Pirates of the Caribbean – at World's
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Mutiny Simplifies Deflector Plan
` ASX: MYG Mutiny Simplifies Deflector Plan 4 August 2014 Highlights: • New management complete “Mine Operators Review” of the Deflector 2013 Definitive Feasibility Study, simplifying and optimising the Deflector Project • Mutiny Board has resolved to pursue financing and development of the Deflector project based on the new mine plan • New mine plan reduces open pit volume by 80% based on both rock properties and ore thickness, and establishes early access to the underground mine • Processing capital and throughput revised to align with optimal underground production rate of 380,000 tonnes per annum • Payable metal of 365,000 gold ounces, 325,000 silver ounces, and 15,000 copper tonnes • Pre-production capital of $67.6M • C1 cash cost of $549 per gold ounce • All in sustaining cost of $723 per gold ounce • Exploration review completed with primary focus to be placed on the 7km long, under explored, “Deflector Corridor” Note: Payable metal and costs presented in the highlights are taken from the Life of Mine Inventory model (LOM Inventory). All currency in AUS$ unless marked. Mutiny Gold Ltd (ASX:MYG) (“Mutiny” or “The Company”) is pleased to announce that the new company management, under the leadership of Managing Director Tony James, has completed an internal “Mine Operators Review” of the Deflector gold, copper and silver project, located within the Murchison Region of Western Australia. The review was undertaken on detail associated with the 2013 Definitive Feasibility Study (DFS) (ASX announcement 2 September, 2013). Tony James, -
Cultural Imaginations of Piracy in Video Games
FORUM FOR INTER-AMERICAN RESEARCH (FIAR) VOL. 11.2 (SEP. 2018) 30-43 ISSN: 1867-1519 © forum for inter-american research “In a world without gold, we might have been heroes!” Cultural Imaginations of Piracy in Video Games EUGEN PFISTER (HOCHSCHULE DER KÜNSTE BERN) Abstract From its beginning, colonialism had to be legitimized in Western Europe through cultural and political narratives and imagery, for example in early modern travel reports and engravings. Images and tales of the exotic Caribbean, of beautiful but dangerous „natives“, of unbelievable fortunes and adventures inspired numerous generations of young men to leave for the „new worlds“ and those left behind to support the project. An interesting figure in this set of imaginations in North- Western Europe was the “pirate”: poems, plays, novels and illustrations of dashing young rogues, helping their nation to claim their rightful share of the „Seven Seas“ achieved major successes in France, Britain the Netherlands and beyond. These images – regardless of how far they might have been from their historical inspiration – were immensely successful and are still an integral and popular part of our narrative repertoire: from novels to movies to video games. It is important to note that the “story” was – from the 18th century onwards –almost always the same: a young (often aristocratic) man, unfairly convicted for a crime he didn’t commit became an hors-la-loi against his will but still adhered to his own strict code of conduct and honour. By rescuing a city/ colony/princess he redeemed himself and could be reintegrated into society. Here lies the morale of the story: these imaginations functioned also as acts of political communication, teaching “social discipline”. -
Captain Jack Sparrow JRPC Version
The Ambiguous Captain Jack Sparrow: Destabilizing Gender, Politics and Religion in Disney’s Pirates of the Caribbean Dr. Jennifer E. Porter (Memorial University) [email protected] ABSTRACT: Scholars have argued that Disney films reflect a nostalgia for a white, colonial, male-oriented Christian past and an uncritical acceptance of overtly consumerist culture. This article examines these academic criticisms of Disney through the lens of Disney’s film trilogy Pirates of the Caribbean. The paper argues that Disney’s Pirates films destabilize traditional models of gender, politics and religion through the figure of Captain Jack Sparrow. Exploring Jack as a Trickster figure highlights dichotomies such as good and evil, life and death, male and female, human and divine, democracy and imperialism, and points to a broader trend within these Disney films to problematize accepted categories. As a result, the article suggests that Disney’s ideological “message” is much more nuanced in these films than academic critics give Disney credit for. [1] Pirates of the Caribbean debuted as a “dark ride” at Disneyland in 1967; modeled on imagineer Marc Davis’ sketches, it was the last ride to be conceived and built while Walt Disney himself was alive, and opened to the public three months after his death.i The ride consists of a series of vignettes, showing audio-animatronic pirates, both living and dead, indulging in various piratical pursuits. When the Walt Disney Company decided to make a film based on the popular ride, a number of screen and story-writers -
