DOCSLIB.ORG

Little Red Riding Hood a Queensland Ballet and out of the Box Festival Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Little Red Riding Hood a Queensland Ballet and out of the Box Festival Production 3–8 Years Little Red Riding Hood A QUEENSLAND BALLET AND OUT OF THE BOX FESTIVAL PRODUCTION Queensland Ballet launches their My First Ballet series with a very special premiere. Funny, cheeky and feisty, Little Red Riding Hood is a delightful mashup of ballet and creative theatrics that children will love. This is a unique re-telling of a classic fairytale, set to an original score that will enthral the littlest lovers of dance and theatre. First commissioned by QPAC for the 2016 Out of the Box festival for children eight years and under. AGE RANGE 3–8 Years VENUE Playhouse, QPAC COST School Groups 10+ $20pp 1 teacher free per 10 students booked BOOKINGS outoftheboxfestival.com.au/preview Refer to Festival Timetable on pp. 16-17 for available times and dates. EARLY YEARS FRAMEWORK AUSTRALIAN CURRICULUM v.8.1 Outcome 1: Children have a strong sense of identity. Dance: F-2 Outcome 2: Children are connected with and contribute to Explore, improvise and organise ideas to make dance sequences their world. using the elements of dance (ACADAM001). Outcome 4: Children are confident and involved learners. Use fundamental movement skills to develop technical skills Outcome 5: Children are effective communicators. when practising dance sequences (ACADAM002). Dance: 3&4 Improvise and structure movement ideas for dance sequences QUEENSLAND STUDIES AUTHORITY using the elements of dance and choreographic devices (ACADAM005). ESSENTIAL LEARNINGS BY THE END OF YEAR 3 Practise technical skills safely in fundamental movements THE ARTS (ACADAM006). Ways of Working Create and shape arts works by combining arts elements to express personal ideas, feelings and experiences, using arts Dance Moves elements and languages, reflect on learning to identify new Queensland Ballet with Queensland University of Technology understandings. Dance academics and Bachelor of Fine Arts (Dance) students DANCE offer a unique dance experience for children. The forest is magical; ballet is enchanting; the scheduled pop-up movement activities will Knowledge and Understanding introduce children to the conventions of the art form. Gross motor movements, including locomotor and non- See outoftheboxfestival.com.au for more information. locomotor are used to create actions for movement phrases, directions, levels and shapes are used to move in space within movement phrases, percussive and sustained movement qualities are used to change energy in movement phrases. AGE RANGE 3–8 Years VENUE Playhouse, Balcony Foyer QPAC COST FREE BOOKINGS None required Refer to Festival Timetable on pp. 16-17 for available times and dates. OUT OF THE BOX CREATIVE LEARNING GUIDE MORE INFORMATION AVAILABLE AT OUTOFTHEBOXFESTIVAL.COM.AU CREATIVE LEARNING GUIDE ART FORM FOCUS: The Arts: Dance • Discuss whether a group (category) of items should go in the basket. • Draw an item that has not yet been discussed that fits within LEARNING ACTIVITIES: one of the identified categories. CREATURES OF LIGHT AND DARKNESS • Discuss and justify your chosen item and what category it Before viewing the performance: belongs to and why. • Discuss the concept of creatures of light (perhaps a friend or Extension activity: family member who is respectful and makes you feel safe, secure • Investigate ways in which other cultures transport and carry and supported) and darkness (perhaps a bully who is hurtful, items. For example: disrespectful, and mean). Example questions might include: – Indigenous Australian sieve or coolamon – What is a friend? – African women carrying items on their head – What makes you think that a person is a friend? • Identify well known superheroes or villains that could be classified as creatures of light or darkness. REVIEWING THE PERFORMANCE • Draw your favourite superhero or villain, or create a new • Explain what evaluating a performance means and discuss imaginary character. what categories could be used as the criteria. For example: entertainment value, narrative or theme, technique, etc. • In pairs, discuss your drawings and take turns to guess whether your partner’s character is of light or darkness, and why. • Discuss what you saw, what it was about and describe the characters, lighting, music, sets and costumes. Provide questions • Explore how your favourite superheroes or new imaginary to prompt responses such as “how might these movements and characters might move through the space. production elements express the story?” • Perform your movements for each other and describe the • Choose a favourite character or scene and explain why you liked movement. it. Provide stem questions to prompt responses such as “I like this After viewing the performance: character because it’s...” • Describe what the Wolf looked like and the way he moved. Were • Discuss what you liked or disliked about the performance as a his movements performed: whole. Rate the story by either symbols (drawing two or three stars – three being the highest) or providing stem questions “I – using low or high levels enjoyed the performance because…” – using percussive or sustained movement qualities – using a fast or slow tempo SCULPTURE ART – moving through the space or on the spot (locomotor/non- • Draw or use Play Doh or modelling clay to make your favourite locomotor) character from the performance. – using curved or angular shapes? • Share and compare your artwork with a partner. Explain your use • Discuss how these elements of dance help to characterise the of shape and colour and identify how this communicates whether Wolf as a friend (light) or a bully (darkness), or both. the character is a creature of light or darkness. • Experiment with similar movement around the space, to explore the Wolf as a creature of light and then as a creature of darkness. ENRICHING LEARNING ENVIRONMENTS • Discuss what you saw, felt and thought, comparing the two Turn the classroom into a forest, making available costumes and improvised Wolf dances. props such as tails, baskets and capes etc. Explain the story of Little Red Riding Hood, encouraging the class to use the props and costumes to create freeze frames of important parts of the A BASKET FULL OF GOODIES narrative. Teachers can place a basket or box on a desk in the centre of the room with several ‘goodies’ such as pictures, objects and toys surrounding it (which would be appropriate to take to a grandparent or a friend’s house). Examples might include strawberries, toys, spare clothes, biscuits etc. • Investigate the similarities and differences between the items and provide a system to categorise the items; such as by colour, size, shape etc. OUT OF THE BOX CREATIVE LEARNING GUIDE MORE INFORMATION AVAILABLE AT OUTOFTHEBOXFESTIVAL.COM.AU Other Learning Resources BBC Red Riding Hood Music Series Teacher Notes – www.bbc.co.uk/learning/schoolradio/subjects/english/little_red_riding_hood BBC Little Red Riding Hood Resource Kit – www.teachingenglish.org.uk/article/little-red-riding-hood University of Utah Youth Theatre Big Bad Musical Resources – www.youththeatre.utah.edu/activities/ Australian Government Bullying No Way Resources – bullyingnoway.gov.au/resources/national-day/lesson-plans-2015/2015-st-lesson-plan3-4.pdf Australian Government Australian Indigenous Tools and Technologies – www.australia.gov.au/about-australia/australian-story/austn-indigenous-tools-and-technology DISCOVER ONLINE The story of Little Red Riding Hood has evolved countless times over many centuries and cultures. The links provided are animations of various perspectives that the Little Red Riding Hood narrative can take: Big Bad Wolf (1934), animated short – www.youtube.com/watch?v=e4Lx5Bmpojw Little Red Riding Rabbit (1944), animated short – www.dailymotion.com/video/x2mo650 Red Riding Hoodwinked (1955), animated short – www.supercartoons.net/cartoon/1181/sylvester-red-riding-hoodwinked.html Hoodwinked (2005), animated film. FURTHER READING FOR TEACHERS Perrault, C. (1697). Little red riding hood. London: Bodley Head. Grimm, J., & Grimm, W. (1812). Little red riding hood. London: Collins. OUT OF THE BOX CREATIVE LEARNING GUIDE MORE INFORMATION AVAILABLE AT OUTOFTHEBOXFESTIVAL.COM.AU.
Load more

Recommended publications
  • Teacher Resource Guide
    Theater at Monmouth 2015 Page to Stage Tour Teacher Resource Guide Inside This Guide 1 From the Page to the Stage 6 Who’s Who in the Play 2 Little Red Riding Hood 7 Map of Red’s Journey 3 The True History of Little Red 8 Before the Performance 4 From Cautionary to Fairy Tale 9 After the Performance 5 Who’s Afraid of the Big Bad Wolf 10 Resources & Standards From the Page to the Stage This season, the Theater at Monmouth’s Page to Stage Tour brings a world premiere adaptation of classic literature to students across Maine. The True Story of Little Red (grades Pre-K-8) was adapted to build analytical and literacy skills through the exploration of verse and playwriting, foster creativity and inspire imaginative thinking. Page to Stage Tour workshops and extended residencies offer students the opportunity to study, explore, and view classic literature through performance. TAM’s Education Tours and complimentary programming challenge learners of all ages to explore the ideas, emotions, and principles contained in classic texts and to discover the connection between classic theatre and our modern world. Teacher Resource Guide information and activities were developed to help students form a personal connection to the play before attending the production; standards- based activities are included to explore the plays in the classroom before and after the performance. The best way to appreciate classic literature is to explore. That means getting students up on their feet and physically, emotionally, and vocally exploring the words. The kinesthetic memory is the most powerful—using performance-based activities will help students with a range of learning styles to build a richer understanding of the language and identify with the characters and conflicts of the plays.
