Casa De Teresa

Total Page：16

File Type：pdf, Size：1020Kb

Casa de Teresa A F B E D C Wow — you’re building my house! Seems a little small doesn’t it? Build Barbie And Her Friends’ Homes! A: Barbie Dreamhouse B: House of Ken C: The Raquelle Mansion D: House of Nikki E: The Ryan Mansion F: Casa de Teresa Your house will look like this: ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa INSTRUCTIONS 1. Use safety scissors to cut around the solid black lines. Ask a grownup if you need help. CUT MOUNTAIN FOLD 2. Fold along the dotted lines. 3. Glue tabs in number order on buildings 1, 2 and 3. 4. Once buildings are dry, affix roofs 1, 2 and 3 as well as turret pieces. 5. Glue buildings 1, 3 and turret pieces to building 2. When dry, glue to base. ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa Glue to Glue to Building 1 Building 3 4 4 1 3 2 Roof 2 1 Building 2 3 2 2 Building 1 Building 1 3 2 3 1 BUILDINGS 1 & 2 AND ROOFS 1 & 2 1 & 2 AND ROOFS BUILDINGS 4 4 Roof 1 Building 2 Building Glue to to Glue ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa 4 Turret 2 (Top) Turret Glue to 4 Building 2 2 1 3 1 Building 3 3 Roof 3 2 BUILDING 3 & TURRETS Turret 1 Roof Turret Turret 1 Turret (Bottom) ©2014 Mattel, Inc. All Rights Reserved. Casa de Teresa BASE Building 3 Building 2 Building 1 ©2014 Mattel, Inc. All Rights Reserved. Teresa INSTRUCTIONS 1. Use safety scissors to cut out Teresa. Ask a grownup if you need help. 2. Cut along the solid lines and fold on the dotted lines. CUT MOUNTAIN FOLD VALLEY FOLD 3. Glue or tape together the front and back of the play pieces. Your Teresa will look like this: Barbie.com Inc. Mattel, ©2014 ©2014 Mattel, Inc. All Rights Reserved..

Copy Link

Recommended publications

Toy Story: How Pixar Reinvented the Animated Feature. London: Bloomsbury Academic, 2017
Smith, Susan, Noel Brown, and Sam Summers. "Bibliography." Toy Story: How Pixar Reinvented the Animated Feature. London: Bloomsbury Academic, 2017. 220–232. Bloomsbury Collections. Web. 30 Sep. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 20:22 UTC. Copyright © Susan Smith, Sam Summers and Noel Brown 2018. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 220 B IBLIOGRAPHY A c k e r m a n , A l a n , Seeing Th ings: From Shakespeare to Pixar ( Toronto : University of Toronto Press , 2011 ). Adamson , Glen and Victoria Kelley (eds). Surface Tensions: Writings on Popular Design and Material Culture ( Manchester : Manchester University Press , 2013 ). Akers , Chelsie Lynn . ‘Th e Rise of Humour: Hollywood Increases Adult Centred Humour in Animated Children’s Films’ (unpublished Master’s thesis submitted to Brigham Young University, July 2013 ). Allison , Tanine . ‘ Blackface, Happy Feet : Th e Politics of Race in Motion Picture Animation ’, in Dan North et al. (eds), Special Eff ects: New Histories, Th eories, Contexts ( London : BFI/ Palgrave Macmillan , 2015 ), pp. 114 – 26 . A l t m a n , R i c k . Film/ Genre ( London : BFI , 1999 ). Amidi , Amid . Th e Art of Pixar: Th e Complete Colorscripts and Select Art from 25 Years of Animation ( San Francisco : Chronicle Books , 2011 ). Ansen , David . ‘ Disney’s Digital Delight ’, Newsweek , 27 November 1995 , p. 89 . Balcerzak , Scott . ‘ Andy Serkis as Actor, Body and Gorilla: Motion Capture and the Presence of Performance ’, in Jason Sperb and Scott Balcerzak (eds), Cinephilia in the Age of Digital Reproduction, Vol.
