AN ANALYSIS of EDUCATIONAL VALUE in MOANA MOVIE a Thesis
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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. -
UIB Ocean Conference MOANA Poster (Hviding) 4 Red
MOANA: THE RISING OF THE SEA With leading Pacific artists from the University of the South Pacific, an EU-funded Europe-Pacific climate change Bergen Pacific Studies Group Department of Social Anthropology project produced a world class drama performance. Moana: The Rising of the Sea toured Europe in 2015. University of Bergen Professor Edvard Hviding, Executive Producer of Moana: [email protected] The Global Challenge: Climate Change and the Ocean Scientific scenarios of global climate change and sea level rise tell us that although the islanders of the tropical Pacific contribute the least to global warming, they are set to suffer the most from its effects. For anyone who lives on an island, surrounded by the deep, beautiful yet dangerous sea, it is a cruel thought that one day the island will be swallowed by the ocean, that ancient nurturing realm called Moana Nui in Oceania. How does it feel when the ocean forces you to abandon all that you hold dear? With Moana: the Rising of the Sea, islanders themselves set the scene for thought-provoking questions, answered in part by them through the accumulated wisdom of generations, while also calling Islanders are drowning as the sea invades the shore, and their families try to rescue them on the world to act on climate change. A performance of beauty, fear, hope and challenge, Moana: The Rising of the Sea addresses these questions in ways not seen on stage before. Invited to major international art festivals and to political fora such as the European Parliament and COP21, Moana: the Rising of the Sea has proved its potential for changing mind-sets concerning global The Making of Moana Ocean and Climate: Research Collaboration and Dissemination climate change and its effects on the Moana: The Rising of the Sea is created by Under a Memorandum of Understanding, the University of Bergen (UiB) and the Pacific Ocean, its islands and islanders. -
Walt Disney's Moana
Walt Disney’s Moana “We are Polynesia” A CDA of Disney’s representation of the Polynesian culture inside Moana COURSE: Master Thesis in Media and Communication Science with Specialization in International Communication PROGRAMME: International Communication AUTHOR: Melanie Nauta TUTOR: Florencia Enghel SEMESTER: VT 18 JÖNKÖPING UNIVERSITY Master thesis, 15 credits School of Education and Communication Course: Master Thesis in Media and Communication Box 1026, SE-551 11 Jönköping, Sweden Science with Specialization in International +46 (0)36 101000 Communication Term: Spring 2018 ABSTRACT Writer: Melanie Nauta Title: Walt Disney’s Moana. “We are Polynesia”. Subtitle: A CDA of Disney’s representation of the Polynesian culture inside Moana Language: English Pages: 54 Disney is known for their family animation movies with a non-western or indigenous cultural background. Nevertheless, Disney is basically very influential for the perception of cultures by a global audience. Many studies have proven that Disney’s depiction of a certain represented culture has not always been that clean. Of course two side notes are that Disney does make movies from an American dominant perspective and second, there is no such thing as a ‘real’ or ‘correct’ culture. Now, with the movie Moana freshly released in 2016, Disney took a step in the indigenous Polynesian culture. This research uses a thorough Critical Discourse Analysis to analyse how Disney portrays Polynesia and the Polynesian culture inside four selected samples of the movie Moana. This analysis is combined with the theories and concepts of Americanisation, Disneyfication and cultural appropriation to find out mixtures of the portrayed Polynesian culture with American and Disney values. -
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. -
Tangled Study Notes Disney Studios Motion Pictures ©Walt