    [Show full text]
  • Mother Goose, Inc
    MOTHER GOOSE, INC. Story, music and lyrics by Stephen Murray Performance Rights It is an infringement of the federal copyright law to copy in anyway or perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co. Inc. Call the publisher for further scripts and licensing information. On all programs and advertising the author’s name must appear as well as this notice: “Produced by special arrangement with Eldridge Publishing Co.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY INC. www.histage.com © 1996 by Stephen Murray Download your complete script from Eldridge Publishing http://www.histage.com/playdetails.asp?PID=1244 Mother Goose, Incorporated 2 STORY OF THE PLAY Mother Goose and the Brothers Grimm have been in competition for over 200 years and the friction between them doesn’t seem to be abating. The poor Big Bad Wolf is caught in the middle of all this feuding. He has 12 cubs to feed and is working on the sly for both Mother Goose and the Brothers Grimm. He is constantly falling asleep at the wrong times. The war is heating up so Mother Goose has been pretty cranky lately, and her employees beg her to take a vacation. She takes off to a beautiful island resort leaving Simple Simon in charge. Simon lets the power go to his head and spends money like crazy, and the Goose employees go on strike. The only way Simon can bring them back to work and get the company out of the red is to agree to appear on a fairy tale TV special with the Brothers Grimm employees.
    [Show full text]
  • Fall 2020Fall 2020
    HarE JoHn HarE Students dressed is a freelance illustrator and in deep-sea diving graphic designer who works on Field Trip suits travel to the a range of projects. He lives in ocean deep in a yellow Gladstone, Missouri, with his submarine school bus. wife and two children. When they get there, they are introduced to creatures like T PRAISE FOR Field Trip to the Moon o luminescent squids and giant T he isopods, and discover an old ocean deep shipwreck. But when it’s time to return to the submarine bus, one student lingers to take a photo of a treasure chest and A Junior Library Guild Selection falls into a deep ravine. Luckily, A School Library Journal Best Book of the Year the child is entertained by a The Horn Book Fanfare List mysterious sea creature until ★ “Hare’s picture book debut is a winner . being retrieved by the teacher. A beautifully done wordless story about BOOKS FERGUSON MARGARET In his follow-up to Field Trip to a field trip to the moon with a sweet and funny alien encounter.”—School Library the Moon, John Hare’s rich, Journal, starred review atmospheric art in this wordless “[An] auspicious debut presents a world picture book invites children where a yellow crayon box shines Holiday House to imagine themselves in the like a beacon.”—Booklist story—a story full of surprises. MARGARET FERGUSON BOOKS BOOKS FOR YOUNG PEOPLE US $17.99$17.99 / CAN / CAN $23.99 $23.99 ISBN: 978-0-8234-4630-8 Holiday House Publishing, Inc. 5 1 7 9 9 HolidayHouse.com EAN Fall 2020 Printed in China 9 780823 446308 0408 Reinforced Illustration © 2020 by John Hare from Field Trip to the Ocean Deep HOLIDAY HOUSE Apples Gail Gibbons Summary Find out where your favorite crunchy, refreshing fruit comes from in this snack-sized book.
