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Catalogue 2013/2014 Curriculum Connections • New Shows • Theatrical Resources Hal Leonard Australia
Disney Aladdin KIDS Disney Cinderella KIDS Disney The Aristocats KIDS Disney The Jungle Book KIDS Disney Sleeping Beauty KIDS Winnie The Pooh KIDS Annie KIDS A Year with Frog and Toad KIDS Disney Aladdin JR. Disney Alice in Wonderland JR. Disney Beauty and the Beast JR. Disney High School Musical JR. Disney High School Musical 2 JR. Disney Mulan JR. Annie JR. Captain Louie JR. Dear Edwina JR. Fiddler on the Roof JR. Guys and Dolls JR. Honk! JR. Into the Woods JR. The Music Man JR. Once on This Island JR. The Phantom Tollbooth JR. The Pirates of Penzance JR. School House Rock Live! JR. Seussical JR. Millie JR. Disney Aladdin KIDS Disney Cinder- ella KIDS Disney The Aristocats KIDS Disney The Jungle Book KIDS Disney Sleeping Beauty KIDS Winnie The Pooh KIDS Annie KIDS A Year with Frog and Toad KIDS Disney Aladdin JR. Disney Alice in Wonderland JR. Disney Beauty and the Beast JR. Disney High School Musical JR. Disney High School Musical 2 JR. Disney Mulan JR. Annie JR. Captain Louie JR. Dear Edwina JR. Fiddler on the Roof JR. Guys and Dolls JR. Honk! JR. Into the Woods JR. The Music Man JR. Once on This Island JR. The Phantom Tollbooth JR. The Pirates of Penzance JR. School House Rock Live! JR. Seussical JR. Millie JR. Disney Aladdin KIDS Disney Cinderella KIDS Disney The Aristocats KIDS Disney The Jungle Book KIDS Disney Sleeping Beauty KIDS Winnie The Pooh KIDS Annie KIDS A Year with Frog and Toad KIDS Disney Aladdin JR. Disney Alice in Wonderland JR. -
OCTOBER 2016 Welcome to October Sky! We Can’T Imagine a More Perfect Show to Give Our 2016–2017 Season a Great Launch (If You’Ll Pardon the Pun)
OCTOBER 2016 Welcome to October Sky! We can’t imagine a more perfect show to give our 2016–2017 Season a great launch (if you’ll pardon the pun). New musicals are, of course, one of The Old Globe’s specialties, and the upcoming season is filled with exactly the kind of work the Globe does best. In this very theatre, you’ll have a chance to see a revival of Steve Martin’s hilarious Picasso at the Lapin Agile; the exciting backstage drama Red Velvet; and the imaginative, fable- like musical The Old Man and The Old Moon. And of course, we’re bringing back The Grinch for its 19th year! Across the plaza in the Sheryl and Harvey White Theatre, we hope you’ll join us for work by some of the most exciting voices in the American theatre today: award-winning actor/ songwriter Benjamin Scheuer (The Lion), Globe newcomer Nick Gandiello (The Blameless), the powerful and trenchant Dominique Morisseau (Skeleton Crew), and the ingenious Fiasco Theater, with their own particular spin on Molière’s classic The Imaginary Invalid. It’s a season we’re extremely proud and excited to share with all of you. DOUGLAS GATES Managing Director Michael G. Murphy and Erna Finci Viterbi Artistic Director Barry Edelstein. We’re also proud to welcome the outstanding creative team that has made October Sky a reality. Director/choreographer Rachel Rockwell is an artist whose work we’ve long admired, whose skill in staging is matched by her deft touch with actors. She’s truly a perfect fit for this heartwarming and triumphant show. -
As Transformações Nos Contos De Fadas No Século Xx
DE REINOS MUITO, MUITO DISTANTES PARA AS TELAS DO CINEMA: AS TRANSFORMAÇÕES NOS CONTOS DE FADAS NO SÉCULO XX ● FROM A LAND FAR, FAR AWAY TO THE BIG SCREEN: THE CHANGES IN FAIRY TALES IN THE TWENTIETH CENTURY Paulo Ailton Ferreira da Rosa Junior Instituto Federal Sul-rio-grandense, Brasil RESUMO | INDEXAÇÃO | TEXTO | REFERÊNCIAS | CITAR ESTE ARTIGO | O AUTOR RECEBIDO EM 24/05/2016 ● APROVADO EM 28/09/2016 Abstract This work it is, fundamentally, a comparison between works of literature with their adaptations to Cinema. Besides this, it is a critical and analytical study of the changes in three literary fairy