Tangled Study Notes Pictures Motion Studios Disney ©Walt Directed by: Nathan Greno and Byron Howard Certificate: PG (contains mild violence, threat and brief sight of blood) Running time: 108 mins Release date: 21 January 2011 Synopsis: Disney presents a new twist on one of the most hair-raising tales ever told. When the kingdom’s most wanted – and most charming – bandit Flynn Rider hides in a mysterious tower, the last thing he expects to find is Rapunzel, a spirited teen with an unlikely superpower – 70 feet of magical golden hair! Together, the unlikely duo sets off on a fantastic journey filled with surprising heroes, laughter and suspense. (Disney.go.com/disneypictures/tangled) The activities in these Study Notes address aspects of the curriculum for Literacy, Drama, Maths (24 hour clocks and timetabling, Year 5) and Art for pupils aged 5-11. 1 www.filmeducation.org www.nationalschoolsfilmweek.org ©Film Education July 2011. Film Education is not responsible for the content of external websites. Before seeing the film 1. The long-haired heroine of Tangled, Rapunzel, has grown up grounded. She lives in a tower in the middle of a forest. She dreams of being able to escape from her tower for just one day. If you were able to take her out for one day, what would you show her? Choose carefully, as you only have one day. Timetable your day, showing how you would structure your activities with Rapunzel. 2. The actors behind the animation in Tangled had the task of bringing the character to life using just their voices. -
Bob Iger Kevin Mayer Michael Paull Randy Freer James Pitaro Russell
APRIL 11, 2019 Disney Speakers: Bob Iger Chairman and Chief Executive Officer Kevin Mayer Chairman, Direct-to-Consumer & International Michael Paull President, Disney Streaming Services Randy Freer Chief Executive Officer, Hulu James Pitaro Co-Chairman, Disney Media Networks Group and President, ESPN Russell Wolff Executive Vice President & General Manager, ESPN+ Uday Shankar President, The Walt Disney Company Asia Pacific and Chairman, Star & Disney India Ricky Strauss President, Content & Marketing, Disney+ Jennifer Lee Chief Creative Officer, Walt Disney Animation Studios ©Disney Disney Investor Day 2019 April 11, 2019 Disney Speakers (continued): Pete Docter Chief Creative Officer, Pixar Kevin Feige President, Marvel Studios Kathleen Kennedy President, Lucasfilm Sean Bailey President, Walt Disney Studios Motion Picture Productions Courteney Monroe President, National Geographic Global Television Networks Gary Marsh President & Chief Creative Officer, Disney Channel Agnes Chu Senior Vice President of Content, Disney+ Christine McCarthy Senior Executive Vice President and Chief Financial Officer Lowell Singer Senior Vice President, Investor Relations Page 2 Disney Investor Day 2019 April 11, 2019 PRESENTATION Lowell Singer – Senior Vice President, Investor Relations, The Walt Disney Company Good afternoon. I'm Lowell Singer, Senior Vice President of Investor Relations at THe Walt Disney Company, and it's my pleasure to welcome you to the webcast of our Disney Investor Day 2019. Over the past 1.5 years, you've Had many questions about our direct-to-consumer strategy and services. And our goal today is to answer as many of them as possible. So let me provide some details for the day. Disney's CHairman and CHief Executive Officer, Bob Iger, will start us off. -
Netflix and the Development of the Internet Television Network
Syracuse University SURFACE Dissertations - ALL SURFACE May 2016 Netflix and the Development of the Internet Television Network Laura Osur Syracuse University Follow this and additional works at: https://surface.syr.edu/etd Part of the Social and Behavioral Sciences Commons Recommended Citation Osur, Laura, "Netflix and the Development of the Internet Television Network" (2016). Dissertations - ALL. 448. https://surface.syr.edu/etd/448 This Dissertation is brought to you for free and open access by the SURFACE at SURFACE. It has been accepted for inclusion in Dissertations - ALL by an authorized administrator of SURFACE. For more information, please contact [email protected]. Abstract When Netflix launched in April 1998, Internet video was in its infancy. Eighteen years later, Netflix has developed into the first truly global Internet TV network. Many books have been written about the five broadcast networks – NBC, CBS, ABC, Fox, and the CW – and many about the major cable networks – HBO, CNN, MTV, Nickelodeon, just to name a few – and this is the fitting time to undertake a detailed analysis of how Netflix, as the preeminent Internet TV networks, has come to be. This book, then, combines historical, industrial, and textual analysis to investigate, contextualize, and historicize Netflix's development as an Internet TV network. The book is split into four chapters. The first explores the ways in which Netflix's development during its early years a DVD-by-mail company – 1998-2007, a period I am calling "Netflix as Rental Company" – lay the foundations for the company's future iterations and successes. During this period, Netflix adapted DVD distribution to the Internet, revolutionizing the way viewers receive, watch, and choose content, and built a brand reputation on consumer-centric innovation. -
