical attraction to convey moral shortcomings. Specifically, Putnam, author of “Mean Ladies: Transgendered Villains in Disney Films”, notes that Disney’s “…villainous female characters are masculinized in...
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...Critique of “Cinderella and Princess Culture” In Peggy Orenstein’s article, “Cinderella and Princess Culture”, she emphasizes the thought that every little girl does not have to be a princess or like the “trends” that society has titled as “girly.” Orenstein states that little girls often do not get a choice in what they like because society has created the princess trend. She does not like the fact that playing princess can cause young girls to feel pressured to be perfect. Orenstein writes about her own experience with her daughter, asserting that girls should be given a free choice in what they like and dislike, but does not recognize that she is limiting her own daughter’s choices by closing off the idea that she might actually want to be a princess. Orenstein’s article, though effective, does not provide a clear stance on where she stands with the princess debate. She switches back and forth between accepting princesses to being against them. Orenstein speaks about the moment that caused her to be in outrage over the subject of princesses. She writes that the last straw was in a dentist’s office, when the dentist told her daughter, “Would you like to sit in my special princess throne so I can sparkle your teeth?” (326) Orenstein was already fed up with checkout clerks telling her daughter “Hi, Princess” every time they saw her, a waitress calling her daughter’s pancakes her “princess meal”, and when a lady handed her daughter a pink balloon instead of letting her pick one...
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...Once upon a time… but exactly when is that time? The time is past present and future. Oh how times have changed since the time of Snow White and Cinderella now we have Rapunzel and Moana. If you have ever seen these movies then hopefully you see the differences I see not only in the quality of the movies made, but the way they portray the characters in each movie. Gender roles have changed throughout time which is clearly seen in everyday life. Women are finally able to do many to most of the things that men do. We also see a huge difference on the way Disney portrays love in their older movies compared to now where a male love interest in not even included in the story. Disney is even beginning to give credibility to the LGBTQ community through smaller roles to slowly introduce these characters and people are beginning to accept this change. For example in Finding Dory (2016) a lesbian couple is shown for a short period time and can we not forget the main character, Ellen Degeneres, is gay. This diversity is helping other people feel accepted. Coming back to how gender roles have changed let us first look at Cinderella and how she was treated as nothing but a maid until she found a man who would be her prince charming that would free her from living with her evil stepmother and stepsisters. I am going to compare this story to Tangled (2010) a tale of a young rapunzel locked in a tower waiting for her prince charming to save her. She has learned to fend for herself because her...
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...“For who could ever learn to love a beast?” Quoted from the Disney movie Beauty and the Beast. It best describes what Beauty and bell has to choose in both the film and the fairy tale. The story Beauty and the Beast was first created back in 1756 by Jeanne-Marie Leprince De Beaumont. The fairy tale was modified and recreated by many authors after her. However, one of the most notable adaptions to the original Beauty and the Beast would be Disney’s film created in 1991. It is said that Disney “sanitizes and simplifies“ fairytales to make it more appropriate for a child audience. When comparing Beaumont’s Beauty and the Beast to Disney’s the differences are obvious, and the fairy tale is loosely represented in the film. The Disneyfication of...
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...There is a story that is known as “A Tale as Old as Time”, and although this is a story that has been around for centuries the modern world had to find a way to incorporate this story into the 20th century. Over all there has been four versions of the tale of The Beauty and the Beast. The best known version of the tale is the Disney cartoon film of it that was released in 1991. However, 2017 was also presented with a live action film of the tale. Both are very similar in the way they were produced, but they do have some differences that can be picked out without even watching the film, one could probably tell by the movie posters presented to advertise both films. In 1989, Disney had just released the film The Little Mermaid, the film ended up being a huge success for Disney and the producers. Therefore, when Disney wanted to produce another princess movie so soon after, they really had to do it thoroughly and perfectly to ensure another Disney success. The 1991 film of Beauty and the Beast was advertised with a beautiful representation of the film. The movie poster is very colorful and simple. As soon as you look at the poster you are overwhelmed with the colors gold and blue, evidentially because of the iconic big and beautiful...