tales when translated to Walt Disney's films. The analysis corpus, therefore, consists of the recorded texts of Perrault, Grimm and Andersen in their bibliographies and animated films "Cinderella" (1950), "Snow White and the Seven Dwarfs" (1937) and "The little Mermaid "(1989) that they were respectively inspired. The purpose of this analysis is to identify what changes happened in these adapted stories from literature to film and discuss about them. Resumo Este trabalho trata-se, fundamentalmente, de uma comparação entre obras da Literatura com suas respectivas adaptações para o Cinema. Para além disto, é um estudo crítico e analítico das transformações em três contos de fadas literários quando transpostos para narrativas fílmicas de Walt Disney. O corpus de análise, para tanto, é composto pelos textos registrados de Perrault, Grimm e Andersen em suas respectivas bibliografias e os filmes de animação “Cinderella” (1950), “Branca de Neve e os Sete Anões” (1937) e “A Pequena Sereia” (1989) que eles respectivamente inspiraram. -
The Stepsister's Tale
The Stepsister’s Tale By TRACY BARRETT !"#$%&" '&%() *+,* Cinderella was horribly E mistreated by her ugly and wicked stepsisters. But what if the storybooks got it wrong? Jane Montjoy is tired of pretending to live up to the standards of her mother’s noble family—especially now that the family’s wealth is gone and their stately mansion has fallen to ruin. It’s hard work tending to the animals and -nding a way to feed her mother and her little sister each day. Jane’s burden only gets worse after her mother returns from a trip to town with a new stepfather and stepsister in tow. Despite the family’s struggle to prepare for the long winter ahead, Jane’s stepfather remains determined to give his beautiful but spoiled Isabella her every desire. When her stepfather suddenly dies, leaving )BSMFRVJO5FFOr*4#/ nothing but debts and a bereaved daughter behind, it seems to Jane that her family is destined for eternal unhappiness. But a mysterious boy from the woods and an invitation to a royal ball are certain to change her fate . Readers will be thoroughly captivated by award-winning author Tracy Barrett’s imaginative retelling of the Cinderella story from an unexpected perspective. They’ll never think about fairy tales the same way again! “Tracy’s stories are always unique, her prose always lovely. The Stepsister’s Tale is no exception. A brilliant and innovative retelling of a classic that gives entirely new meaning to the term ‘Cinderella story.’”—Ruta Sepetys, New York Times bestselling author of Between Shades of Gray +“Highly imaginative as well as insightful, this outstanding revision has the power to entrance and provoke thought.”—Kirkus Reviews, starred review +“A provocative inversion of the tale of Cinderella. -
A Study on Disney Princesses and Their Influence on Oungy Women and Their Personal Love Narratives
University of the Incarnate Word The Athenaeum Theses & Dissertations 12-2014 Happily Ever After: Is Disney Setting Us Up? A Study on Disney Princesses and Their Influence on oungY Women and Their Personal Love Narratives Brittany Danielle Minor University of the Incarnate Word Follow this and additional works at: https://athenaeum.uiw.edu/uiw_etds Part of the American Film Studies Commons, and the Other Feminist, Gender, and Sexuality Studies Commons Recommended Citation Minor, Brittany Danielle, "Happily Ever After: Is Disney Setting Us Up? A Study on Disney Princesses and Their Influence on oungY Women and Their Personal Love Narratives" (2014). Theses & Dissertations. 