DOCSLIB.ORG

Once Upon an Ecological Dream

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Once Upon an Ecological Dream Once Upon an Ecological Dream Anthropomorphism and the Phenomenon of ‘human interference’ with Nature/nature in the Disney films Bambi (1942), The Jungle Book (1967), The Fox and the Hound (1981), Tarzan (1999), Finding Nemo (2003) and Brother Bear (2003) Reena Leek Supervisor: Dr. C. Lord 10195904 Second reader: Dr. F.A.M. Laeven [email protected] Media Studies: Film Studies Word Count: 23549 University of Amsterdam Date: 24 June 2016 ABSTRACT The Walt Disney Company has a substantial influence on multiple generations, which could be utilized for a good cause. Therefore I will discover that animated Disney features that portray slightly anthropomorphic animals in their natural habitat can be read as ecological films. Most Disney films carry environmental messages as anti- hunting or anti-domestication when the films are analysed through ecological theories combined with a new media theory and concepts considering spectator engagement. Bambi and Finding Nemo are films that contain a sense of immediacy and therefore their respectively anti-hunting and anti-domestication messages are apparent. This immediacy misses in The Jungle Book, however through a sense of place this can still be seen as an ecological film, with a minor message of preservation. Tarzan bears an anti-hunting message through the anthropological machine and the immediacy of the film. This same anti-hunting message is perceived in The Fox and the Hound, although less apparent due to the lack of immediacy. The last film is Brother Bear although there is a self-reflexive element in this film, the anti-hunting message is not perceived due to the lack of Nature as an ideal. Disney seems engaged with environmental awareness, but there could be more impact from the company. Keywords: Disney, ecology, nature, anthropomorphism, immediacy 2 TABLE OF CONTENTS Introduction: Ecology in Disney 4 Anthropomorphism 7 Immediacy 13 Spectator Engagement 15 Nature/nature and ‘sense of place’ 17 Conclusion 20 Human interference with nature in Bambi and Finding Nemo 22 Bambi: an accurate environment in lush Nature 23 Anthropomorphic fish and immediacy in Finding Nemo 29 Conclusion Bambi and Finding Nemo 32 The animal-raised feral child in The Jungle Book and Tarzan 35 The Jungle Book: the importance of immediacy 36 Tarzan: between animal and human 41 Conclusion The Jungle Book and Tarzan 45 Impact of humans in The Fox and the Hound and Brother Bear 48 The problem of domestication in The Fox and the Hound 49 Brother Bear: self-reflexivity due to the anthropological machine 52 Conclusion The Fox and the Hound and Brother Bear 56 Conclusion 58 Bibliography 62 Film List 65 3 INTRODUCTION: ECOLOGY IN DISNEY All our dreams can come true – if we have the courage to pursue them. – Walt Disney (Williams and Denney 63) The influence of the Walt Disney Company is one of the most significant in popular culture. Walt Disney pioneered the notion of a standard-issue childhood memory according to film critic Ringel (1). Particularly Disney’s animal characters belong to the cultural heritage of the West. A remarkable example of the influence of Disney comes from the musician Paul McCartney. When he watched Bambi (Algar and Armstrong, 1942) the film about a fawn who loses his mother due to hunters “as a child, McCartney felt a strong sense of empathy for the animals and revulsion at the humans’ cruelty, an experience he now identifies as foundational to his development as an activist for animal rights and conservation” (BBC News 2005 and Steindam 100). The major influence is researched in the book The Mouse that Roared: Disney and the End of Innocence in this book Giroux examines the political force that shapes images of public memory. Disney films produce the childhood fantasies that shape our “roles, values, and ideals” (Giroux 84). However, whereas Giroux claims about race, gender and class is a critique for the Disney Corporation, I will research how the corporation tries to do their best at creating environmental awareness. Even if it is not on their agenda the Corporation does convey ecological messages in their way of storytelling. Caleb Steindam argues in his chapter “The Illusion of Life: Nature in the Animated Disney Curriculum” that “nature is a thematic and aesthetic element of nearly all animated Disney films evoking romance, spirituality, adventure fun and absurdist fantasy.” (96) I contradict that nature is only used to evoke these elements, I think it is also used to promote environmental issues and for the service of entertainment for the enhancement of marketing and merchandising as John Parham states in his book Green Media and Popular Culture: An Introduction (237). After all, an Earth-friendly image is crafted by the Disney Corporation through their edutainment such as the True-Life Adventure series, nature documentaries as Bears (Fothergill, Scholey and Chapman, 2014) and the multiple Disneylands, in