    [Show full text]
  • Creating Little Red Riding Hood : Morality, Sexuality, and The
    Creating Little Red Riding Hood : Morality, Sexuality, and the Evolution of a Classic Tale Julia Gralczyk HON 395 Spring Quarter 2017 Thesis submitted in completion of Honors Senior Capstone requirements for the DePaul University Honors Program Thesis Director James Choi, Digital Cinema Faculty Reader Nancy Grossman, Honors 1 THESIS ABSTRACT Little Red Riding Hood is a classic tale commonly known about a young girl in a red cape and a big, bad wolf. The story’s simple plot however, has given it way to considerable changes and adaptations depending on cultural beliefs, regional dialects, and personal interpretations. For my final Honors Program assignment, I would like to create a creative thesis in the form of a short film that incorporates my personal interpretations surrounding the tale. I will be researching themes and motifs that explore Little Red as an older character struggling with the thresholds of innocence and womanhood, lust and seduction, and the relationship between the sexes. 2 TABLE OF CONTENTS 1. INTRODUCTION………………………………………………………………….3 2. PERRAULT & THE GRIMM BROTHERS……………………………………..4 3. FREEWAY & RED RIDING HOOD (2011)...........................................................5 4. MEANINGS AND SYMBOLS ……………………………………………………7 5. PERSONAL INTERPRETATIONS & CREATING MY STORY……………....8 6. CONCLUSION ……………………………………………………………………..9 7. REFERENCES……………………………………………………………………..11 3 1. Introduction In 1697 French writer, Charles Perrault, published the earliest known printed version of Red Riding Hood. The invention of the tale cannot be credited to Perrault however, for many ​ scholars have insisted Little Red Riding Hood has ancient origins as a spoken folklore shared by ​ ​ local peasants in Europe as early as the 10th century. Nonetheless, Perrault set the president for a story that will later be told, retold, and remade for centuries to come, with her perennial popularity accredited to her ability to adapt to the times.
    [Show full text]
  • TEACHER RESOURCE PACK for Teachers Working with Pupils in Years 4 - 6 PHILIP PULLMAN’S GRIMM TALES
    PHILIP PUllMAn’S gRiMM TAlES TEACHER RESOURCE PACK FOR teachers wORKing wiTH pupilS in YEARS 4 - 6 PHILIP PUllMAn’S gRiMM TAlES Adapted for the stage by Philip Wilson Directed by Kirsty Housley from 13 nOv 2018 - 6 jAn 2019 FOR PUPILS IN SCHOOl years 4 - 6 OnCE upon A christmas... A most delicious selection of Philip Pullman’s favourite fairytales by the Brothers Grimm, re-told and re-worked for this Christmas. Enter a world of powerful witches, enchanted forest creatures, careless parents and fearless children as they embark on adventures full of magic, gore, friendship, and bravery. But beware, these gleefully dark and much-loved tales won’t be quite what you expect… Duration: Approx 2 hrs 10 mins (incl. interval) Grimm Tales For Young and Old Copyright © 2012, Phillip Pullman. All rights reserved. First published by Penguin Classics in 2012. Page 2 TEACHER RESOURCES COnTEnTS introdUCTiOn TO the pack p. 4 AbOUT the Play p. 6 MAKing the Play: interviEw wiTH director Kirsty HOUSlEY p. 8 dRAMA activiTiES - OverviEw p. 11 SEQUEnCE OnE - “OnCE UPOn A TiME” TO “HAPPILY EvER AFTER” p. 12 sequenCE TwO - the bEginning OF the story p. 15 sequenCE THREE - RAPUnZEl STORY wHOOSH p. 22 sequenCE FOUR - RAPUnZEl’S dREAM p. 24 sequenCE FivE - THE WITCH’S PROMiSES: wRiTING IN ROlE p. 26 RESOURCES FOR ACTiviTiES p. 29 Page 3 TEACHER RESOURCES INTROdUCTiOn This is the primary school pack for the Unicorn’s production of Philip Pullman’s Grimm Tales in Autumn 2018. The Unicorn production is an adaptation by Philip Wilson of Philip Pullman’s retelling of the classic fairytales collected in 19th century Germany by Jacob and Wilhelm Grimm.
    [Show full text]
  • Reader's Theater Script for the True Story of the 3 Little Pigs
    *READER’S THEATER SCRIPT * Characters: Wolf, Officer #1, Officer #2, Officer #3, Narrator #1, Narrator #2, Narrator #3, Narrator #4, Second Pig, Third Pig, Reporter #1, and Reporter #2 Scene 1 Wolf: Everybody knows the story of the Three Little Pigs. Or at least they think they do. But I'll let you in on a little secret. Nobody knows the real story, because nobody has ever heard my side of the story. Officer #1: Name? Wolf: I'm the wolf. Alexander T. Wolf. You can call me Al. I don't know how this whole Big Bad Wolf thing got started, but it's all wrong. Officer #2: I see. And what makes you so sure? Wolf: Maybe it's because of our diet. Hey, it's not my fault wolves eat cute little animals like bunnies, sheep and pigs. That's just the way we are. Officer #3: Can we stick to the story, please? Wolf: If cheeseburgers were cute, folks would probably think you were Big and Bad, too. But like I was saying, the whole Big Bad Wolf thing is wrong. The real story is about a sneeze and a cup of sugar. 1 Scene 2 Narrator #1: Way back in Once Upon a Time time, A. Wolf was making a birthday cake for his dear old granny. Wolf: I had a terrible sneezing cold. Narrator # 2: He ran out of sugar. Wolf: So I walked down the street to ask my neighbor for a cup of sugar. Narrator #3: Now this neighbor was a pig.