Main Street, U.S.A. • Fantasyland• Frontierland• Adventureland• Tomorrowland• Liberty Square Fantasyland• Continued
L Guest Amenities Restrooms Main Street, U.S.A. ® Frontierland® Fantasyland® Continued Tomorrowland® Companion Restrooms 1 Walt Disney World ® Railroad ATTRACTIONS ATTRACTIONS AED ATTRACTIONS First Aid NEW! Presented by Florida Hospital 2 City Hall Home to Guest Relations, 14 Walt Disney World ® Railroad U 37 Tomorrowland Speedway 26 Enchanted Tales with Belle T AED Guest Relations Information and Lost & Found. AED 27 36 Drive a racecar. Minimum height 32"/81 cm; 15 Splash Mountain® Be magically transported from Maurice’s cottage to E Minimum height to ride alone 54"/137 cm. ATMs 3 Main Street Chamber of Commerce Plunge 5 stories into Brer Rabbit’s Laughin’ Beast’s library for a delightful storytelling experience. Fantasyland 26 Presented by CHASE AED 28 Package Pickup. Place. Minimum height 40"/102 cm. AED 27 Under the Sea~Journey of The Little Mermaid AED 34 38 Space Mountain® AAutomatedED External 35 Defibrillators ® Relive the tale of how one Indoor roller coaster. Minimum height 44"/ 112 cm. 4 Town Square Theater 16 Big Thunder Mountain Railroad 23 S Meet Mickey Mouse and your favorite ARunawayED train coaster. lucky little mermaid found true love—and legs! Designated smoking area 39 Astro Orbiter ® Fly outdoors in a spaceship. Disney Princesses! Presented by Kodak ®. Minimum height 40"/102 cm. FASTPASS kiosk located at Mickey’s PhilharMagic. 21 32 Baby Care Center 33 40 Tomorrowland Transit Authority AED 28 Ariel’s Grotto Venture into a seaside grotto, Locker rentals 5 Main Street Vehicles 17 Tom Sawyer Island 16 PeopleMover Roll through Come explore the Island. where you’ll find Ariel amongst some of her treasures. -
The Immersive Theme Park
THE IMMERSIVE THEME PARK Analyzing the Immersive World of the Magic Kingdom Theme Park JOOST TER BEEK (S4155491) MASTERTHESIS CREATIVE INDUSTRIES Radboud University Nijmegen Supervisor: C.C.J. van Eecke 22 July 2018 Summary The aim of this graduation thesis The Immersive Theme Park: Analyzing the Immersive World of the Magic Kingdom Theme Park is to try and understand how the Magic Kingdom theme park works in an immersive sense, using theories and concepts by Lukas (2013) on the immersive world and Ndalianis (2004) on neo-baroque aesthetics as its theoretical framework. While theme parks are a growing sector in the creative industries landscape (as attendance numbers seem to be growing and growing (TEA, 2016)), research on these parks seems to stay underdeveloped in contrast to the somewhat more accepted forms of art, and almost no attention was given to them during the writer’s Master’s courses, making it seem an interesting choice to delve deeper into this subject. Trying to reveal some of the core reasons of why the Disney theme parks are the most visited theme parks in the world, and especially, what makes them so immersive, a profound analysis of the structure, strategies, and design of the Magic Kingdom theme park using concepts associated with the neo-baroque, the immersive world and the theme park is presented through this thesis, written from the perspective of a creative master student who has visited these theme parks frequently over the past few years, using further literature, research, and critical thinking on the subject by others to underly his arguments. -
Disney Magic Becomes a Little Less Magical and a Little More
University of Hawai‘i at Hilo HOHONU 2019 Vol. 17 majority of Disney films often bequeath the antagonist of Disney Magic Becomes a Little the storyline with a non-American accent, exemplified Less Magical and a Little More by Shere Khan’s British accent in The Jungle Book. The protagonists of the films, like Mowgli in The Jungle Book, Discriminatory are almost always portrayed with the Standard American Kaleigh Anderson accent. It has been a common pattern within Disney’s animated features that characters who speak with non- Storytelling is a crucial part for humankind as well Standard American accents are portrayed as outsiders, as in oral history. Movie adaptations have also become and are selfish