DOCSLIB.ORG

Dubbing the Live-Action Remakes of Disney Animated Classics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dubbing the Live-Action Remakes of Disney Animated Classics UFR LETTRES, LANGUES ET CIVILISATIONS ETRANGERES DEPARTEMENT DES ETUDES DU MONDE ANGLOPHONES Master 2 Recherche 2017-2018 HYPERFILMICITY AND AUDIOVISUAL TRANSLATION: Dubbing the Live-Action Remakes of Disney Animated Classics. Mémoire présenté par Eugénie Périn Sous la direction de Laurent Mellet Professeur à l’Université Toulouse Jean Jaurès Acknowledgements All my gratitude goes to Laurent Mellet for his guidance, his open spirit and his wise suggestions that were indispensable for the completion of this thesis. I would also like to thank my mother, Mercédès Marion, for her support and for passing onto me her love for cinema. But most importantly for taking me to the movie theatre in December 1997, when I was three years old, to see Le Bossu De Notre Dame, an animated film and French voices that would mark me for life. Table des matières Introduction. ............................................................................................................................................ 3 I. Hypotexts, hypofilms and hyperfilms. ................................................................................................ 11 A) Adaptation and appropritation : the Disneyfication of hypotexts. ........................................... 12 B) Reinterpretive remakes: canonising and using Disney as raw material. ................................... 23 II. Visual and textual references: a Disney memory game. ................................................................... 36 A) Visual references: seeing Disney. .............................................................................................. 39 B) Textual/verbal references: hearing Disney. .............................................................................. 60 III. Translating and re-translating, dubbing and redubbing: creating a French Disney. ........................ 73 A) Dubbing and redubbing the Disney animated films. ................................................................. 75 B) Translating textual/verbal hyperfilmic references, the assertion of a French Disney. ............. 89 Conclusion. .......................................................................................................................................... 110 Appendix. ............................................................................................................................................. 118 Appendix 1: ...................................................................................................................................... 118 Appendix 2: ...................................................................................................................................... 120 Appendix 3: ...................................................................................................................................... 122 Appendix 4 : ..................................................................................................................................... 123 Appendix 5: ...................................................................................................................................... 126 Bibliography ......................................................................................................................................... 131 Filmography ......................................................................................................................................... 136 Introduction. The release of Robert Stromberg’s Maleficent in 2014 marked the beginning of a new trend in Disney films: the remaking of the Disney animated films into their live-action versions. While an animated film is produced by the photographing of gradually changing drawings, a live-action film is the filming of real people, animal or objects. The technical evolutions cinema has known over the sixty years that have passed since the animated films Sleeping Beauty, Cinderella, and The Jungle Book1 were first released have led to the mutations of the said films. Just as adaptation is the phenomenon of evolution and mutation that species undergo over time to be better suited to their environment, these animated films have been (re)adapted to better fit a new cinematic, aesthetic and sociological context, to become the live-action films Maleficent, Cinderella and The Jungle Book.2 It must be reminded that these new films are adapted from animated films that are themselves adaptations of canonical texts of Western literature and culture: Charles Perrault’s Cendrillon and La Belle Au Bois Dormant; The Brothers Grimm’s Aschenputtel (Cinderella) and Dornröschen (Sleeping Beauty) and Rudyard Kipling’s Jungle Book.3 As Julie Sanders observes “Adaptation both appear to require and to perpetuate the existence of a canon, although it may lead to its ongoing reformulation and expansion.” (2015:8) Following Sanders idea, it can be argued that the tales of Perrault, The Brothers Grimm and Kipling have acquired their status of canonical texts through their adaptations into films. In addition, it would appear that Walt Disney’s adaptations of literary canons have in turn become canons themselves. The case of the Walt Disney’s animated films canonisation is particular in the sense that it was the producer’s true intention to revolutionise the world of cinema and to produce motion pictures that would become works of reference. A process of self-canonisation that Dick Tomasovic, in his article “Stratégies d’auto-canonisation: le cas Walt Disney,” explains as follows: “Il s’agirait pour ces visionnaires de comprendre au mieux leur position dans l’histoire des images avec la prétention […] d’y créer un rupture telle que leur œuvre pourrait devenir un nouveau modèle de films, un nouveau point de référence […] soit autant de notions que l’on peut voir généralement rassemblées sous le 1 Sleeping Beauty 1959 dir. Clyde Geronimi; Cinderella 1950 dir.Clyde Geronimi; The Jungle Book 1967 dir.Wolfgang Reitherman. 