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...In “Cinderella and Princess Culture,” Peggy Orenstein debates the rising phenomenon of princess culture in today’s society, its financial success to the Disney corporation, and the potentially destructive effects it has on young women. Orenstein uses rebuttals and real-life examples to persuade the audience that princess culture is harming the progress made by feminism. Orenstein begins the article by giving numerous real-life experiences of how her daughter was referred to as “princess” or treated in a feminine manner, offering the reader with several specific instances of this occurring. Orenstein uses these examples to justify the inevitable eruption she has as a result, detailing an altercation in her daughter's dentist office. This retelling...
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...revisionism throughout their tales so as to allow both their feministic values to be expressed and to allow the female narrative voice to be heard and thus emphasise the sense of female empowerment and independence which permeates both volumes. As Sarah Gamble writes, both writers use the fairy tale as a vehicle for the perpetuation of female oppression in culture.[1] Transformation is a traditional theme of the fairy-tale with it being a key aspect of Carter's 'Cat tales.' In 'The Courtship of Mr Lyon', the love of Beauty is a catalyst for the metamorphosis of Mr Lyon which causes a transformation from his strong bestial qualities with his “unkempt” looks and his “rough, hot, stiff stubble” into the stereotype of the gentleman who walks calmly in the garden with his wife. Her enduring love for Mr Lyon develops him from the “leonine apparition” into the “handsomest of all beasts.” In ‘The Tiger’s Bride’ Carter inverts the classic tale and instead, it is Beauty that undergoes the change. In this tale, we see the female protagonist objectified and “lost to the beast at cards.” In this tale, after the daughter releases the responsibilities of caring for her father, the girl sees her role in a masculine dominated society in the reflection of...
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...Sleeping Beauty Once upon a time there was a Queen who had a beautiful baby daughter. She asked all the fairies in the kingdom to the christening, but unfortunately forgot to invite one of them, who was a bit of a witch as well. She came anyway, but as she passed the baby's cradle, she said: "When you are sixteen, you will injure yourself with a spindle and die!" "Oh, no!" screamed the Queen in horror. A good fairy quickly chanted a magic spell to change the curse. When she hurt herself, the girl would fall into a very deep sleep instead of dying. The years went by, the little Princess grew and became the most beautiful girl in the whole kingdom. Her mother was always very careful to keep her away from spindles, but the Princess, on her sixteenth birthday, as she wandered through the castle, came into a room where an old servant was spinning. "What are you doing?" she asked the servant. "I'm spinning. Haven't you seen a spindle before?" "No. Let me see it!" The servant handed the girl the spindle ... and she pricked herself with it and. with a sigh, dropped to the floor. The terrified old woman hurried to tell the Queen. Beside herself with anguish, the Queen did her best to awaken her daughter but in vain. The court doctors and wizards were called, but there was nothing they could do. The girl could not be wakened from her deep sleep. The good fairy who managed to avoid the worst of the curse came too, and the Queen said to her, "When will my daughter waken?" "I don't...
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...have the golden key” that Jenny admires the author. However, the author believes that he hasn’t done a good job of preparing her for the future. The author believes that they’ve forced her in to thinking of a pleasant and fantasized world where nothing can go wrong. However, she will eventually have to understand that life is not so and has to face reality. The author understands that she has to “live with power and honour circumstance[s]”. Jenny’s heart is pure, and the author is afraid of how she will react when she is exposed to reality. She’s been penetrated with thoughts that life is perfect, and when mistakes are made, they are fixable. Some examples of tales that have been told to Jenny include: “birds speak the truth”, “beauty proves a royal mind”, and that “death is a small mistake, where [a] kiss revives”. At the end of his list of tales, he says “Jenny, we make just dreams out of our unjust lives”, which clearly means that we only make up fantasies to fulfill a bit of hope and happiness because we suffer through stressful lives. Overall, I assume that he doesn’t want Jenny to worry so much by telling her happy lies. Other than the main idea of how role models tend to make others not worry and be happy, I’ve noticed a lot of contrast within the story. An example is at the beginning of the poem; “Jenny, your mind commands kingdoms of black and white” meanwhile the author’s description of the “real” world is full of “gray...