and corrupt with the desire to seek or a key ingredient in relaying certain messages to people obtain power. This analysis is clearly displayed in one of of all ages. However, children watching movies and Disney’s most popular animated feature films, The Lion absorbing stories are susceptible and systematically King. In this Hamlet-inspired tale, the main characters’ exposed to a standard (or specific) language ideology accents bring attention to which characters fall into by means of linguistic stereotypes in films and television the “good guy” versus “bad guy” stereotype. Simba, shows. These types of media specifically, provide a the prized protagonist in the film, and Nala, his love wider view on people of different races or nationalities interest, both speak Standard American dialects. Through to children (Green, 1997). Disney films, for instance, linguistic production, Simba’s portrayal as the Lion King are superficially cute, innocent and lighthearted, but translates an underlying message to children viewers through a deeper analysis , the details of Disney movies that characters who are portrayed as heroes or heroines provide, a severe, and discriminating image. -
Pirates of the Caribbean – at World's
LEVEL 3 Activity worksheets Teacher Support Programme Pirates of the Caribbean – At World’s End Photocopiable While reading d A type of floor on a ship. (p. 12) EASYSTARTS Chapters 1–3 …………………… 1 Are the sentences right (3) or wrong (7)? e These things use the wind to make a ship a The ship, the Endeavour, belonged to move. (p. 13) …………………… the East India Trading Company. c f You often find this on a beach. (p. 13) LEVEL 2 b Davy Jones hid the wooden box on the …………………… Isla de Muerta. c g A sea animal. It is small and has eight legs. c Governor Swann wanted to be the (p. 13) …………………… LEVEL 3 captain of the Dutchman. c h A thing that tells you where north and d Thai Huang was the Pirate Lord of south is. (p. 16) …………………… Singapore. c 4 What’s first? Number the sentences, 1–6. LEVEL 4 One of Jack Sparrow’s sailors had a e a Crabs carried the Black Pearl across the c glass eye. sand. c When Elizabeth met Sao Feng, he was f b The pirate, Tai Huang, agreed to work c LEVEL 5 getting out of the bath. for Jack Sparrow. c Sao Feng was going to kill Will with g c The pirates left Singapore on the Hai c a gun. Peng. c A Piece of Eight was a type of coin. c LEVEL 6 h d Barbossa greeted Jack Sparrow. c Calypso was a goddess of the sky. c i e Elizabeth saw a waterfall in front of the j Barbossa wanted to find Jack Sparrow ship. -
“What Is That?” Off in the Dark, a Frightening, Glowing Shape Sailed Across the Ocean Like a Ghost
The moon shined down on the Windcatcher as the great clipper ship sailed through the cold waters of the southern Pacific Ocean. The year was 1849, and the Windcatcher was carrying passengers and cargo from San Francisco to New York City. The Windcatcher was one of the fastest ships on the seas. She was now sailing south, near Chile in South America. She would soon enter the dangerous waters near Cape Horn. Then she would sail into the Atlantic Ocean and move north to New York City. Suddenly, one of the sailors yelled to the crew. “Look!” he cried. “What is that?” Off in the dark, a frightening, glowing shape sailed across the ocean like a ghost. The captain and some of his men moved to the front of the ship to look. As soon as the captain saw the strange sight, he knew what it was. “The Flying Dutchman,” he said softly. The captain looked worried and lost in his thoughts. “What is the Flying Dutchman?” asked one of the sailors. 2 3 Pirates often captured the ships when the crew resisted, they Facts about Pirates and stole the cargo without were sometimes killed or left violence. Often, just seeing at sea with little food or water. the pirates’ flag and hearing Other times, the pirates took A pirate is a robber at sea who great deal of valuable cargo their cannons was enough to the crew as slaves, or the crew steals from other ships out being shipped across the make the crew of these ships became pirates themselves! at sea. -
The Flying Dutchman Dichotomy: the Ni Ternational Right to Leave V