[Show full text]
Toying with Twin Peaks: Fans, Artists and Re-Playing of a Cult-Series
CULTURE / RECEPTION / CONSUMPTION TOYING WITH TWIN PEAKS: FANS, ARTISTS AND RE-PLAYING OF A CULT-SERIES KATRIINA HELJAKKA Name Katriina Heljakka and again through mimetic practices such as re-creation of Academic centre School of History, Culture and Arts Studies characters and through photoplay. Earlier studies indicate (Degree Program of) Cultural Production and Landscape that adults are showing increased interest in character toys Studies, University of Turku such as dolls, soft toys (or plush) and action figures and vari- E-mail address [email protected] ous play patterns around them (Heljakka 2013). In this essay, the focus is, on the one hand on industry-created Twin Peaks KEYWORDS merchandise, and on the other hand, fans’ creative cultivation Adult play; fandom; photoplay; re-playing; toy play; toys. and play with the series scenes and its characters. The aim is to shed light on the object practices of fans and artists and ABSTRACT how their creativity manifests in current Twin Peaks fandom. This article explores the playful dimensions of Twin Peaks The essay shows how fans of Twin Peaks have a desire not only (1990-1991) fandom by analyzing adult created toy tributes to influence how toyified versions of e.g. Dale Cooper and the to the cult series. Through a study of fans and artists “toy- Log Lady come to existence, but further, to re-play the series ing” with the characters and story worlds of Twin Peaks, I will by mimicking its narrative with toys. demonstrate how the re-playing of the series happens again 25 SERIES VOLUME I, Nº 2, WINTER 2016: 25-40 DOI 10.6092/issn.2421-454X/6589 INTERNATIONAL JOURNAL OF TV SERIAL NARRATIVES ISSN 2421-454X PARATEXTS, FANDOMS AND THE PERSISTENCE OF TWIN PEAKS CULTURE / RECEPTION / CONSUMPTION > KATRIINA HELJAKKA TOYING WITH TWIN PEAKS: FANS, ARTISTS AND RE-PLAYING OF A CULT-SERIES FIGURE 1.
[Show full text]
60 Years of Collecting Barbie®! by Christopher Varaste
60 Years of Collecting Barbie®! by Christopher Varaste Muse. Pioneer. Icon. That’s Barbie® doll, a fashion model whose stride down an endless runway inspired an entire line of quality collectibles for an astounding 60 years! An elevation of design and fashion, Barbie doll appeals to anyone interested in contemporary fashion trends. With her online presence, Barbie also serves as a major influencer. Barbie always encapsulates that intangible quality known as “style.” Under Mattel owner Ruth Handler’s influence and designer Charlotte Johnson’s tutelage, the world was first taken by surprise when Barbie was introduced at the New York Toy Fair on March 9th, 1959, along with her pink fashion booklet. Sales took off after Barbie appeared in a commercial aired during The Mickey Mouse Club™. All it took was one look and everyone wanted a Barbie doll! From the beginning, astute collectors recognized the ingenuity and detail that had gone into the doll and her wardrobe, which began to grow along with Barbie doll’s popularity. Today, those early tailored fashions are a veritable freeze frame of the era, reminiscent of Balenciaga, Schiaparelli, Givenchy and Dior. Many clever girls handled their precious Barbie dolls with care, and that eventually marked the beginning of the very first Barbie™ Fan Club in 1961, which set the stage for more clubs where Barbie™ fans could gather and make new friends. There was so much to collect! Nothing stopped Barbie from constantly evolving with hairstyles like Ponytails, Bubble Cuts, Mod hairstyles and an eclectic wardrobe that showcased the latest looks from smart suits, career outfits and go-go boots! Mattel advertisement from 1967 introducing Mod Twist ‘N Turn Barbie®.
