DOCSLIB.ORG

Striving Toward Gender and Nature Balance Through Bonding in Disney's Frozen and Maleficent Sarah Chase Crosby Iowa State University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Striving Toward Gender and Nature Balance Through Bonding in Disney's Frozen and Maleficent Sarah Chase Crosby Iowa State University Iowa State University Capstones, Theses and Graduate Theses and Dissertations Dissertations 2016 Letting gendered spaces go: striving toward gender and nature balance through bonding in Disney's Frozen and Maleficent Sarah Chase Crosby Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Film and Media Studies Commons, Folklore Commons, and the Gender and Sexuality Commons Recommended Citation Crosby, Sarah Chase, "Letting gendered spaces go: striving toward gender and nature balance through bonding in Disney's Frozen and Maleficent" (2016). Graduate Theses and Dissertations. 15162. https://lib.dr.iastate.edu/etd/15162 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Letting gendered spaces go: Striving toward gender and nature balance through bonding in Disney’s Frozen and Maleficent by Sarah Chase Crosby A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program of Study Committee: Michèle A. Schaal, Major Professor Abby Dubisar Jeremy Withers David Zimmerman Iowa State University Ames, Iowa 2016 Copyright © Sarah Chase Crosby, 2016. All rights reserved. ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ...................................................................................... viii ABSTRACT .............................................................................................................. vi INTRODUCTION ..................................................................................................... 1 CHAPTER 1. PATRIACHAL VERSUS MATRIARCHAL SPACES .................... 6 Disney Castles as Masculine, Public Spheres ..................................................... 9 Nature as Feminine, Private Sphere .................................................................... 30 CHAPTER 2. FEMALE BONDING DESEGREGATES SPACES ......................... 49 Rivals No More: Female Bonding Fosters Empowerment .................................. 52 Male Characters as Allies for Gender Spatial Desegregation ............................. 72 CONCLUSION ......................................................................................................... 92 WORKS CITED ........................................................................................................ 98 iii ACKNOWLEDGEMENTS I would like to thank my major professor, Dr. Michèle A. Schaal, for her guidance throughout the course of this project and my committee members, Dr. Abby Dubisar, Dr. Jeremy Withers, and Dr. David Zimmerman for their support. In addition, I would like to thank my colleagues, faculty, and staff within the English Department and Women’s and Gender Studies Program for making my time at Iowa State University a wonderful experience. Finally, thanks to my parents and friends for their encouragement and to my husband for his hours of patience, respect, and love. iv ABSTRACT From Snow White and the Seven Dwarfs (1937) to more contemporary releases such as Brave (2012), scholars have extensively examined the portrayal of gender in the Disney Princess films. A significant shift in representation started to occur in the 21st century with a greater portrayal—albeit still problematic—of gender roles. Two recent films, Disney’s animated Frozen (2013) and live-action Maleficent (2014), significantly illustrate how society’s views of women have shifted, causing Disney to adjust its Princesses so as to mirror contemporary, more egalitarian ideals. In this thesis, I will demonstrate how the depiction of sisterly love in Frozen and the portrayal of motherhood in Maleficent as more important than romantic love establishes a deviation from Disney’s prior portrayal of female characters while parodying “traditional” gender depictions. Although both films still lack diversity, patriarchy and gender roles are challenged by female bonding and the desegregation of gendered spaces. Due to the impact of space or location on gender roles and familial relationships, change must take place at a private and public level to be truly effective. Dualisms— gendered respectively in the masculine and feminine—are present but eventually challenged by Elsa and Anna in Frozen, as well as Maleficent and Aurora in Maleficent: these characters destabilize the spatially connected patriarchal structures by utilizing personal and political power in both public and private spheres. Therefore, Frozen and Maleficent, through the emphasis on familial, female bonding and desegregation of gendered locations, depart from previous Disney depictions of gender roles, dualistic spaces, and the notion of “happily ever after” as achieved through heterosexual romance and marriage. 