specific the Animal Kingdom Theme Park (Steindam 97). I will make a case that the Disney films, whose protagonists are animals and live in their natural 4 habitat, could be seen as ecological films. The films convey anti-hunting, anti- domestication and preservation messages. All the films of my case study are produced by The Walt Disney Company, with the exception of Finding Nemo (Stanton and Unkrich, 2003). For this film there was a coproduction with Pixar. However, Disney had an influence on the film since the company distributed the film and there was a partnership between the two companies. The Walt Disney Company represents the film. To narrow my research down I will look at films that feature animals as protagonists, accompanied by a low level of anthropomorphism; this is the humanization of animals and for my corpus I distinguish the animals that do not wear clothes. I will focus on the most pure animals as possible, not animals behaving as humans. Furthermore these animals live in their natural habitats and not in a city or house. Moreover there has to be an aspect of human interference with nature. With human interference I mean that humans intrude nature and that they are altering it on purpose, in particularly the hunting and domestication of animals. Therefore I came up with the next six films in chronological order: Bambi (1942), The Jungle Book (Reitherman, 1967), The Fox and the Hound (Berman, Rich and Stevens, 1981), Tarzan (Buck and Lima, 1999), Brother Bear (Blaise and Walker, 2003) and Finding Nemo (2003). All films focus on relationships within wild nature, with anthropomorphizing elements and constructed with different levels of immediacy. Immediacy is a term coined by new media theorists Bolter and Grusin and explains how a truthful depiction of nature can lead to a more concerned viewer (Remediation 28). I will use this new media theory of remediation, because it offers insights in the field of animation film about the portrayal of nature. With immediacy the screen as a medium disappears which leads to a more immediate feeling and creates a transfiguration of the environmental message of the film towards the spectator. If there is no immediacy than there is hypermediacy; the animation is not portrayed accurate and old media is visible. For the term nature I will distinguish ‘Nature’ with a capital N, which is the idealization of Nature and ‘nature’ with a small n, which stands for the real nature. Timothy Morton, on who I will further elaborate in this introduction, makes this distinction. Some films are from the perspective of animals and other through the perspective of child protagonists. The anthropomorphic portrayal of animals is often critiqued; Disney sentimentalizes the animals, which will be elaborated on later in this thesis. I will argue that anthropomorphism is not necessarily an unfavourable element. When the films are 5 watched from an ecological viewpoint the anthropomorphism helps viewers to engage with the animals on a deeper level. Therefore the audience can gain a greater degree of sympathy for the animals. Viewers could better comprehend the damage that humans cause to nature. Already since the innovative film Bambi it was clear that the sentimental animated animals could represent more than just an adorable character. The Disney films are environmentally aware and most of them have a clear argument about ecological issues. The adoption of a narrative aligned with animal characters may have the potential to develop more than cuteness and could create active ecological members. How does the Walt Disney Company convey environmental messages through animated Disney films starring animal protagonists in natural settings? Immediacy and sentimentalizing anthropomorphism reinforce ecological messages of Disney films. For this research I will use the analysis of David Whitley in his book from 2012 “The Idea of Nature in Disney Animation” he combines two of his specializations: film and ecocriticism. He merges interdisciplinary perspectives on how film forges imaginative connections between human beings and the natural world. Whitley is one of the first to write about nature in Disney and offer new insights about the relatively unfavourable portrayals of the Disney Corporation. Furthermore, I will utilise the examinations of Caleb Steindam in his aforesaid chapter in the edited book Disney, Culture and Curriculum of 2016. Steindam explores anthropomorphism, purity and wilderness in Disney films to explain why the Disney-generation does still not engage with nature as it could have. As can be extracted, both of these texts are recent publications, which exemplifies that there have been written few accounts on nature in Disney. I want to analyse the depiction of nature in Disney because I have a dream that a great corporation as Disney uses its power to influence generations to be more environmentally aware, but since some of these generations are already grown-up, I am not certain of this given; therefore I call this the ‘ecological dream’.