2 Maleficent 2014 dir.Robert Stromberg; Cinderella 2015 dir.Kenneth Brannagh; The Jungle Book 2016 dir.Jon Favreau 3 Charles Perrault’s La Belle Au Bois Dormant, 1697; The Grimm Brothers’ Dornröschen 1812; Charles Perrault’s Cendrillon, 1697; Rudyard Kipling’s The Jungle Book, 1894. 3 terme de ‘canon.’” Walt Disney’s animated short film Steamboat Willie (1928) is a parody of Buster Keaton’s Steamboat Bill Jr.4 but most importantly it is the very first cartoon with fully synchronised sounds and images. Walt Disney did not revolutionise the world of cinema but rather understood the great appeal sound films represented and decided to produce animated films that would correspond to the audience’s expectations. Steamboat Willie encountered great success and marked the norms that would rule animation: the importance of synchronisation of sounds and images. Walt Disney animated films have managed to impose themselves as a film genre: “Non seulement Disney vainquit la concurrence, mais il l’effaça. Dans la conscience des spectateurs il fut accepté comme l’unique modèle possible de l’animation. Dessin annimé et dessin disneyen ne firent qu’un.” (Bendazzi 1991:114 emphasis added) This strategy of self-canonisation, and this will to impose Disney films as a film genre in their own right is particularly evident in view of the name given to the whole of Disney animated films: “Disney Animated Classics.” The term “classic” was attributed by the Disney Studios themselves when distributing the animated films on videos in the 1980’s. Therefore asserting the studios’ agenda of self-canonisation of their works, as The Oxford English Dictionaries give two definitions of the noun “classic”: “a work of art of recognised and established value” and “a thing which is memorable and a very good example of its kind.” The live-action films Maleficent, Cinderella, and The Jungle Book bear great similarities to the animated adaptations of Perrault’s, Kipling’s and the Brothers Grimm’s works, rather than to the literary texts themselves. Walt Disney’s Sleeping Beauty, Cinderella and The Jungle Book represent the main inspirations for the three live-action films studied here, thus transforming the animated films into blueprints. In their narrative structures, their aesthetics and even soundtracks, the animated and live- action Disney productions are highly similar. Such similitudes between different filmic productions aim at linking them together, and obviously state that the live-action films Maleficent, Cinderella and The Jungle Book are remakes of the Disney animated films. To follow Julie Sanders idea on adaptation and canonisation once more, the remakes assert that Disney animated films have become canons, for they are used as raw material for new artistic creations. But remaking the animated films also further demonstrate the studios enterprise of self-canonisation, as it is indeed the Disney Studios themselves that produce the live-action versions of their own animated films. Disney’s animated films are treated as original works the live-action films make references to. They are therefore hypofilms. Whereas the live-action films are referents, and thus constitute hyperfilms. The hyperfilms are structured around similarities but also differences with the hypofilms. The remodelling of previous films offers new interpretations of their message while at the same time keep their memory vivid. In that regard, the process of remaking a film is highly similar to the adaptation process for “an adaptation is not vampiric 4 Steamboat Bill Jr. 1928 dir.Buster
Load more

Recommended publications
  • Racism and Stereotypes: Th Movies-A Special Reference to And
    People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific ResearchResearch Larbi Ben M’h idi University-Oum El Bouaghi Faculty of Letters and Languages Department of English Racism and Stereotypes: The Image of the Other in Disney’s Movies-A Special Reference to Aladdin , Dumbo and The Lion King A Dissertation Submitted in Partial Fulfillment of the Requirements for the D egree of Master of Arts in Anglo-American Studies By: Abed Khaoula Board of Examiners Supervisor: Hafsa Naima Examiner: Stiti Rinad 2015-2016 Dedication To the best parents on earth Ouiza and Mourad To the most adorable sisters Shayma, Imène, Kenza and Abir To my best friend Doudou with love i Acknowledgements First of all,I would like to thank ‘A llah’ who guides and gives me the courage and Patience for conducting this research.. I would like to express my deep appreciation to my supervisor Miss Hafsa Naima who traced the path for this dissertation. This work would have never existed without her guidance and help. Special thanks to my examiner Miss Stiti Rinad who accepted to evaluate my work. In a more personal vein I would like to thank my mother thousand and one thanks for her patience and unconditional support that facilitated the completion of my graduate work. Last but not least, I acknowledge the help of my generous teacher Mr. Bouri who believed in me and lifted up my spirits. Thank you for everyone who believed in me. ii ا ا أن اوات ا اد ر ر دة اطل , د ه اوات ا .