1 INTRODUCTION From Snow White and the Seven Dwarfs (1937) to more contemporary releases such as Brave (2012), scholars have extensively examined the portrayal of gender in Disney Princess films.1 With a few exceptions, including Amy Davis, much scholarly emphasis focused on the negative, normative display of femininity and historically specific gender roles.2 For example, Kay Stone and Marcia Lieberman critically analyzed the gendered dichotomies of princess and evil queen roles in folk and fairy tales that are the basis of 20th century Disney films.3 In particular, foundational research demonstrated that these animated features primarily relied on the passive protagonist versus active antagonist binary.4 This duality, in turn, created a need for the active male hero to defeat the—usually evil and female—antagonist and provide the passive female protagonist with her “happily ever after” ending, namely fulfillment through heterosexual love and marriage. In addition—with the exception of The Princess and the Frog (2009)—Disney princesses have shown little 1Disney princess movies from the official Disney Princess Franchise include: Snow White, Cinderella (1950), Sleeping Beauty (1959), The Little Mermaid (1989), Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995), Mulan (1998), The Princess and the Frog (2009), Tangled (2010), and Brave—with Frozen (2014) expected to join soon, according to Disney. Maleficent is a live-action retelling of Sleeping Beauty that continues the emerging pattern of increased empowerment in recent, animated Disney Princess films such as Brave. 2 Davis argues in Good Girls and Wicked Witches: Women in Disney’s Feature Animation (Eastleigh: Libbey, 2006) that even Disney “princesses” commonly seen as passive (Ariel, Jasmine, and Pocahontas) were active and interested in life beyond their love interests (9-10). See also Sharon Downey’s “Feminine Empowerment in Disney’s Beauty and the Beast” (185-212) and Jill Birnie Henke, Diane Zimmerman Umble, and Nancy J. Smith’s “Construction of the Female Self: Feminist Readings of the Disney Heroine” (229-50), among other studies, who highlighted empowering aspects of Disney gender depictions along with their problematic elements. 3 See namely Stone (“Things Walt Disney Never Told Us”) 44-49; and Lieberman (“Some Day My Prince Will Come’: Female Acculturation through the Fairy Tale”) 384-394. 4 Along with texts like Sandra Gilbert and Susan Gubar’s The Madwoman in the Attic (New Haven: Yale UP, 1979), Disney-specific works such as Jack Zipes’ “Breaking the Disney Spell” (21-42) and Elizabeth Bell’s “Somatexts at the Disney Shop: Constructing the Pentimentos of Women’s Animated Bodies” (107-24), are foundational analyses that explore this binary. 2 diversity: most of them are white women from, as royal figures, privileged social classes who conform to normative beauty standards (young, thin, able-bodied).5 A significant shift in representation started to occur in the 21st century with a greater portrayal—albeit still problematic—of gender roles. For example, Disney/Pixar’s Brave features an active mother-daughter relationship without focusing on a love interest. Two recent films, Disney’s animated Frozen (2013) and live-action Maleficent (2014), also significantly illustrate how society’s views of women shifted, causing Disney to adjust its princesses so as to mirror contemporary, more egalitarian ideals.6 I argue that the depiction of sisterly love in Frozen and the portrayal of motherhood in Maleficent as more important than romantic love establishes a deviation from Disney’s prior portrayal of female characters while parodying “traditional” gender depictions. Although both films still lack diversity, I posit that patriarchy and gender roles are challenged by female bonding and the desegregation of gendered spaces. In particular, I use the female-nature connection and the subsequent familial bonding to demonstrate the women’s final empowerment. Their success builds throughout the films and results in the dissolution of gendered spaces in Frozen and Maleficent. Due to the impact of these areas on gender roles and familial relationships, I study the influence of such locations on the protagonists’ individual and communal empowerment. Greta Gaard and Patrick D. Murphy provide a definition of ecofeminism focusing on those personal and group connections: “A practical movement for social change arising out of the struggles of women