    [Show full text]
  • THE BIG BAD WOLF BROS by Carol M
    THE BIG BAD WOLF BROS by Carol M. Rice Copyright © 2010 by Carol Rice, All rights reserved. ISBN: 978-1-64479-090-8 CAUTION: Professionals and amateurs are hereby warned that this Work is subject to a royalty. This Work is fully protected under the copyright laws of the United States of America and all countries with which the United States has reciprocal copyright relations, whether through bilateral or multilateral treaties or otherwise, and including, but not limited to, all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention and the Berne Convention. RIGHTS RESERVED: All rights to this Work are strictly reserved, including professional and amateur stage performance rights. Also reserved are: motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all forms of mechanical or electronic reproduction, such as CD-ROM, CD-I, DVD, information and storage retrieval systems and photocopying, and the rights of translation into non-English languages. PERFORMANCE RIGHTS AND ROYALTY PAYMENTS: All amateur and stock performance rights to this Work are controlled exclusively by Brooklyn Publishers LLC. No amateur or stock production groups or individuals may perform this play without securing license and royalty arrangements in advance from Brooklyn Publishers LLC. Questions concerning other rights should be addressed to Brooklyn Publishers LLC. Royalty fees are subject to change without notice. Professional and stock fees will be set upon application in accordance with your producing circumstances. Any licensing requests and inquiries relating to amateur and stock (professional) performance rights should be addressed to Brooklyn Publishers LLC. Royalty of the required amount must be paid, whether the play is presented for charity or profit and whether or not admission is charged.
    [Show full text]
  • The Three Little Pigs VS. the True Story of the Three Little Pigs
    Gabriella Samuelsson The Three Little Pigs VS. The True Story of The Three Little Pigs Have you ever read The Three Little Pigs and The True Story of The Three Little Pigs? There are many similarities and differences between The Three Little Pigs and The True Story of The Three Little Pigs. Let’s start with Three Little Pigs. In The Three Little Pigs it is written in the third person. Also in The Three Little Pigs The Big Bad Wolf purposely blew down the three little pigs’ houses. In The Three Little Pigs the Big Bad Wolf looks very guilty. The wolf wanted to eat the three little pigs in this story. Another difference is the Big Bad Wolf ended up on the third little pig’s dinner table! In The Three Little Pigs the illustrator shows the pigs buy the materials for the houses. You see actual pictures of the three Little Pigs in this story. The True Story of The Three Little Pigs was written in the wolf’s prospective. The wolf ended up in jail in this story. In this story the wolf tries to make himself look innocent. The wolf has a cold and sneezes, which makes the houses fall down. In this story the houses were already built. The wolf wanted to bake a cake. You do not get a good glimpse of the pigs in the illustrations. Finally let’s talk about the similarities of these stories. These two stories are similar because the two stories both have a Big Bad Wolf and three little pigs.
    [Show full text]
  • Wolf Folklore Cartoon Animals Are a Good Example of Anthropomorphism; They Look Like Ani- Popular European Folk Tales Were Mals, but They Act Like People
    KIDS The wolf thanked her warmly and was turning away when she cried, “What about that fee of mine?” “Well, what about it?” snapped the wolf, baring his teeth as he spoke. “You can go about boasting that you once put your head into a wolf’s mouth and didn’t get it bitten off. What more do you want?” European Fairy Tales and the Brothers Grimm Wolf Folklore Cartoon animals are a good example of anthropomorphism; they look like ani- Popular European folk tales were mals, but they act like people. written down during the 19th century. By Connor Hager Over time, most people and cultures In 1812, a number of them were pub- have changed their attitudes toward lished by two brothers with the last name wolves because of human activities like of Grimm, under a title still familiar to Folklore, Folk Tales, agriculture (farming), wildlife man- many young readers: Grimm’s Fairy Tales. Legends and Myths agement and environmental studies. The brothers Grimm were lawyers olklore is the word for the tradi- Changing attitudes can alter the way who became interested in folklore as a tions, customs and beliefs found wolves are depicted by humans—and way to study the German culture and within a culture. Folklore is passed that can affect human tolerance for system of laws. They collected these sto- F ries from people they knew, friends of on by telling stories, sharing supersti- wolves, depending on whether the depic- tions, creating music and art, and teach- tions are positive or negative. ing by word-of-mouth.
