Disney Sidekick

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Sidekick Match Game PINOCCHIO THUMPER CINDERELLA PASCAL MULAN PUA ANNA ZAZU POCAHONTAS JIMINY CRICKET BAMBI MUSHU MUFASA OLAF PETER PAN FLOUNDER ALADDIN GUS GUS MOANA STITCH ARIEL ABU LILO FLIT RAPUNZEL TINKERBELL Draw a line from the character to their sidekick Love Interest Match Game Ariel Prince Charming Jasmine John Smith Cinderella Nala Pocahontas Prince Eric Aurora Flynn Rider Rapunzel The Prince Simba Jane Belle Prince Phillip Tarzan Aladdin Anna Lady Mulan The Beast Tramp Kristoff Snow White Li Shang Draw a lin e from the character to their lov e interest Match the Villain to the Movie Scar Beauty and the Beast Jafar Sleeping Beauty Cruella DeVil Peter Pan Captain Hook Snow White Maleficent The Jungle Book Gaston The Lion King The Evil Queen Hercules Shere Khan Frozen Mother Gothel Aladdin Hades Tangled Hans The Little Mermaid Queen of Hearts Alice in Wonderland Ursula 101 Dalmatians Dra w a line from the villain to the m ovie Sidekick ANSWER KEY PINOCCHIO JIMINY CRICKET CINDERELLA GUS GUS MULAN MUSHU ANNA OLAF POCAHONTAS FLIT BAMBI THUMPER MUFASA ZAZU PETER PAN TINKERBELL ALADDIN ABU MOANA PUA ARIEL FLOUNDER LILO STITCH RAPUNZEL PASCAL Draw a line from the character to their sidekick Love interest ANSWER KEY Ariel Prince Eric Jasmine Aladdin Cinderella Prince Charming Pocahontas John Smith Aurora Prince Phillip Rapunzel Flynn Rider Simba Nala Belle The Beast Tarzan Jane Anna Kristoff Mulan Li Shang Tramp Lady Snow White The Prince Draw a li ne from the character to their love interest Match the Villain ANSWER KEY Scar The Lion King Jafar Aladdin Cruella DeVil 101 Dalmatians Captain Hook Peter Pan Maleficent Sleeping Beauty Gaston Beauty and the Beast The Evil Queen Snow White Shere Khan Jungle Book Mother Gothel Tangled Hades Hercules Hans Frozen Queen of Hearts Alice in Wonderland Ursula The Little Mermaid Dra w a line from the villain to the movie.

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The Lion King Audition Monologues
Audition Monologues Choose ONE of the monologues. This is a general call; the monologue you choose does not affect how you will be cast in the show. We are listening to the voice, character development, and delivery no matter what monologue you choose. SCAR Mufasa’s death was a terrible tragedy; but to lose Simba, who had barely begun to live... For me it is a deep personal loss. So, it is with a heavy heart that I assume the throne. Yet, out of the ashes of this tragedy, we shall rise to greet the dawning of a new era... in which lion and hyena come together, in a great and glorious future! MUFASA Look Simba. Everything the light touches is our kingdom. A king's time as ruler rises and falls like the sun. One day, Simba, the sun will set on my time here - and will rise with you as the new king. Everything exists in a delicate balance. As king, you need to understand that balance, and respect for all creatures-- Everything is connected in the great Circle of Life. YOUNG SIMBA Hey Uncle Scar, guess what! I'm going to be king of Pride Rock. My Dad just showed me the whole kingdom, and I'm going to rule it all. Heh heh. Hey, Uncle Scar? When I'm king, what will that make you? {beat} YOUNG NALA Simba, So, where is it? Better not be any place lame! The waterhole? What’s so great about the waterhole? Ohhhhh….. Uh, Mom, can I go with Simba? Pleeeez? Yay!!! So, where’re we really goin’? An elephant graveyard? Wow! So how’re we gonna ditch the dodo? ZAZU (to Simba) You can’t fire me.
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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.