Load more

Recommended publications
  • The Indigenous Body As Animated Palimpsest Michelle Johnson Phd Candidate, Dance Studies | York University, Toronto, Canada
    CONTINGENT HORIZONS The York University Student Journal of Anthropology VOLUME 5, NUMBER 1 (2019) OBJECTS “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest Michelle Johnson PhD candidate, Dance Studies | York University, Toronto, Canada Contingent Horizons: The York University Student Journal of Anthropology. 2019. 5(1):45–62. First published online July 12, 2019. Contingent Horizons is available online at ch.journals.yorku.ca. Contingent Horizons is an annual open-access, peer-reviewed student journal published by the department of anthropology at York University, Toronto, Canada. The journal provides a platform for graduate and undergraduate students of anthropology to publish their outstanding scholarly work in a peer-reviewed academic forum. Contingent Horizons is run by a student editorial collective and is guided by an ethos of social justice, which informs its functioning, structure, and policies. Contingent Horizons’ website provides open-access to the journal’s published articles. ISSN 2292-7514 (Print) ISSN 2292-6739 (Online) editorial collective Meredith Evans, Nadine Ryan, Isabella Chawrun, Divy Puvimanasinghe, and Katie Squires cover photo Jordan Hodgins “Not That You’re a Savage” The Indigenous Body as Animated Palimpsest MICHELLE JOHNSON PHD CANDIDATE, DANCE STUDIES YORK UNIVERSITY, TORONTO, CANADA In 1995, Disney Studios released Pocahontas, its first animated feature based on a historical figure and featuring Indigenous characters. Amongst mixed reviews, the film provoked criti- cism regarding historical inaccuracy, cultural disrespect, and the sexualization of the titular Pocahontas as a Native American woman. Over the following years the studio has released a handful of films centered around Indigenous cultures, rooted in varying degrees of reality and fantasy.
    [Show full text]
  • Ecofeminism: an Overview Difficult for Women in Such Societies to Provide Food, Fuel, Or 14 Lois Ann Lorentzen, University of San Francisco & Water
    Ecofeminism: An Overview difficult for women in such societies to provide food, fuel, or 14 Lois Ann Lorentzen, University of San Francisco & water. Empirical data supports this claim. Heather Eaton, Saint Paul University A second claim is that women and nature are connected Ecofeminism is an activist and academic movement that sees conceptually and/or culturally/symbolically. These connections are critical connections between the domination of nature and the articulated in several ways. Many agree with Ruether that Western exploitation of women. The term ecofeminism, first used by French cultures present ideas about the world in a hierarchical and feminist Francoise d’Eaubonne1 in 1974, was hailed as the third dualistic manner that is lived out in the way the world is organized. wave of feminism. Ecofeminism, as Karen Warren notes,2 is an The claim is that dualist conceptual structures identify women with umbrella term for a wide variety of approaches. One may be a femininity, the body, Earth, sexuality, and flesh; and men with socialist ecofeminist, cultural ecofeminist, radical ecofeminist, masculinity, spirit, mind, and power. Dualisms such as ecowomanist, etc. Although the categorization of ecofeminism is a reason/emotion, mind/body, culture/nature, heaven/Earth, and contested point, what holds these disparate positions together is the man/woman converge. This implies that men have innate power claim that, as Karen Warren writes, “there are important over both women and nature. This dualistic structure was connections between the domination of women and the domination championed in the Greek world, perpetuated by Christianity, and of nature.”3 reinforced later during the scientific revolution.