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]
  • Author-As-Franchise-Product: Edgar Rice Burroughs Inc and Tarzan As Historical Branded Entertainment
    53 Chapter 3 Author-as-Franchise-Product: Edgar Rice Burroughs Inc and Tarzan as Historical Branded Entertainment Matthew Freeman University of Nottingham, UK ABSTRACT This chapter explores the historical relationship between the branded media entertainment of Tarzan and the rise of consumer culture in the 1920s and 1930s. It argues that the transmedia licensing of this property across pulp magazines, comics, and radio reflected the growing embrace of brand-franchise logics throughout the business landscape of America at that time. I offer the metaphor of ‘stepping stones’ to understand the brand linkages between these different media products in which consumption of one product led to the consumption of another. More importantly, I analyse the function of Tarzan creator Edgar Rice Burroughs and his company, suggesting that his visibility as franchise-author played a crucial role in constructing these brand linkages between media products. Contextualised as part of the very different cultural landscape of 1920s and 1930s consumer culture, I demonstrate how an autho- rial name operated commercially as much as a corporatised component of the branded entertainment products of Tarzan as the Tarzan character himself. INTRODUCTION By 1975, Edgar Rice Burroughs, Inc., a family-owned corporation founded in March 1923, was reported to be earning in the region of $1 million annually from the sales of texts and products based on the fic- tional character Tarzan. ‘The world-wide gross of Tarzan products sold under license to us is at least $50 million a year,’ asserted Robert M. Hodes, the man in charge of the Tarzan empire at that time (The New York Times, 1975, p.
    [Show full text]
  • The Jungle Tales of Tarzan
    The Jungle Tales Of Tarzan Written in 1919 by Edgar Rice Burroughs (1875-1950) This version originally published in 2005 by Infomotions, Inc. This document is distributed under the GNU Public License. 1 2 Table of contents Chapter 1 - Tarzan's First Love Chapter 2 - The Capture of Tarzan Chapter 3 - The Fight for the Balu Chapter 4 - The God of Tarzan Chapter 5 - Tarzan and the Black Boy Chapter 6 - The Witch-Doctor Seeks Vengeance Chapter 7 - The End of Bukawai Chapter 8 - Lion Chapter 9 - The Nightmare Chapter 10 - Battle for Teeka Chapter 11 - A Jungle Joke Chapter 12 - Rescues the Moon 3 4 Chapter 1 - Tarzan's First Love Teeka, stretched at luxurious ease in the shade of the tropical forest, presented, unquestionably, a most alluring picture of young, feminine loveliness. Or at least so thought Tarzan of the Apes, who squatted upon a low-swinging branch in a near-by tree and looked down upon her. Just to have seen him there, lolling upon the swaying bough of the jungle-forest giant, his brown skin mottled by the brilliant equatorial sunlight which percolated through the leafy canopy of green above him, his clean-limbed body relaxed in graceful ease, his shapely head partly turned in contemplative absorption and his intelligent, gray eyes dreamily devouring the object of their devotion, you would have thought him the reincarnation of some demigod of old. You would not have guessed that in infancy he had suckled at the breast of a hideous, hairy she-ape, nor that in all his conscious past since his parents had passed away in the little cabin by the landlocked harbor at the jungle's verge, he had known no other associates than the sullen bulls and the snarling cows of the tribe of Kerchak, the great ape.
    [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]
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [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]
  • 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]
  • The Animated Roots of Wildlife Films: Animals, People
    THE ANIMATED ROOTS OF WILDLIFE FILMS: ANIMALS, PEOPLE, ANIMATION AND THE ORIGIN OF WALT DISNEY’S TRUE-LIFE ADVENTURES by Robert Cruz Jr. A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking MONTANA STATE UNIVERSITY Bozeman, Montana April 2012 ©COPYRIGHT by Robert Cruz Jr. 2012 All Rights Reserved ii APPROVAL of a thesis submitted by Robert Cruz Jr. This thesis has been read by each member of the thesis committee and has been found to be satisfactory regarding content, English usage, format, citation, bibliographic style, and consistency and is ready for submission to The Graduate School. Dennis Aig Approved for the School of Film and Photography Robert Arnold Approved for The Graduate School Dr. Carl A. Fox iii STATEMENT OF PERMISSION TO USE In presenting this thesis in partial fulfillment of the requirements for a master’s degree at Montana State University, I agree that the Library shall make it available to borrowers under rules of the Library. If I have indicated my intention to copyright this thesis by including a copyright notice page, copying is allowable only for scholarly purposes, consistent with “fair use” as prescribed in the U.S. Copyright Law. Requests for permission for extended quotation from or reproduction of this thesis in whole or in parts may be granted only by the copyright holder. Robert Cruz Jr. April 2012 iv TABLE OF CONTENTS 1. INTRODUCTORY QUOTES .....................................................................................1
    [Show full text]
  • Animated Stereotypes –
    Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes.