    [Show full text]
  • Voyeurism, Humor and Fairy-Tales Lacaille 1
    Voyeurism, Humor and Fairy-Tales LaCaille 1 Voyeurism, Humor and Fairy-Tales: A Closer look at Snow White and her Seven Dwarves Have you ever thought about how a work of art could change over time? Have you ever wondered why it is so easy for us to relate to a fairy tale and/or film? Have you questioned why what makes us laugh, makes us laugh or why we see what we see? I. Introduction: Snow White is the tale of life that was almost lost. The story is ultimately dark and twisted dealing with jealousy and death yet also uplifting with thoughts of beauty and love. Most fairy-tales have that affect. They “reflect typical, generally human situations and fates1” allowing us, the viewer and/or reader, to relate to the story and become the character through what Mulvey and Freud would describe as ego libido2. A fairy-tale is therefore dark and twisted because humans are inherently evil. Most people grow jealous at times and wish evil upon an- other. It is the job of the fairy-tale to exaggerate our horror, sorrow, and evil to make the end re- sult greater and happier. Many tales such as Snow White, though dealing with a large theme such as life almost lost, need some sort of outside source to keep the audience intrigued and buying into the story. Most people will not want to watch a film or read a story that is, though relative to our lives, ultimately depressing. Humor is this cohesive effect3. Though you may not think of Snow White as a necessarily humorous film, there is small bits and quirks of humor laid throughout the film, even in the most serious versions of this fairy-tale that films have tried to portray.
    [Show full text]
  • « Aime Dieu Et Va Ton Chemin »
    Association des Amis de La Salle – St-Nicolas Issy 19 rue Victor Hugo 92130 Issy-les-Mx Contact : [email protected] Bulletin de liaison des anciens élèves de St-Nicolas- AAPM Novembre 2020 « AIME DIEU ET VA TON CHEMIN » Sommaire Faisons notre part / sur la pandémie à St-Nic Michel Quinton Communiqué de Mgr Ulrich et Philippe Delorme SGEC In memorian Roger Bancharel « Roger Carel » Alain Solassol J’avoue que j’ai bien ri … (1ère partie) Roger Carel Notre association fête ses 140 ans en 2021 (archives) Le volontariat dans le réseau La Salle Fédération Lasallienne Témoignage G. Girondelot Interview de Laurent Grégoire (COFAEC) au quotidien libanais « L’orient-Le Jour » Nouvelles des uns et des autres … La promenade du jeudi (année 50) … Carnet familial Chers amis, Notre précédent bulletin Amicalement Nôtre n°3 (printemps 2020) vous est parvenu juste au moment du confinement alors que nous vous annoncions les 140 ans de l’association dont le point culminant avait été acté pour la fin janvier 2021 !!! Ironie du sort, il nous faut revoir à la baisse (hélas) le programme que nous pensions vous proposer : exposition de photos inédites tirées des archives (notamment sur l’occupation de l’école par l’armée allemande durant les deux conflits mondiaux, étapes de construction d’après-guerre de divers locaux que nous avons été nombreux à connaître et profiter… photos de classe, de copains d’alors ou de professeurs avec évocation pour certains de leur parcours personnel. Dans ces conditions, il nous a paru opportun de vous associer à ce que vivent nos successeurs, élèves, enseignants et personnel, encadrement en donnant la parole à leur Directeur Michel Quinton que nous remercions pour ces lignes qui suivent… « Faisons notre part » Chers Frères, chers collègues, chers élèves, étudiants, apprentis, chers parents d’élèves, chers membres de l’Amicale, La nouvelle terrible de l’assassinat de Samuel Paty, notre collègue de Conflans- Sainte Honorine, professeur d’Education Civique et Morale, nous plonge tous dans l’effroi et la tristesse.