[Show full text]
An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Scholar Commons Citation Kramer, Heidi Tilney, "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4525 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films by Heidi Tilney Kramer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Women’s and Gender Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Payne, Ph. D. Kim Golombisky, Ph.D. Date of Approval: March 26, 2013 Keywords: children, animation, violence, nationalism, militarism Copyright © 2013, Heidi Tilney Kramer TABLE OF CONTENTS Abstract ................................................................................................................................ii Chapter One: Monsters Under
[Show full text]
The Wonder of Barbie: Popular Culture and the Making of Female Identity
Essays in Philosophy Volume 4 Issue 1 Feminine Politics in Popular Culture: The Article 3 Construction of Gender 1-2003 The ondeW r of Barbie: Popular Culture and the Making of Female Identity Lenore Wright Baylor University, [email protected] Follow this and additional works at: http://commons.pacificu.edu/eip Recommended Citation Wright, Lenore (2003) "The ondeW r of Barbie: Popular Culture and the Making of Female Identity," Essays in Philosophy: Vol. 4: Iss. 1, Article 3. Essays in Philosophy is a biannual journal published by Pacific nivU ersity Library | ISSN 1526-0569 | http://commons.pacificu.edu/eip/ Essays in Philosophy Essays in Philosophy A Biannual Journal Vol. 4 No. 1, January 2003 The Wonder of Barbie: Popular Culture and the Making of Female Identity The popular doll, Barbie, has evoked a steady stream of critical attention since her debut in 1959. Though Barbie serves primarily and properly as a toy for children, much of this attention has been generated by the secondary role she plays in popular culture—artifact of female representation. Barbie is no ordinary toy. She mimics the female form. She stands for woman within the games of make-believe in which children involve her. She functions as a tool for self-imagining. It is Barbie’s secondary nature as a representation of woman that creates special quandaries for feminist aestheticians, quandaries that are both cultural and philosophical.1 Included among the former are America’s attraction to public personas, the influence of the acting industry on female representation, and the tacit roles iconic figures play in shaping the attributes of female beauty.
[Show full text]
Barbie® Doll's Friends and Relatives Since 1980
BARBIE® DOLL’S FRIENDS AND RELATIVES SINCE 1980 1980 1987 Beauty Secrets Christie #1295 Jewel Secrets Ken #1719 Kissing Christie #2955 Jewel Secrets Ken (African American) #3232 Scott (Skippers Boyfriend) #1019 Jewel Secrets Whitney #3179 Sport and Shave Ken #1294 Jewel Secrets Skipper #3133 Sun Lovin’ Malibu Christie #7745 Revised Rocker Dana #3158 Sun Lovin’ Malibu P.J. #1187 Revised Rocker Dee Dee #3160 Sun Lovin’ Malibu Skipper #1019 Revised Rocker Derek #3137 Super Teen Skipper #2756 Revised Rocker Diva #3159 Revised Rocker Ken #3131 1981 Golden Dream Christie #3249 1988 Roller Skating Ken #1881 California Dream Christie #4443 California Dream Ken #4441 1982 California Dream Midge #4442 Star Ken #3553 California Dream Teresa #5503 Fashions Jeans Ken #5316 Cheerleader Teen Skipper #5893 Pink and Pretty Christie #3555 Island Fun Christie #4092 Sunsational Malibu Christie #7745 Island Fun Miko #4065 Sunsational Malibu P.J. #1187 Island Fun Skipper #4064 Sunsational Malibu Ken #1088 Island Fun Steven #4093 Sunsational Malibu Ken (African American) #3849 Island Fun Teresa #4117 Sunsational Malibu Skipper #1069 Party Teen Skipper #5899 Western Ken #3600 Perfume Giving Ken #4554 Perfume Giving Ken (African American) #4555 1983 Perfume Giving Whitney #4557 Barbie & Friends Pack #4431 Sensation Becky #4977 Dream Date Ken #4077 Sensation Belinda #4976 Dream Date P.J. #5869 Sensation Bobsy #4967 Horse Lovin’ Ken #3600 Teen Sweetheart Skipper #4855 Horse Lovin’ Skipper #5029 Workout Teen Skipper #3899 Todd (Ken’s Handsome Friend) #4253 Tracy (Barbie’s Beautiful Friend) #4103 1989 Animal Lovin’ Ken #1351 1984 Animal Lovin’ Nikki #1352 Crystal Ken #4898 Beach Blast Christie #3253 Great Shape Ken #7318 Beach Blast Ken #3238 Great Shape Skipper #7414 Beach Blast Miko #3244 Sun Gold Malibu Ken #1088 Beach Blast Skipper #3242 Sun Gold Malibu P.J.