Penn State International Law Review Volume 9 Article 7 Number 2 Dickinson Journal of International Law 1991 The lF ying Dutchman Dichotomy: The International Right to Leave v. The oS vereign Right to Exclude Suzanne McGrath Dale Follow this and additional works at: http://elibrary.law.psu.edu/psilr Part of the International Law Commons Recommended Citation Dale, Suzanne McGrath (1991) "The Flying Dutchman Dichotomy: The nI ternational Right to Leave v. The oS vereign Right to Exclude," Penn State International Law Review: Vol. 9: No. 2, Article 7. Available at: http://elibrary.law.psu.edu/psilr/vol9/iss2/7 This Comment is brought to you for free and open access by Penn State Law eLibrary. It has been accepted for inclusion in Penn State International Law Review by an authorized administrator of Penn State Law eLibrary. For more information, please contact [email protected]. The Flying Dutchman Dichotomy: The International Right to Leave v. The Sovereign Right to Exclude' I. Introduction The Flying Dutchman is a mythic figure who is condemned to roam the world, never resting, never bringing his ship to port, until Judgement Day. Cursed by past crimes, he is forbidden to land and sails from sea to sea, seeking a peace which forever eludes him. The Dutchman created his own destiny. His acts caused his curse. He is ruled by Fate, not man-made law, or custom, or usage. But today, thanks to man's laws and man's ideas of what should be, there are many like the Dutchman who can find no port, no place to land. -
Pandora-Eve-Ava: Albert Lewin's Making of a “Secret
PANDORA-EVE-AVA: ALBERT LEWIN’S MAKING OF A “SECRET GODDESS” Almut-Barbara Renger Introduction The myth of the primordial woman, the artificially fabricated Pandora, first related in the early Greek poetry of Hesiod, has proven extremely influential in the European history of culture, ideas, literature, and art from antiquity to the present day. Not only did the mythical figure itself undergo numerous refunctionalizations, but, in a striking manner, partic- ular elements of the narrative in the Theogony (Theogonia) and in Works and Days (Opera et dies) – for example, the jar, which would later be con- ceived as a box – also took on a life of their own and found their place in ever new cultural contexts. Having been drawn out from the “plot” (in the Aristotelian sense of μῦθος), these elements formed separate strands of reception that at times interfered with each other and at other times diverged. In the twentieth century such myth-elements also developed a distinc- tive dynamic of their own in film. Albert Lewin’s Pandora and the Flying Dutchman (1951) offers a particularly original conception of the Pandora myth by interweaving its elements with the legend of the Flying Dutch- man and plotting it into a story that takes place around 1930.1 It is the story of a young American woman, Pandora Reynolds, “bold and beautiful, desired by every man who met her” – so goes the original trailer of 1951, which opens with some introductory remarks about glamour by Hedda Hopper.2 Lewin’s intermingling of the Pandora myth and the Dutch legend in a love story of the 1950s is in many ways bold and original. -
The Low Countries. Jaargang 11
The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters. -
Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration
YE INTRUDERS BEWARE: FANTASTICAL PIRATES IN THE GOLDEN AGE OF ILLUSTRATION Anne M. Loechle Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Doctor of Philosophy in the Department of the History of Art Indiana University November 2010 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Doctoral Committee _________________________________ Chairperson, Sarah Burns, Ph.D. __________________________________ Janet Kennedy, Ph.D. __________________________________ Patrick McNaughton, Ph.D. __________________________________ Beverly Stoeltje, Ph.D. November 9, 2010 ii ©2010 Anne M. Loechle ALL RIGHTS RESERVED iii Acknowledgments I am indebted to many people for the help and encouragement they have given me during the long duration of this project. From academic and financial to editorial and emotional, I was never lacking in support. I am truly thankful, not to mention lucky. Sarah Burns, my advisor and mentor, supported my ideas, cheered my successes, and patiently edited and helped me to revise my failures. I also owe her thanks for encouraging me to pursue an unorthodox topic. From the moment pirates came up during one of our meetings in the spring of 2005, I was hooked. She knew it, and she continuously suggested ways to expand the idea first into an independent study, and then into this dissertation. My dissertation committee – Janet Kennedy, Patrick McNaughton, and Beverly Stoeltje – likewise deserves my thanks for their mentoring and enthusiasm. Other scholars have graciously shared with me their knowledge and input along the way. David M. Lubin read a version of my third chapter and gave me helpful advice, opening up to me new ways of thinking about Howard Pyle in particular.