    [Show full text]
  • Digital Surrealism: Visualizing Walt Disney Animation Studios
    City University of New York (CUNY) CUNY Academic Works Publications and Research Queens College 2017 Digital Surrealism: Visualizing Walt Disney Animation Studios Kevin L. Ferguson CUNY Queens College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/qc_pubs/205 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 1 Digital Surrealism: Visualizing Walt Disney Animation Studios Abstract There are a number of fruitful digital humanities approaches to cinema and media studies, but most of them only pursue traditional forms of scholarship by extracting a single variable from the audiovisual text that is already legible to scholars. Instead, cinema and media studies should pursue a mostly-ignored “digital-surrealism” that uses computer-based methods to transform film texts in radical ways not previously possible. This article describes one such method using the z-projection function of the scientific image analysis software ImageJ to sum film frames in order to create new composite images. Working with the fifty-four feature-length films from Walt Disney Animation Studios, I describe how this method allows for a unique understanding of a film corpus not otherwise available to cinema and media studies scholars. “Technique is the very being of all creation” — Roland Barthes “We dig up diamonds by the score, a thousand rubies, sometimes more, but we don't know what we dig them for” — The Seven Dwarfs There are quite a number of fruitful digital humanities approaches to cinema and media studies, which vary widely from aesthetic techniques of visualizing color and form in shots to data-driven metrics approaches analyzing editing patterns.
    [Show full text]
  • “Until That Song Is Born”: an Ethnographic Investigation of Teaching and Learning Among Collaborative Songwriters in Nashville
    “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “UNTIL THAT SONG IS BORN”: AN ETHNOGRAPHIC INVESTIGATION OF TEACHING AND LEARNING AMONG COLLABORATIVE SONGWRITERS IN NASHVILLE By Stuart Chapman Hill With the intent of informing the practice of music educators who teach songwriting in K– 12 and college/university classrooms, the purpose of this research is to examine how professional songwriters in Nashville, Tennessee—one of songwriting’s professional “hubs”—teach and learn from one another in the process of engaging in collaborative songwriting. This study viewed songwriting as a form of “situated learning” (Lave & Wenger, 1991) and “situated practice” (Folkestad, 2012) whose investigation requires consideration of the professional culture that surrounds creative activity in a specific context (i.e., Nashville). The following research questions guided this study: (1) How do collaborative songwriters describe the process of being inducted to, and learning within, the practice of professional songwriting in Nashville, (2) What teaching and learning behaviors can be identified in the collaborative songwriting processes of Nashville songwriters, and (3) Who are the important actors in the process of learning to be a collaborative songwriter in Nashville, and what roles do they play (e.g., gatekeeper, mentor, role model)? This study combined elements of case study and ethnography. Data sources included observation of co-writing sessions, interviews with songwriters, and participation in and observation of open mic and writers’ nights.
    [Show full text]
  • Spatial Design Principles in Digital Animation
    Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system.
    [Show full text]
  • A Totally Awesome Study of Animated Disney Films and the Development of American Values
    California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Almost there : a totally awesome study of animated Disney films and the development of American values Allyson Scott California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Scott, Allyson, "Almost there : a totally awesome study of animated Disney films and the development of American values" (2012). Capstone Projects and Master's Theses. 391. https://digitalcommons.csumb.edu/caps_thes/391 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Social and Behavioral Sciences Department Senior Capstone California State University, Monterey Bay Almost There: A Totally Awesome Study of Animated Disney Films and the Development of American Values Dr. Rebecca Bales, Capstone Advisor Dr. Gerald Shenk, Capstone Instructor Allyson Scott Spring 2012 Acknowledgments This senior capstone has been a year of research, writing, and rewriting. I would first like to thank Dr. Gerald Shenk for agreeing that my topic could be more than an excuse to watch movies for homework. Dr. Rebecca Bales has been a source of guidance and reassurance since I declared myself an SBS major. Both have been instrumental to the completion of this project, and I truly appreciate their humor, support, and advice.