[Show full text]
4.1 Gambaran Umum Sasaran Penelitian
4. ANALISA DATA 4.1 Gambaran Umum Sasaran Penelitian 4.1.1 Mattel Incorporation Mattel didirikan pertama kali pada tahun 1945 oleh Ruth Handler, Elliot Handler (suami Ruth Hadler), dan Harold Matson di California Selatan.Mattel menetap di kantor Hawthorne, California, sejak tahun 1948. Di tahun 1974, Mattel melakukan restrukturisasi dan berganti nama menjadi Mattel Incorporation. Visi dari perusahaan Mattel adalah “Creating the Future of Play”, dimana artinya Mattel berusaha untuk menciptakan mainan-mainan terbaru untuk membentuk masa depan dari dunia mainan. Misi mereka mengarah pada “Kepemimpinan”. Arti kepemimpinan menurut versi Mattel adalah kemampuan untuk mengembangkan dan mengkomunikasikan gambaran menarik dari masa depan yang mengilhami dan memotivasi orang lain untuk mengambil tindakan. Mattel juga menunjukkan kompetensi kepemimpinan dan dorongan untuk sukses dalam strategi bisnis mereka.Tahun 1975, Ruth dan Elliot Handler keluar dari Mattel karena usia mereka yang tua dan saat ituRuth Handler sedang menjalankan pengobatan atas penyakit kanker payudara dan kemudian meninggal di Los Angeles, California, pada tahun 2002. Sejak itu, Harold Matson berjuang demi mengembangkan Mattel sesuai dengan visi dan misinya. Salah satu organisasi Mattel yang diberi nama Mattel Children’s Foundation,didirikan pada tahun 1978, dengan tujuan untuk membantu anak-anak Amerika yang memiliki kesulitan dalam hal akuntabilitas keuangan. Para pendiri MattelChildren’s Foundation percaya bahwa anak berhak mendapatkan kesempatan untuk bermain, karena melalui bermain, anak dapat mengembangkan sosialisasi, emosional, kemampuan fisik, berimajinasi, dan memiliki mimpi. Sasaran program yang diadakan Mattel Children’s Foundation adalah anak-anak, dengan empat fokus utama yaitu Time to Play, Place to Play, Tools to Play, dan Advocate toPlay. Dalam organisasi tersebut, Mattel juga membuat program yang hanya diikuti oleh anak perempuan Amerika, yaitu “Shine On Now”.
[Show full text]
Barbie As Cultural Compass
College of the Holy Cross CrossWorks Sociology Student Scholarship Sociology & Anthropology Department 5-2017 Barbie As Cultural Compass: Embodiment, Representation, and Resistance Surrounding the World’s Most Iconized Doll Hannah Tulinski College of the Holy Cross, [email protected] Follow this and additional works at: http://crossworks.holycross.edu/soc_student_scholarship Part of the American Material Culture Commons, Feminist, Gender, and Sexuality Studies Commons, and the Gender and Sexuality Commons Recommended Citation Tulinski, Hannah, "Barbie As Cultural Compass: Embodiment, Representation, and Resistance Surrounding the World’s Most Iconized Doll" (2017). Sociology Student Scholarship. 1. http://crossworks.holycross.edu/soc_student_scholarship/1 This Department Honors Thesis is brought to you for free and open access by the Sociology & Anthropology Department at CrossWorks. It has been accepted for inclusion in Sociology Student Scholarship by an authorized administrator of CrossWorks. “Barbie As Cultural Compass: Embodiment, Representation, and Resistance Surrounding the World’s Most Iconized Doll” Hannah Rose Tulinski Department of Sociology & Anthropology College of the Holy Cross May 2017 Table of Contents Acknowledgements 3 Abstract 4 Chapter 1: Barbie™ 5 Chapter 2: Cultural Objects and the Meaning of Representation 30 Chapter 3: Locating Culture in Discourse 45 Chapter 4: Barbie’s World is Our World 51 Chapter 5: Competing Directions of Cultural Production 74 Chapter 6: Role Threat 89 Role Transformation 104 Discussion 113 References 116 Appendix I: Popular Discourse 122 Appendix II: Scholarly Discourse 129 2 Acknowledgements First, thank you to Professor Selina Gallo-Cruz, who not only advised this thesis project but also who has mentored me throughout my development at College of the Holy Cross.