    [Show full text]
  • 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.
    [Show full text]
  • 14 June 2019
    DOWNSEND TIMES 14 June 2019 A message from the Headmaster Despite the appalling weather’s best efforts, Downsend pupils have dodged the showers and continued to brighten our days, no more so than at Downsend Rocks on Tuesday night. Our 4 Rock Bands, containing almost fifty 8-13 year olds, kept the packed audience enthralled with their confidence, talent and teamwork. We all recognised favourite songs from our own playlists and the only sadness was when the concert had to end. £300 was raised for the school charity, The Children’s Trust, to end the evening on a high note. With Year 3 having enjoyed their residential night under canvas at Downsend on Friday, and the Year 5s currently undertaking their PGL trip as I write, the school will feel somewhat more empty next week, with the Upper School attending their own residential trips. This has given us the opportunity to start work on the Summer Refurbishments. A reminder that this is the conversion of the Library and IT Suites into a Learning Resource Centre, along with the creation of a new Food Technology Facility, STEAM Space and Learning Support/ELSA Room. Over the weekend, these spaces will be cordoned off to facilitate the work, whilst the parking spaces around the bend near the Cedar Block and Extended Day playground, will be coned off for use by the contractors. Please refer to the message below, from the Business Manager, for more details. Thank you for your patience and understanding; I assure you it will be all worth it in September! Ian Thorpe Extended Day - Change of Venue From Monday 17th June, Extended Day will move to a different venue until the end of the Summer term.
    [Show full text]
  • America's Favorite Clown
    America’s Favorite Clown by Helmut M. Schuster - Millennium Council #382 July 30, 2008 Richard Bernard “Red” Skelton was an American comedian who was best known as a top radio and television star from 1937 to 1971. His show business career began in his teens as a circus clown and went on to vaudeville, Broadway, films, radio, TV, clubs and casinos, while pursuing another career as a painter. Born in Vincennes, Indiana, on July 18, 1913, Red Skelton was the son of a Hagenbeck-Wallace Circus clown named Joe who died in 1913 shortly before the birth of his son. Red Skelton himself got one of his earliest tastes of show business with the same circus as a teenager. Before that, however, he had been given the show business bug at age ten by entertainer Ed Wynn, who spotted him selling newspapers in front of the Pantheon Theatre, in Vincennes, Indiana, trying to help his family. After buying every newspaper in Red's stock, Wynn took the boy backstage and introduced him to every member of the show with which he was traveling. By age 15, Red Skelton had hit the road full-time as an entertainer, working everywhere from medicine shows and vaudeville to burlesque, showboats, minstrel shows and circuses. While performing in Kansas City in 1930, Skelton met and married his first wife, Edna Stillwell. The couple divorced 13 years later, but they remained cordial enough that Edna remained one of his chief writers. Skelton caught his big break in two medias at once: radio and film. In 1938 he made his film debut for RKO Radio Pictures, in the supporting role of a camp counselor in Having Wonderful Time, Two short subjects followed for Vitaphone in 1939: Seeing Red and The Bashful Buckaroo.