1. https://athenaeum.uiw.edu/uiw_etds/1 This Thesis is brought to you for free and open access by The Athenaeum. It has been accepted for inclusion in Theses & Dissertations by an authorized administrator of The Athenaeum. For more information, please contact [email protected]. HAPPILY EVER AFTER: IS DISNEY SETTING US UP? A STUDY ON DISNEY PRINCESSES AND THEIR INFLUENCE ON YOUNG WOMEN AND THEIR PERSONAL LOVE NARRATIVES A Thesis by BRITTANY DANIELLE MINOR Presented to the Graduate Faculty of University of the Incarnate Word in partial fulfillment for the degree of MASTER OF ARTS December 2014 Communication Arts HAPPILY EVER AFTER: IS DISNEY SETTING US UP? A STUDY ON DISNEY PRINCESSES AND THE INFLUENCE THEY HAVE ON YOUNG WOMEN AND THEIR PERSONAL LOVE NARRATIVES A Thesis by BRITTANY DANIELLE MINOR APPROVED: Dr. Valerie K. Greenberg - Ph.D. Cpnikiittee Chair Michael L. Mercer - Member ABSTRACT Happily Ever After: Is Disney Setting Us Up? A Study on Disney Princesses and the Influence they have on Young Women and their Personal Love Narratives Brittany Danielle Minor, B.A., University of the Incarnate Word This study discusses the issue of whether the influence of Disney films affects the girls who watch these films once they become adult women. -
O ALTO E O BAIXO NA ARQUITETURA.Pdf
UNIVERSIDADE DE BRASÍLIA FACULDADE DE ARQUITETURA E URBANISMO O ALTO E O BAIXO NA ARQUITETURA Aline Stefânia Zim Brasília - DF 2018 1 ALINE STEFÂNIA ZIM O ALTO E O BAIXO NA ARQUITETURA Tese apresentada ao Programa de Pós-Graduação em Arquitetura e Urbanismo da Faculdade de Arquitetura da Universidade de Brasília como requisito parcial à obtenção do grau de Doutora em Arquitetura. Área de Pesquisa: Teoria, História e Crítica da Arte Orientador: Prof. Dr. Flávio Rene Kothe Brasília – DF 2018 2 TERMO DE APROVAÇÃO ALINE STEFÂNIA ZIM O ALTO E O BAIXO DA ARQUITETURA Tese aprovada como requisito parcial à obtenção do grau de Doutora pelo Programa de Pesquisa e Pós-Graduação da Faculdade de Arquitetura e Urbanismo da Universidade de Brasília. Comissão Examinadora: ___________________________________________________________ Prof. Dr. Flávio René Kothe (Orientador) Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Fernando Freitas Fuão Departamento de Teoria, História e Crítica da Arquitetura – FAU-UFRGS ___________________________________________________________ Prof. Dra. Lúcia Helena Marques Ribeiro Departamento de Teoria Literária e Literatura – TEL-UnB ___________________________________________________________ Prof. Dra. Ana Elisabete de Almeida Medeiros Departamento de Teoria e História em Arquitetura e Urbanismo – FAU-UnB ___________________________________________________________ Prof. Dr. Benny Schvarsberg Departamento de Projeto e Planejamento – FAU-UnB Brasília – DF 2018 3 AGRADECIMENTOS Agradeço a todos que compartilharam de alguma forma esse manifesto. Aos familiares que não puderam estar presentes, agradeço a confiança e o respeito. Aos amigos, colegas e alunos que dividiram as inquietações e os dias difíceis, agradeço a presença. Aos que não puderam estar presentes, agradeço a confiança. Aos professores, colegas e amigos do Núcleo de Estética, Hermenêutica e Semiótica. -
58 Hitch – Der Date-Doktor
Wettbewerb/IFB 2005 HITCH Außer Konkurrenz HITCH – DER DATE-DOKTOR HITCH Regie: Andy Tennant USA 2004 Darsteller Alex „Hitch“ Hitchens Will Smith Länge 113 Min. Sara Melas Eva Mendes Format 35 mm, Albert Brennaman Kevin James Cinemascope Allegra Cole Amber Valletta Farbe Ben Michael Rapaport Max Trundle Adam Arkin Stabliste Sven Casper Andreas Buch Kevin Bisch Casey Julie Ann Emery Kamera Andrew Dunn Tanis Ato Essandoh Kameraführung David Knox Marla Amy Hohn Schnitt Troy Takaki Cressida Robinne Lee Tracey Wadmore- Kim Rebecca Mader Smith Mika Navia Nguyen Schnittassistenz Matt Evans Raoul Maulik Pancholy Ton T.J. O’Mara Mandy Paula Patton Musik George Fenton Saras Schwester Mercedes Renard Production Design Jane Musky Neil Kevin Sussman Ausstattung Ellen Christiansen Art Director Patricia Woodbridge Requisite Martin Lasowitz Will Smith, Eva Mendes Kostüm Marlene Stewart Regieassistenz Scott Printz Casting Kathleen Chopin HITCH – DER DATE-DOKTOR Produktionsltg. Justin Morrit „Egal wie, egal wann, egal wer: Jeder Mann hat die Chance, eine Frau von Executive Producers Michael Tadross den Füßen zu fegen – vorausgesetzt, er hat den richtigen Besen.