Digital Media: Rise of On-Demand Content 2 Contents
Digital Media: Rise of On-demand Content www.deloitte.com/in 2 Contents Foreword 04 Global Trends: Transition to On-Demand Content 05 Digital Media Landscape in India 08 On-demand Ecosystem in India 13 Prevalent On-Demand Content Monetization Models 15 On-Demand Content: Music Streaming 20 On-Demand Content: Video Streaming 28 Conclusion 34 Acknowledgements 35 References 36 3 Foreword Welcome to the Deloitte’s point of view about the rise key industry trends and developments in key sub-sectors. of On-demand Content consumption through digital In some cases, we seek to identify the drivers behind platforms in India. major inflection points and milestones while in others Deloitte’s aim with this point of view is to catalyze our intent is to explain fundamental challenges and discussions around significant developments that may roadblocks that might need due consideration. We also require companies or governments to respond. Deloitte aim to cover the different monetization methods that provides a view on what may happen, what could likely the players are experimenting with in the evolving Indian occur as a consequence, and the likely implications for digital content market in order to come up with the various types of ecosystem players. most optimal operating model. This publication is inspired by the huge opportunity Arguably, the bigger challenge in identification of the Hemant Joshi presented by on-demand content, especially digital future milestones about this evolving industry and audio and video in India. Our objective with this report ecosystem is not about forecasting what technologies is to analyze the key market trends in past, and expected or services will emerge or be enhanced, but in how they developments in the near to long-term future which will be adopted. -
Commonlit | Lin-Manuel Miranda
Name: Class: Lin-Manuel Miranda By Jessica McBirney 2017 Lin-Manuel Miranda is best known for creating and starring in the Broadway musicals Hamilton and In the Heights. He has received the highest honors in theater, television, and music for his talents and innovation in the arts. In this informational text, Jessica McBirney discusses Miranda’s life and career as an artist. As you read, take notes on the development of Miranda’s career in the entertainment industry. [1] Lin-Manuel Miranda is an American writer and actor who has risen to popularity in recent years for his unique combination of hip-hop and Broadway-style music to tell stories. His two most popular musicals, In The Heights and Hamilton, both purposely feature a diverse range of actors and characters from different backgrounds. Formative Childhood Lin-Manuel Miranda often cites his childhood years as a source of inspiration for his work. He was born on January 16, 1980, in Washington "Lin-Manuel Miranda, 2016" by Nathan Hughes Hamilton is Heights, a majority-Latino neighborhood in Upper licensed under CC BY 2.0. Manhattan, New York. His parents were of mostly Puerto Rican descent; his mother worked as a clinical psychologist, and his father was a Democratic Party consultant who advised New York City’s mayor in political situations. Growing up in Washington Heights gave Miranda a love for music, especially hip-hop. For one month each summer, Miranda also went to stay with his grandparents in Puerto Rico. As a teenager, he wrote jingles for advertisements. Miranda started attending Wesleyan University in 1998, where he co-founded a hip-hop comedy group called Freestyle Love Supreme. -
©2014 Disney ©2014 Disney Enterprises, Inc