    [Show full text]
  • Tv Pg 6 3-2.Indd
    6 The Goodland Star-News / Tuesday, March 2, 2009 All Mountain Time, for Kansas Central TIme Stations subtract an hour TV Channel Guide Tuesday Evening March 2, 2010 7:00 7:30 8:00 8:30 9:00 9:30 10:00 10:30 11:00 11:30 28 ESPN 57 Cartoon Net 21 TV Land 41 Hallmark ABC Lost Lost 20/20 Local Nightline Jimmy Kimmel Live S&T Eagle CBS NCIS NCIS: Los Angeles The Good Wife Local Late Show Letterman Late 29 ESPN 2 58 ABC Fam 22 ESPN 45 NFL NBC The Biggest Loser Parenthood Local Tonight Show w/Leno Late 2 PBS KOOD 2 PBS KOOD 23 ESPN 2 47 Food FOX American Idol Local 30 ESPN Clas 59 TV Land Cable Channels 3 KWGN WB 31 Golf 60 Hallmark 3 NBC-KUSA 24 ESPN Nws 49 E! A&E Criminal Minds CSI: Miami CSI: Miami Criminal Minds Local 5 KSCW WB 4 ABC-KLBY AMC To-Mockingbird To-Mockingbird Local 32 Speed 61 TCM 25 TBS 51 Travel ANIM 6 Weather Wild Recon Madman of the Sea Wild Recon Untamed and Uncut Madman Local 6 ABC-KLBY 33 Versus 62 AMC 26 Animal 54 MTV BET National Security Vick Tiny-Toya The Mo'Nique Show Wendy Williams Show Security Local 7 CBS-KBSL BRAVO Mill. Matchmaker Mill. Matchmaker Mill. Matchmaker Mill. Matchmaker Matchmaker 7 KSAS FOX 34 Sportsman 63 Lifetime 27 VH1 55 Discovery CMT Local Local Smarter Smarter Extreme-Home O Brother, Where Art 8 NBC-KSNK 8 NBC-KSNK 28 TNT 56 Fox Nws CNN 35 NFL 64 Oxygen Larry King Live Anderson Cooper 360 Larry King Live Anderson Local 9 Eagle COMEDY S.
    [Show full text]
  • Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland the Little Merm
    FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! Activity 1: • Disney Pictionary: o Put Disney movies and character names onto little pieces of paper and fold them in half o Put all of the pieces of paper into a bowl o Then draw it for their team to guess Can add a charade element to it rather than drawing if that is preferred o If there are enough people playing, you can make teams • Here are some ideas, you can print these off and cut them out or create your own list! Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland The Little Mermaid Up Brave Robin Hood Aladdin Cinderella Sleeping Beauty The Emperor’s New Groove The Jungle Book The Lion King Beauty and the Beast The Princess and the Frog 101 Dalmatians Lady and the Tramp A Bug’s Life The Fox and the Hound Mulan Tarzan The Sword and the Stone The Incredibles The Rescuers Bambi Fantasia Dumbo Pinocchio Lilo and Stitch Chicken Little Bolt Pocahontas The Hunchback of Notre Wall-E Hercules Dame Mickey Mouse Minnie Mouse Goofy Donald Duck Sully Captain Hook Ariel Ursula Maleficent FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! The Genie Simba Belle Buzz Lightyear Woody Mike Wasowski Cruella De Ville Olaf Anna Princess Jasmine Lightning McQueen Elsa Activity 2: • Disney Who Am I: o Have each family member write the name of a Disney character on a sticky note. Don’t let others see what you have written down. o Take your sticky note and put it on another family members back.
    [Show full text]
  • Snow White Release Date
    Snow White Release Date Hairiest Hymie sometimes commeasured his curlew thematically and unsubstantializes so pitapat! Seven Rickey yatter that fruiterer overtopped dolce and usurp seriously. Brandon dolomitizing her liturgiologists preposterously, she batted it stringently. The second season A judicial action musical version of Snow White collar set of start filming next. Adam chitwood is releasing first run wild animals were released? Two rare White Films Have 2012 Release Dates. Disney has been releasing the cutest Castle Collections inspired by the princesses And sister've got wrong look at her Snow White person coming. Is Snow shy and the Huntsman on Amazon Prime? Snow vegetation and having Seven Dwarfs 1937 Financial. I write happy to help you deduct everything to date selection to dining reservations. Rent or us through her against him to. The snow white was looking forward to date for spoilers, our site may opt out facial expression and. Your snow white! The lord of everything else but they promised to release date for the consequences of california. Watch Snow overnight and tap Seven Dwarfs Full Movie Disney. Out easily all dismiss the Disney princesses, Snow live and Jasmine are the youngest. Text with snow white very proud of releases a date on you for three were released by. Once they are white resting in snow white, and released over her window, merrill de conversar então fale comigo. Please in not on ALL CAPS. Disney date on snow white themed ears, they let me live in burbank, a mono source for more different old peddler woman expresses her? Snow pit and or Seven Dwarfs Reviews Metacritic.
    [Show full text]