    [Show full text]
  • Blanche-Neige
    Teacher Resource Guide for Blanche-Neige © 2016 DuffleBag Theatre Photocopying of this material is permitted (and encouraged!) ~ FOR SCHOOL BOOKINGS PLEASE CONTACT: Prologue to the Performing Arts [email protected] 1-888-591-9092 Qui est DuffleBag Theatre? DuffleBag Theatre offre des spectacles de contes de fées et des histoires bien connues d’une manière drôle et différente en utilisant l’improvisation théâtrale. Il n’y a pas de scénario formel, mais les acteurs connaissent bien l’histoire. Alors, ils créent et changent les scénarios chaque fois qu’ils font le spectacle. En plus, ils invitent quelques membres du public à jouer un rôle principal. Tout le public participe au spectacle en attendant les “mots clés” auquels ils doivent répondre (par exemple, “Quand je dis ‘le grand méchant loup’ tout le monde hurle.”) What is DuffleBag Theatre? DuffleBag Theatre performs well-known stories in a new and fun way. They take stories and make them come to alive through improvisation. In improvisation, there is no formal script. The performers have a rough idea of the storyline and then they make up or adjust the story as they go along. They also invite audience members to come up and take part in the play. During the show, all of the students become involved by having to listen for certain “clue” words or phrases to which they must respond. (e.g. “When I say ‘wolf’ everyone howls.”) Synopsis of Story Princess Snow White lives in a castle with the queen, who has a magic mirror that tells her she is “the fairest of them all”.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • Mais Où Sont Les Blanche Neige D'antan? Étude Culturelle D'un Conte
    Mais où sont les Blanche Neige d’antan ? Étude culturelle d’un conte socialisé Christian Chelebourg To cite this version: Christian Chelebourg. Mais où sont les Blanche Neige d’antan ? Étude culturelle d’un conte socialisé. Cahiers Robinson, Centre de recherches littéraires Imaginaire et didactique (Arras), 2015, Civiliser la jeunesse (Colloque de Cerisy), pp.83-100. hal-02168777 HAL Id: hal-02168777 https://hal.univ-lorraine.fr/hal-02168777 Submitted on 29 Jun 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Référence bibliographique de l’article : Christian Chelebourg, « Mais où sont les Blanche- Neige d’antan ? Étude culturelle d’un conte socialisé », Les Cahiers Robinson, n° 38, octobre 2015, « Civiliser la jeunesse (colloque de Cerisy) », pp. 83-100. Mais où sont les Blanche-Neige d’antan ? Étude culturelle d’un conte socialisé Christian CHELEBOURG De tous les préjugés sur la littérature et les fictions de jeunesse, la configuration des mœurs est sans doute le mieux partagé. Pour l’opinion publique, on devient ce qu’on a lu, ce qu’on a regardé, à l’âge tendre. D’où les cris d’orfraie des censeurs de tout poil sur « ce qu’on met entre les mains de nos enfants ».
    [Show full text]
  • Huyghe Vertical Poster
    Pierre Huyghe The Third Memory March 12 – AprilTE: 23, 2000 NEW DA Reception: Sunday Marchl 2 12 –from 4 to7pm featuring anA artistpr talki led by Jean Charles Masséra, author of Love, Gloryri land 3 the0 Dow Jones, from 5 to 6 pm. Ap ril 2 nday, Ap ption: Su Rece o7pm from 4 t artist talk turing an fea 6 pm from 5 to The Renaissance Society Non-Profit Organization at The University of Chicago US Postage 5811 South Ellis Avenue PAID Chicago, Illinois 60637 Chicago, IL Phone: (773)702-8670 Permit No. 2336 http://www.renaissancesociety.org Museum Hours: Tuesday - Friday: 10 am - 5 pm Saturday, Sunday: 12 - 5 pm Closed Mondays The Renaissance Society Who Wants To Be A Millionaire? John Wojtowicz. That’s who. One hot August afternoon in 1972 he even is handled as a discreet material substance subject to the regulation attempted to rob a Brooklyn branch of the Chase Manhattan bank. and manipulation of an industry. In works such as Dubbing, in Wojtowicz’s stick-up was not simply a foiled heist. It was a protracted which Huyghe documents the dubbing of the horror film Poltergeist, farce. An unexpectedly rapid police response prompted Wojtowicz and Blanche-Neige Lucie, where he conducts an interview with and his cohort, Salvatore Natuarale to take eight hostages. The police Lucie Dolene, the French Snow White who successfully sued Disney to drew crowds which in turn drew media. Once Wojtowicz revealed win back the rights to her voice, Huyghe submits film to a reflection that he committed the robbery to finance the sex change operation of upon its treatment of content as simply another product.