    [Show full text]
  • Best One to Summon in Kingdom Hearts
    Best One To Summon In Kingdom Hearts Mace still fume feverishly while monopetalous Ephrem tedding that guan. Circumscriptive Welby peptonize some bathroom and arbitrate his carritch so sicker! Prent rice her recliners isochronally, fundamental and unwatered. One Piece after One Piece Ship your Piece Fanart Ace Sabo Luffy Luffy X Jul. Can tilt the all-powerful energy source Kingdom Hearts. The purple aura moves, one to summon kingdom hearts since he can only follow the game with dark road is. This tribute will teach you how he one works Best Kingdom Hearts 3 Summons 5 In the games you want summon certain characters to help ask in fights. Of a renowned samurai who revolve the ability to summon weapons out plan thin air. This after great owo love bridge the summons are based on rides Anime Disney And Dreamworks Kingdom Hearts Disney Animation Art Fantasy Final Fantasy. Kingdom Hearts III Re Mind Limit Cut down Guide RPG Site. One finger your kingdom's armies lets you though do silence of odd stuff and applause a martial way to. Summon players combat against yozora waking up one to summon in kingdom hearts series so a best. Cast thundaga to let us to defeat if sora can be? Reset mating potion ark Fiarc. When Dark Inferno summons spheres it will disappear from my field. Aside from the best one to summon in kingdom hearts: we keep this should be safe place. They got't drop the Stone await you refresh the final one which summons fakes and. Kingdom Hearts Sora's 10 Best Team Attacks Ranked.
    [Show full text]
  • Suggestions for Top 100 Family Films
    SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT..
    [Show full text]
  • Disney Princesses Trivia Quiz
    DISNEY PRINCESSES TRIVIA QUIZ ( www.TriviaChamp.com ) 1> Which princess has the ability to heal? a. Pocahontas b. Jasmine c. Rapunzel d. Megara 2> Which Disney princess is Scottish? a. Jasmine b. Merida c. Megara d. Mulan 3> Which princess sings the song entitled Part of this World? a. Belle b. Ariel c. Tiana d. Pocahontas 4> Which princess wears a green dress? a. Tiana b. Cinderella c. Aurora d. Belle 5> Who is the daughter of King Stefan and Queen Leah? a. Adrina b. Aurora c. Dot d. Eden 6> Which Princess falls in love with Eric? a. Eric b. Ariel c. Belle d. Tiana 7> Which princess is an excellent cook? a. Pocahontas b. Tiana c. Ariel d. Megera 8> What color does Rapunzel wear? a. Yellow b. Purple c. Blue d. Green 9> Which Disney princess dances with an owl? a. Aurora b. Jasmine c. Megara d. Dot 10> Which princess is asked to pour tea for the matchmaker? a. Mulan b. Pocahontas c. Ariel d. Belle 11> Which princess lives in Agrahba? a. Anna b. Jasmine c. Belle d. Rapunzel 12> Which princess falls in love with a thief? a. Cinderella b. Rapunzel c. Merida d. Snow White 13> Which Princess wears pants as part of her "official" costume? a. Belle b. Snow White c. Jasmine d. Cinderella 14> Which princess sings A Dream is a Wish Your Heart Makes? a. Snow White b. Aurora c. Cinderella d. Belle 15> Which princess is invited to be the dinner guest in a magical castle? a. Megara b.
    [Show full text]
  • Bradley Immel's Music Production Tips, Best Practices, & More
    Bradley Immel’s Music Production Tips, Best Practices, & More Most Applicable in Logic Pro X Last Updated: 11 // 18 // 2020 This document is intended to be a collection of tips and tricks that I have picked up over the years. These suggestions are in no way rules or restrictions - always trust your ear, and always explore! Anything stated here may be a bad habit/idea - it’s what I’ve landed upon, but I’m sure it will change. Please share this with anyone who may get some use out of it (: Please offer your own tips, feedback, etc. and I will try it out and hopefully include it here! General Vocab Reverb : the difference between singing in your closet vs. singing in a church or a stairwell. That ​ shimmery-ringing-but-not-quite-an-echo is reverb - the sound of sound bouncing off the walls and making it back to your ear. A reverb is the mark of a space. ​ ​ Bounce : to take a track, audio file, section of a project, or entire project and compile it into a single ​ audio file. It will include the sound of all plugins, panning, automation, etc. (unless you specifically bypass them). Used for exporting audio, turning MIDI into audio (good for sharing a Logic project in which you used non-Logic MIDI samples with someone else), and general project utility. Gain : confusing - lots of semantics around it. A measure of loudness/volume. Generally refers to the ​ input level. For example, if you are recording a track, you set your gain as the amount of signal to let in (to your computer/interface/compressor unit/whatever) and set your volume as the amount of signal to send out (through your speakers/headphones).