“ So lautet Wink Mordaunt eine der Weisheiten von Alex „Hitch“ Hitchens, und der muss es wissen, Produzenten James Lassiter denn Hitch, genannt der „Date-Doktor“, ist New Yorks erfolgreichster Heirats- Will Smith Teddy Zee vermittler und dabei ein Meister seines Fachs. Er verschafft jedem noch so Co-Produktion Overbrook Entertain- mittelmäßigen Typen ein Rendezvous mit dessen Traumfrau. Sein Erfolgs- ment, Beverly Hills geheimnis? Er bringt normale Jungs mit außergewöhnlichen Frauen zusam- men. Denn Hitch weiß, was Frauen wünschen, und hat alle Tricks drauf. Dank Produktion seiner genialen Flirt-Tipps und guten Kontakte arrangiert Hitch für seine Columbia Pictures Corporation 10202 West Washington Blvd. -
Unbreakable Glass Slippers: Hegemony in Ella Enchanted Tori Shereen Mirsadjadi Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2012 Unbreakable Glass Slippers: Hegemony in Ella Enchanted Tori Shereen Mirsadjadi Scripps College Recommended Citation Mirsadjadi, Tori Shereen, "Unbreakable Glass Slippers: Hegemony in Ella Enchanted" (2012). Scripps Senior Theses. Paper 40. http://scholarship.claremont.edu/scripps_theses/40 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. UNBREAKABLE GLASS SLIPPERS: HEGEMONY IN ELLA ENCHANTED by TORI SHEREEN MIRSADJADI SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR WERNIMONT PROFESSOR LIU April 20, 2012 Contents Acknowledgements Introduction: A Self-Conscious Reflection on the Fairy Tale Thesis Contained in These Pages . 1 Chapter 1: Ella Grapples with Patriarchy. 20 Chapter 2: Ella’s Socially-Positive Characterization. 47 Chapter 3: Bitchy Ella . 68 Conclusion: A Concluding Reflection. .88 Works Cited. .93 Acknowledgements To Professor Jacqueline Wernimont and Professor Warren Liu, who so graciously guided me through every indecisive, rambling step on my journey toward getting this thesis written: I am forever thankful to have benefited from corresponding with, talking to, and thinking in the presence of two such amazing professors. I cannot thank my readers enough for letting me distract them from their newborn babies. A Self-Conscious Reflection on the Fairy Tale Thesis Contained in These Pages “Fairy tales contain us like a picture or poem, and reflect back to us in language, image and trope.” --Kate Bernheimer 1 Gail Carson Levine’s first published work, Ella Enchanted 2, rebels against its own fairy tale form in surprising ways. -
Romero Barker Ella 5
From Book to Film: Ella Enchanted by Macario Ben Romero and Patricia Barker Fairy tales occupy a unique position in the literary canon. Although based on literary traditions, they have become an increasingly visual form in American culture due in large part to the works and films of Walt Disney which simplified and familiarized story lines in favor of technical artistry to “wow” the audience and which also sacrificed artistry for invention, tradition for innovation, and imagination for distraction (Zipes, “Towards” 7-8). For the most part, fairy tales of any culture are indicative of the morals and traditions of that culture: “fairy tales provide a unique window into our most central concerns, our sense of social and cultural identity, who we think we are (or should be) – and how we change” (Orenstein 8). Zipes clearly reaffirms this argument when discussing the French origins of the literary fairy tale: “the genre of the literary fairy tale was institutionalized as an aesthetic and social means through which questions and issues of civilite , proper behavior and demeanor in all types of situations, were mapped out as narrative strategies for literary socialization (Zipes, “Breaking” 23). For women, this socialization process can be insidious because as Vera Sonja Maass writes, “in their symbolic forms, fairy tales reinforce self-defeating social and psychological behavior patterns in women’s daily lives” (vii). Later, she writes that the older oral fairy tales descended from matriarchal societies which celebrated womanhood “had been transformed into a verbal version bearing a literate code that prescribed the domestic requirements in bourgeois Christian society necessary for a young woman to be acceptable for marriage: self-sacrifice, diligence, hard work, silence, humility, and patience” (5). -