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...Disney films have grown to nurture their escalation into developing as a child. Children have viewed different characters in different colours and patterns, whether idolizing them, favouring them or even despising them; those characters succeeded in impacting the mentality of those children, marking a point of interest that I would like to thoroughly investigate in this research assignment. Bearing that in mind, I have centered the aim of my research on the pink innuendos flaring from the very similar roles of the helpless princesses of Disney – the same innuendos that are now mostly looked as the societal norms of the Disney world. Some particular films that I have studied include ‘Cinderella’, ‘Snow White’, ‘The Little Mermaid’, ‘Sleeping Beauty’, ‘Beauty and The Beast’, ‘Tangled’, and ‘Mulan’. Through the utilization of those films, I have carried my study in an order that would allow me to scrutinize the similarities assigned to the ‘pink’ customs fitted to Disney princesses, and any other differences that could break the code followed through years on the films – hence an investigation in the representation of conventional Disney princesses. Disney films have allowed children to compose a preconceived idea of women or female roles in the films or even in life altogether, as helpless, and in need of an external party (usually male – or the Prince Charming) to come in and switch their lives into the better. These stereotypical roles assigned to the princesses are usually coloured...
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...parents in hopes to rid their daughters of the anxieties they develop when exposed to the consumer goods that are Disney princesses (Teitel online). Disney films are known to teach the younger female generation “everything from ‘only appearances matter’ to ‘don’t expect to rely on yourself; you'll need a prince to rescue you’” (Teitel online). Hartstein brought up the great point about what Disney films are perceived to be teaching. Hartstein believes that the typical princess is not only unreasonably airy, destitute, and vacant, but a threat to the development of girls who worship at their pink, sugary altar (Teitel online). If a young girl becomes obsessed with princess movies like Aladdin, Sleeping Beauty, and Cinderella, she may become determined with maintaining her princess-like beauty and become indifferent in her own freedom; so kind of like a princess, herself (Teitel online). Frozen is often seen as the revolutionary movie that broke the stereotype that some viewers have on Disney princess movies. However, the males in the movie are noticeably varied with their looks and personalities, while the females are the typical Disney princesses, with long, beautiful hair, tiny waists, and perfect noses (“Perfect princesses are pretty boring” online). Disney tried to break their stereotype of the damsel in distress and the prince coming to save her, but kept the physical characteristics that all Disney princesses...
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...In our world today, people happily expose children to fairy tales, but as those kids grow up and discover the hidden messages inside the stories, they are often provoked with different emotions. I recently experienced this when reading Jacob and Wilhelm Grimm’s “Little Red Cap,” and Charles Perrault’s “Little Red Riding Hood.” Due to my new maturity and knowledge, I was able to interpret the author'sauthors’ pieces of work in new ways. Their strategic use of pathos led me to be overcome with a feeling of worry, disappointment, and frustration. Despite the fact that they both induced me to experience similar emotional responses, I found myself responding more strongly to one than the other. In both fairy tales Red Riding Hood is described as an innocent, sweet, pretty little girl who was appreciated by many people. Likewise, I one day hope to have a daughter of my own who is strong and beautiful in her own way. However, there were parts of these stories that initiated a feeling of worry inside of me for what trials my future daughter could face. The “Little Red Cap” features Red encountering a wolf in the woods on her way to her grandma’s house. When she first meets him, the Grimm brothers inform us that “She did not know what a wicked animal he was, and she was not afraid of him.” Unfortunately, Red’s lack of concern gets the better of her, because after conversing with the wolf, he begins to think to himself, “Now there is a tasty bite for me. Just how are you going to catch...
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...Disney Princesses: Friends or Foes? When a woman gets pregnant, the first thing she wonders is what the sex of the baby will be. If the child is a boy, the mother’s life will be filled with race cars and dirt, but if the child is a girl, life will be filled with pink, ponies and princesses. The traits of young children are not a new trend; they have been exemplified for the past twenty years on television and in all homes across the world. Being the mother of a small girl, Peggy Orenstein’s life is constantly bombarded with talk of being a princess. Orenstein wrote an article in the Contemporary Reader complaining that Disney Princesses are taking over culture and sending young girls the wrong messages about her femininity. Orenstein writes, “Its 2006, not 1950. This is Berkley, California. Does every little girl really have to be a princess?”(Orenstein, Peggy 101). I feel that Orenstein is wrong and selfish for not letting her daughter enjoy the princesses like every other little girl. Disney princesses are innocent and will do no harm in the long run. Through out this essay, I’ll show a positive side to the negatively perceived Disney princess. In an interview with Pamela Paul from Parents.com, Orenstein said this about her child, “My daughter went to preschool, and suddenly life was 24/7 princess. Before that, play had been about blocks and trains and other things, but that came to a screeching halt.” (Paul). I do not understand why this parent is so against her...
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