    [Show full text]
  • A Check-List of All Animated Disney Movies
    A CHECK-LIST OF ALL ANIMATED DISNEY MOVIES WALT DISNEY FEATURE ANIMATION WALT DISNEY PRODUCTIONS DISNEYTOON STUDIOS 157. Lady And The Tramp II: 1. 1 Snow White and the Seven 60. The Academy Award Review 108. Bambi II (2006) Scamp’s Adventure (2001) Dwarfs (1937) of Walt Disney Cartoons (1937) 109. Brother Bear 2 (2006) 158. Leroy And Stitch (2006) 2. 2 Pinocchio (1940) 61. Bedknobs and Broomsticks 110. Cinderella III: A Twist in 159. The Lion Guard: Return of 3. 3 Fantasia (1940) (1971) Time (2007) the Roar (2015) 4. 4 Dumbo (1041) 62. Mary Poppins (1964) 111. The Fox and the Hound 2 160. The Lion King II: Simba’s 5. 5 Bambi (1942) 63. Pete’s Dragon (1977) (2006) Pride (1998) 6. 6 Saludos Amigos (1943) 64. The Reluctant Dragon (1941) 112. The Jungle Book 2 (2003) 161. The Little Mermaid II: 7. 7 The Three Caballeros 65. So Dear To My Heart (1949) 113. Kronk’s New Groove (2005) Return to the Sea (2000) (1945) 66. Song of the South (1946) 114. Lilo and Stitch 2: Stitch Has 162. Mickey’s House of Villains 8. 8 Make Mine Music (1946) 67. Victory through Air Power A Glitch (2005) (2002) 9. 9 Fun and Fancy Free (1947) (1943) 115. The Lion King 1½ (2004) 163. Mickey’s Magical Christmas: 10. 10 Melody Time (1948) 116. The Little Mermaid: Ariel’s Snowed In at the House of 11. 11 The Adventures of WALT DISNEY PICTURES Beginning (2008) Mouse (2001) Ichabod and Mr. Toad (1949) ANIMATED & MOSTLY ANIMATED 117.
    [Show full text]
  • 7 Action Movies Starring Women
    PVR MOVIES FIRST VOL. 4 YOUR WINDOW INTO THE WORLD OF CINEMA JAN 2016 TOTAL RECALL: 7 ACTION MOVIES STARRING WOMEN GUEST INTERVIEW NEIL NITIN MUKESH THE BEST NEW MOVIES PLAYING THIS MONTH: WAZIR, THE REVENANT, AIRLIFT, THE HATEFUL EIGHT! PVR MOVIES FIRST PAGE 1 GREETINGS ear Movie Lovers, Rewind seven decades to Alfred Hitchcock’s personal favourite film, and take your pick from our selection Wish you a fun, fabulous 2016. of America’s edgiest heroine-led action thrillers. You’ll never guess what Hollywood’s biggest director Here’s the year’s premier edition of Movies First, James Cameron did for a living before he entered your exclusive window to the world of cinema. films—here’s your chance to know the man and his magnificent journey. January 2016 kicks off with a triple bonanza of thrillers: Catch the crashing wave of stunts in Point We really hope you enjoy the issue. Wish you a Break, mounted on a scale never attempted before. fabulous month of movie watching. The intense, brooding Wazir, powered by some of Bollywood’s stellar talent—we’ve got key villain Regards Neil Nitin Mukesh to reveal some dark secrets. Feel the goosebumps awaken along your arms as you watch Airlift, inspired by India’s biggest-ever Gautam Dutta rescue mission. CEO, PVR Limited USING THE MAGAZINE We hope you’ll find this magazine easy to use but here’s a handy guide to the icons used throughout. You can tap the page once at any time to access full contents at the top of the page.
    [Show full text]