    [Show full text]
  • Various Disney Classics Mp3, Flac, Wma
    Various Disney Classics mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Children's / Stage & Screen Album: Disney Classics Country: US Released: 2013 Style: Soundtrack, Theme, Musical MP3 version RAR size: 1692 mb FLAC version RAR size: 1570 mb WMA version RAR size: 1324 mb Rating: 4.8 Votes: 145 Other Formats: WAV AU MMF VQF APE AIFF VOC Tracklist Timeless Classics –Mary Moder, Dorothy Who's Afraid Of The Big, Bad Wolf (From "Three 1-1 Compton, Pinto Colvig & Billy 3:06 Little Pigs") Bletcher Whistle While You Work (From "Snow White 1-2 –Adriana Caselotti 3:24 And The Seven Dwarfs") 1-3 –Cliff Edwards When You Wish Upon A Star (From "Pinocchio") 3:13 –Cliff Edwards, Jim 1-4 Carmichael & The Hall When I See An Elephant Fly (From "Dumbo") 1:48 Johnson Choir* 1-5 –Disney Studio Chorus* Little April Shower (From "Bambi") 3:53 –Joaquin Garay, José Olivier & 1-6 Three Caballeros (From "The Three Caballeros") 2:09 Clarence Nash 1-7 –James Baskett Zip-A-Dee-Doo-Dah (From "Song Of The South") 2:18 Lavender Blue (Dilly Dilly) (From "So Dear To 1-8 –Burl Ives 1:02 My Heart") A Dream Is A Wish Your Heart Makes (From 1-9 –Ilene Woods 4:35 "Cinderella") –Disney Studio Chorus* & All In The Golden Afternoon (From "Alice In 1-10 2:41 Kathryn Beaumont Wonderland") –Kathryn Beaumont, Bobby You Can Fly! You Can Fly! You Can Fly! (From 1-11 Driscoll, Paul Collins , Tommy 4:23 "Peter Pan") Luske & Jud Conlon Chorus* What A Dog / He's A Tramp (From "Lady And 1-12 –Peggy Lee 2:25 The Tramp") 1-13 –Mary Costa & Bill Shirley Once Upon A Dream (From "Sleeping
    [Show full text]
  • Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic
    Please do not remove this page Giving Evil a Name: Buffy's Glory, Angel's Jasmine, Blood Magic, and Name Magic Croft, Janet Brennan https://scholarship.libraries.rutgers.edu/discovery/delivery/01RUT_INST:ResearchRepository/12643454990004646?l#13643522530004646 Croft, J. B. (2015). Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic. Slayage: The Journal of the Joss Whedon Studies Association, 12(2). https://doi.org/10.7282/T3FF3V1J This work is protected by copyright. You are free to use this resource, with proper attribution, for research and educational purposes. Other uses, such as reproduction or publication, may require the permission of the copyright holder. Downloaded On 2021/10/02 09:39:58 -0400 Janet Brennan Croft1 Giving Evil a Name: Buffy’s Glory, Angel’s Jasmine, Blood Magic, and Name Magic “It’s about power. Who’s got it. Who knows how to use it.” (“Lessons” 7.1) “I would suggest, then, that the monsters are not an inexplicable blunder of taste; they are essential, fundamentally allied to the underlying ideas of the poem …” (J.R.R. Tolkien, “Beowulf: The Monsters and the Critics”) Introduction: Names and Blood in the Buffyverse [1] In Joss Whedon’s Buffy the Vampire Slayer (1997-2003) and Angel (1999- 2004), words are not something to be taken lightly. A word read out of place can set a book on fire (“Superstar” 4.17) or send a person to a hell dimension (“Belonging” A2.19); a poorly performed spell can turn mortal enemies into soppy lovebirds (“Something Blue” 4.9); a word in a prophecy might mean “to live” or “to die” or both (“To Shanshu in L.A.” A1.22).
    [Show full text]