©2014 Disney ©2014 Disney Enterprises, Inc. All Rights Reserved. Disney.com/Neverbeast STORY Story Artists TROY ADOMITIS JOHN D. ANDERSON TOM BERNARDO EMMANUEL DELIGIANNIS RYAN GREEN DAVID KNOTT JIHYUN PARK ROBB PRATT LYNDON RUDDY SEUNG-HYUN OH SHANE ZALVIN Creative Development ............................VICKI LETIZIA PRODUCTION Production Managers ..................... JARED HEISTERKAMP JASON I. STRAHS Directed by ........................................ STEVE LOTER Production Coordinators ........................JILLIAN GOMEZ Produced by ...........................MICHAEL WIGERT, p.g.a. AMY PIJANOWSKI Executive Producer .............................JOHN LASSETER BARBRA PUSHIES Story by ........................................... STEVE LOTER ALLIE RUSSELL and TOM ROGERS Production Finance Lead ........................ TANYA SELLERS Screenplay by .................................... TOM ROGERS Production Secretary ....................... BRIAN MCMENAMIN and ROBERT SCHOOLEY & MARK MCCORKLE DESIGN and KATE KONDELL Original Score Composed by ..................... JOEL MCNEELY Character Design .............................RITSUKO NOTANI Editor ..........................................MARGARET HOU ELSA CHANG Art Director .....................................ELLEN JIN OVER DAVID COLMAN Animation Supervisor .................... MICHAEL GREENHOLT BOBBY CHIU Head of Story ................................. LAWRENCE GONG KEI ACEDERA CG Supervisor ...................................... MARC ELLIS Associate Producer ......................TIMOTHY -
The Effects of Disney Princess Movies on Girls
The Effects of Disney Princess Movies on Girls By Camille Porter-Phillips Eighth grade project research paper Hilltown Cooperative Charter Public School June 2014 1 Introduction Personally, before this project, I thought that the Disney princesses were foolish. People have been watching Disney movies for nearly 100 years and through the course of this project I realized that they are actually really foolish and my beliefs were affirmed. Since the Walt Disney company started in 1923 (Gillies), its movies have become very widespread and pervasive. My question is, have Disney princess movies affected girls? In this essay I will show that watching princess movies affects girls’ independence and body image. I will first give a background of Disney and their princesses, then show how the princess films might affect girls and then describe how to evaluate them. Background The first princess movie the Walt Disney company produced was Snow White, in 1937. It was the first animated feature film to come out of the0 U.S. (Disney). Next came Cinderella, in 1950. Then Sleeping Beauty in 1959. Thirty years later in 1989 The Little Mermaid came out. Then in 1991 Beauty and the Beast. The very next year in 1992 Aladdin came to theaters. Then Pocahontas, in 1995. But this was not the last one, more and more princess movies are produced by Disney every few years. Snow White is about a girl who runs away from an evil queen because the queen wants to kill Snow White. When she meets 12 dwarfs she is happy to cook and take care of them. -
Redefining Gender in Disney Films from the 20Th to 21St Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019
Alshabasy 1 "A Whole New World": Redefining Gender in Disney Films from the 20th to 21st Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019 Alshabasy 2 The Disney Dynasty is as familiar to American culture as apple pie. Sitting on land that is twice the size of Manhattan, the Disney Kingdom has expanded over the years to create a whole new world; a world seriously considered by cultural theorists like Baudrillard, as a simulacrum, a symbol so close to reality that it becomes hyperreality. Before water parks and resort hotels, before Disney bought out the land of orange groves and walnut trees in Anaheim, California, the Magic Kingdom began its conquest on American ideology. The Walt Disney Company started in 1923 as “The Disney Brothers Cartoon Studio,” and churned out films that embodied American ideals. Oftentimes, these films were set in 19th century rural America and featured an American hero -- usually Mickey Mouse, who could outwork and challenge any enemy big or small with his bravery. An embodiment of American ideals, Disney films became loved and endeared by audiences during morally depleting times, like the Depression years (“How Disney Came to Define What Constitutes the American Experience”). Audiences latched onto these ideals, seemingly stable, even when external factors were not. In 1938, Disney shifted gears into feature films with his vision of Snow White and the Seven Dwarfs. Although many had their doubts, after three years of work Snow White was released and it quickly became the highest grossing film of all time. Feature films became the money makers for Disney and the start of consumer fascination with Disney culture (“Disney Animation Is Closing the Book on Fairy Tales”).