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. -
THE SLANG WORDS USED in the HITCH FILM by ANDY TENNANT THESIS Submitted to the Board Examiner in Partial Fulfillment of the Requ
THE SLANG WORDS USED IN THE HITCH FILM BY ANDY TENNANT THESIS Submitted to the Board Examiner In Partial Fulfillment of the Requirement For Literary Degree at English Literature Department by ROSA S NIM. AI.140269 ENGLISH LITERATURE DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SULTHAN THAHA SAIFUDDIN JAMBI 2018 ii iii iv MOTTO Artinya : dan diantara tanda tanda kekuasaan-Nya ialah menciptakan langit dan bumi dan berlain lainan bahasamu dan warna kulitmu. Sesungguhnya pada yang demikian itu benar benar terdapat tanda tanda bagi orang-orang yang mengetahui.Q.R. Surat Ar-Ruum, ayat 22).1 Meaning: And among His Signs is the creation of the heavens and the earth, and the difference of your langguages and colors. Verily, in that are indeed signs for men of sound knowledge.2 1 Guruandroid, Al- Quran & Terjemahan Indonesia 2 M.Taqi „Ud Din Al-HIlali, M.Muhsin Khan. (1984).Translation of the Meaning of the Noble Al-Quran in the English Language. Madinah: King Fahd Complex for the Printing of the Holy Quran. P.518 v DEDICATION بِسْمِاللََّهِ الرََّحْمَنِالرََّحِيم I thank to Allah SWT, who has given me the guidance, powerful and blessing so that I can accomplish this thesis. Shalawat and salamto Prophet Muhammad SAW who has brought human‟s life from Jahiliyyah to Islamiyyah. Proudly, I dedicate this thesis to my beloved mother (Sarniwati), father (Abdul Zabur), lovely sisters and brother (Rosi S, Nurazizah, and Peper S). They are the one and only who never stop loving, praying and supporting me in the rest of my life. They are the lights in the dark, the smile in the tears, and the warm hugs in feeling down. -
Junie B. Jones Center for Performing Arts
Governors State University OPUS Open Portal to University Scholarship Center for Performing Arts Memorabilia Center for Performing Arts 3-12-2005 Junie B. Jones Center for Performing Arts Follow this and additional works at: http://opus.govst.edu/cpa_memorabilia Recommended Citation Center for Performing Arts, "Junie B. Jones" (2005). Center for Performing Arts Memorabilia. Book 217. http://opus.govst.edu/cpa_memorabilia/217 This Book is brought to you for free and open access by the Center for Performing Arts at OPUS Open Portal to University Scholarship. It has been accepted for inclusion in Center for Performing Arts Memorabilia by an authorized administrator of OPUS Open Portal to University Scholarship. For more information, please contact [email protected]. fORPf flftTS Govern rsity and Theatreworks USA Present Junie B. Jones March 12, 2005 2004/2005 Especially For Kids Series is sponsored by: S Ch3rt6f O0€ 2004/2005 Season sponsored in part by a generous grant from: Theatreworks/USA JUNIE B. JONES Barbara Pasternack Ken Arthur Artistic Director Managing Director WHO'S WHO IN THE CAST Presents (alphabetical by role) JUNIE B. JONES KEITH HALLWORTH (Herb & Others) Theater: JAMAAL WILSON (Sheldon & Others) Book and Lyrics by Music by Footloose, Fame, A Little Night Music, La Cage National tours: Sundiata: The Lion King Of Marcy Heisler Zina Goldrich AuxFolles, Falsettos, Joseph..., Pippin: In Mall (Theatreworks/ USA), Olympic Spirit: Concert with Ben Vereen. Film/TV: "One Life to The Jesse Owens Story (Artspower), Based on the Junie B. Jones series of books by Live," "All My Children," "As the World Turns," Starstruck/Fast Forward (Royal Caribbean Barbara Park "Ed," Mona Lisa Smile.