    [Show full text]
  • The Big Bad Wolf Free Download
    THE BIG BAD WOLF FREE DOWNLOAD James Patterson | 416 pages | 04 Feb 2010 | Headline Publishing Group | 9780755349371 | English | London, United Kingdom SE 01 / Episode 2: The Big Bad Wolf is back! Advocates, for example, of 'corporate social responsibility' but also some trade unions, are currently calling for the WTO to be made responsible for the application [ Not afraid of t h e big bad wolf wipo. The Mask also changes into his wolf-like form The Big Bad Wolf occasion in the spin- off animated series of the same nameparticularly in the animated crossover featuring Ace Ventura: Pet The Big Bad Wolf. Rolf was the one who ate Little Red Riding Hood's grandmother following a falling out with his uncle The Big Bad Wolf is killed by Little Red Riding Hood who later skinned him for a wolfskin coat. Henry must discover the truth and help to release his father. You can find more information in our data protection declaration. Los esteroides ilegales que se The Big Bad Wolf RobinsonDavid Rudmanand Matt Vogel. November Behind The Voice Actors. In this episode, his tendency to destroy houses by exhaling is shown to be an allergy-like reaction to the sight of a door. Homesteader Droopy. He was baking a cake for his grandmother's birthday and the wolf had to travel to the little pigs' houses to borrow a cup of sugar. Sovereign [ Evil features the Wolf as a misunderstood Fletch -type investigator voiced by Patrick Warburton. He is shown to have four forms—fully human, still mostly human but with wolf eyes, fangs, claws, and higher strength, a humanoid wolf of still greater strength, and a towering four-legged wolf possessing immense power and speed.
    [Show full text]
  • Nationalism, the History of Animation Movies, and World War II Propaganda in the United States of America
    University of Akureyri Faculty of Humanities and Social Science Modern Studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson Final BA Thesis in the Faculty of Humanities and Social Sciences University of Akureyri Faculty of Humanities and Social Science Modern studies 2011 Intersections of Modernity: Nationalism, The History of Animation Movies, and World War II propaganda in the United States of America Kristján Birnir Ívansson A final BA Thesis for 180 ECTS unit in the Faculty of Humanities and Social Sciences Instructor: Dr. Giorgio Baruchello Statements I hereby declare that I am the only author of this project and that is the result of own research Ég lýsi hér með yfir að ég einn er höfundur þessa verkefnis og að það er ágóði eigin rannsókna ______________________________ Kristján Birnir Ívansson It is hereby confirmed that this thesis fulfil, according to my judgement, requirements for a BA -degree in the Faculty of Hummanities and Social Science Það staðfestist hér með að lokaverkefni þetta fullnægir að mínum dómi kröfum til BA prófs í Hug- og félagsvísindadeild. __________________________ Giorgio Baruchello Abstract Today, animations are generally considered to be a rather innocuous form of entertainment for children. However, this has not always been the case. For example, during World War II, animations were also produced as instruments for political propaganda as well as educational material for adult audiences. In this thesis, the history of the production of animations in the United States of America will be reviewed, especially as the years of World War II are concerned.
    [Show full text]
  • What If the Big Bad Wolf in All Those Fairy Tales Was Just Misunderstood?
    Hastings Communications and Entertainment Law Journal Volume 34 | Number 2 Article 2 1-1-2012 What if the Big Bad Wolf in All Those Fairy Tales Was Just Misunderstood?: Techniques for Maintaining Narrative Rationality While Altering Stock Stories That Are Harmful to Your Client’s Case Jennifer Sheppard Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Jennifer Sheppard, What if the Big Bad Wolf in All Those Fairy Tales Was Just Misunderstood?: Techniques for Maintaining Narrative Rationality While Altering Stock Stories That Are Harmful to Your Client’s Case, 34 Hastings Comm. & Ent. L.J. 187 (2012). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol34/iss2/2 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. What if the Big Bad Wolf in All Those Fairy Tales Was Just Misunderstood?: Techniques for Maintaining Narrative Rationality While Altering Stock Stories That Are Harmful to Your Client’s Case by JENNIFER SHEPPARD I. Introduction ......................................................................................................................
    [Show full text]