[Show full text]
The Barbie Phenomenon in Japan
THE BARBIE PHENOMENON IN JAPAN Arisa Shibagaki A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2007 Committee: Marilyn F. Motz, Advisor Esther Clinton © 2007 Arisa Shibagaki All Rights Reserved iii ABSTRACT Marilyn F. Motz, Advisor This research examines the popularity of Barbie among young adult Japanese women as the “Barbie phenomenon” in Japan. By investigating the historical and cultural aspects of Japanese values of beauty, the author found that the phenomenon emerged from the combination of the values of kawaii (Japanese cuteness) and kakkoii (Japanese coolness). Kawaii is the traditional positive feeling for small and delicate things, and in modern society its meaning extends into popular characters and fashion. Kawaii fashion is usually considered to use lace, ribbon, and frilly materials and colors of pink, white, and pastels. On the other hand, the English- language word “cool” is usually translated into kakkoii (かっこいい), which means that people’s appearance is attractive, and its meaning also extends into people’s behavior and fashion in modern society. Kakkoii behavior is masculine and independent; the colors of black, blue, and khaki and plain materials are usually used in kakkoii fashion. In fact, “Kakkoii” is different from American “cool,” which is a word used for not only an attractive appearance but also individuality and a sense of belonging; however, the words “kakkoii” and “cool” are used without regard for such a difference in Japan. In women’s fashion magazines, both “kawaii” and “cool” are the common key words.
[Show full text]
SKETCHY Characters
% Toy Story 3, which ran 103 minutes, was laid out on 49,651 storyboards. Storyboarding a career at Pixar / by Amy Laskowski SKETCHY Characters % Story artist Christian Roman starts by mapping a character’s movement, sometimes adding a gag or two to the script. PHOTOGRAPHS BY DEBORAH COLEMAN/PIXAR † A sequel like Toy Story 3 can be bur- dened with the mis- conception that it will be inferior to the original. Visitors to Pixar’s Emeryville, what movie Roman is currently Calif., campus who hope to catch a storyboarding (based on Pixar’s glimpse of the animation studio’s lineup of ﬁlms, it could be The next killer project better prepare Good Dinosaurr or Finding Dory, to have their hopes dashed. The among others). Because he wasn’t studio is so secretive about work in allowed to show us his offiffi ce, progress that Bostonia reporters, Roman met with us in the neu- there to interview story artist tral space of a conference room, Christian Roman, were not allowed where several easels were pur- to go anywhere without an escort posely devoid of any hint of on- and were forbidden to discuss going or upcoming work. Summer 2014 BOSTONIA 47 Meanwhile, on the floor below, toys, you need to consider that the out the scenes complete with dialogue, a sun-splashed atrium displays the camera is down at their level,” he says. spoken by the artists. They even sing studio’s past glories, some plated in Drawing is the major part of the songs that accompany the on- 24-karat gold.
[Show full text]
The Barbie Case
The Barbie® Case Introduction When on October 11, 2005, Neil B. Friedman was promoted from his position as head of the successful Fisher-Price® division to become the President of the combined operations of the merged Mattel® and Fisher-Price® units, he might have considered this promotion to be a daunting task to take on. At the start of this job as the President of the Mattel® Brands Division, the sales of Barbie®, Mattel®'s signature doll and profit engine, which account for an estimated 251 to 35%2 of Mattel®'s sales had fallen for seven straight quarters on a year-to-year basis.3 Barbie®'s global third-quarter sales in 2005 were down 18% from the previous year, and U.S. sales decreased 30%. This decrease in sales affected Mattel®'s overall performance as shares tumbled to their lowest point in four years. 4 The toy industry overall was struggling, with sales down 5.3% through the first nine months. U.S. retail sales of dolls fell 6% in that period, according to market researcher NPD Group. Analysts believe the slide will continue as more kids choose video games and digital-music players over action figures and board games.5 In addition, Friedman was confronted with an anti-Barbie climate with campaigns challenging Barbie®’s beauty ideal launched by The Body Shop and more recent ones by Dove® and Nike® as well as a tradition of Mattel losing legal battles time and again against artists who parodied Barbie®. 1 The Barbie® Case 1. History of Mattel, Inc.
[Show full text]
Masculinity, Fatherhood, and the Hardest Bodies in Pixar
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ David S. Braught Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught Master of Arts Film Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Michele Schreiber Committee Member _________________________________________ Eddy Von Mueller Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught M.A., Emory University, 2010 B.A., Emory University, 2008 Advisor: Matthew Bernstein, PhD An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2010 Abstract In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S.
[Show full text]