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Masks Or Souls?: Halide Edib's Politics and Her Pacifism As A
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Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis
arts Article Cultural “Authenticity” as a Conflict-Ridden Hypotext: Mulan (1998), Mulan Joins the Army (1939), and a Millennium-Long Intertextual Metamorphosis Zhuoyi Wang Department of East Asian Languages and Literatures, Hamilton College, Clinton, NY 13323, USA; [email protected] Received: 6 June 2020; Accepted: 7 July 2020; Published: 10 July 2020 Abstract: Disney’s Mulan (1998) has generated much scholarly interest in comparing the film with its hypotext: the Chinese legend of Mulan. While this comparison has produced meaningful criticism of the Orientalism inherent in Disney’s cultural appropriation, it often ironically perpetuates the Orientalist paradigm by reducing the legend into a unified, static entity of the “authentic” Chinese “original”. This paper argues that the Chinese hypotext is an accumulation of dramatically conflicting representations of Mulan with no clear point of origin. It analyzes the Republican-era film adaptation Mulan Joins the Army (1939) as a cultural palimpsest revealing attributes associated with different stages of the legendary figure’s millennium-long intertextual metamorphosis, including a possibly nomadic woman warrior outside China proper, a Confucian role model of loyalty and filial piety, a Sinitic deity in the Sino-Barbarian dichotomy, a focus of male sexual fantasy, a Neo-Confucian exemplar of chastity, and modern models for women established for antagonistic political agendas. Similar to the previous layers of adaptation constituting the hypotext, Disney’s Mulan is simply another hypertext continuing Mulan’s metamorphosis, and it by no means contains the most dramatic intertextual change. Productive criticism of Orientalist cultural appropriations, therefore, should move beyond the dichotomy of the static East versus the change-making West, taking full account of the immense hybridity and fluidity pulsing beneath the fallacy of a monolithic cultural “authenticity”.
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Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland the Little Merm
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Tangled Study Notes Disney Studios Motion Pictures ©Walt
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THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ $7.95 U.S. 01> 0 74470 82258 5 www.animationmagazine.net THE BUSINESS, TECHNOLOGY & ART OF ANIMATION AND VFX January 2013 ™ The Return of The Snowman and The Littlest Pet Shop + From Up on The Visual Wonders Poppy Hill: of Life of Pi Goro Miyazaki’s $7.95 U.S. 01> Valentine to a Gone-by Era 0 74470 82258 5 www.animationmagazine.net 4 www.animationmagazine.net january 13 Volume 27, Issue 1, Number 226, January 2013 Content 12 22 44 Frame-by-Frame Oscars ‘13 Games 8 January Planner...Books We Love 26 10 Things We Loved About 2012! 46 Oswald and Mickey Together Again! 27 The Winning Scores Game designer Warren Spector spills the beans on the new The composers of some of the best animated soundtracks Epic Mickey 2 release and tells us how much he loved Features of the year discuss their craft and inspirations. [by Ramin playing with older Disney characters and long-forgotten 12 A Valentine to a Vanished Era Zahed] park attractions. Goro Miyazaki’s delicate, coming-of-age movie From Up on Poppy Hill offers a welcome respite from the loud, CG world of most American movies. [by Charles Solomon] Television Visual FX 48 Building a Beguiling Bengal Tiger 30 The Next Little Big Thing? VFX supervisor Bill Westenhofer discusses some of the The Hub launches its latest franchise revamp with fashion- mind-blowing visual effects of Ang Lee’s Life of Pi. [by Events forward The Littlest Pet Shop.
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The Little Mermaid (1989)
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Disney Bingo the Arc, Ocean County Chapter Virtual Recreation
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How "The Lion King" Remake Is Different from the Animated Version by USA Today, Adapted by Newsela Staff on 07.29.19 Word Count 854 Level MAX
How "The Lion King" remake is different from the animated version By USA Today, adapted by Newsela staff on 07.29.19 Word Count 854 Level MAX Image 1. Mufasa (left) and Simba in a scene from Disney's animated "The Lion King" which was released in 1994. Photo by: Disney Studios How does Disney tell the story of a lion becoming king in 2019? Well, largely the same way it did in 1994. This time the movie studio is using photorealistic computer-generated imagery (CGI). Jon Favreau's remake of "The Lion King" (in theaters since July 19) brings Simba, Nala, Scar and the whole pride back to the big screen with new voice talent but much of the original plot intact. Fans of the animated classic get those moments they love: Simba's sneeze, the cub's presentation to the kingdom, Timon and Pumbaa's vulture-kicking entrance. Even much of the dialogue is identical to that of the 25-year-old movie. But there are some changes that add a half-hour of running time to the story. Here are a few notable updates, aside from the obvious fact that the animals no longer look like cartoons. Be prepared for a different version of Scar's sinister song, and for new Beyoncé music. This time, Scar (Chiwetel Ejiofor) doesn't so much croon "Be Prepared" as deliver his signature song like a dark, militaristic monologue. In place of a catchy chorus and humorous digs at hyenas This article is available at 5 reading levels at https://newsela.com.
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The Effects of Disney Princess Movies on Girls
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