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Here I Didn't Dream About All the Potential Stories and Scenarios That Could Unfold in a Possible Sequel
Seek the Truth: Unraveling Frozen II Written by Yumeka June 29, 2020 (1st edition) November 11, 2020 (2nd edition) animeyume.com/yume_dimension twitter.com/Yumeka36 yumeka36.tumblr.com Cover art by Charles Tan behance.net/charlestan twitter.com/charlestan Frozen II screenshots used courtesy of Animation Screencaps animationscreencaps.com/4k-frozen-ii-2019/ Frozen, Frozen II, and all related characters and media are owned by Disney. This is an unofficial, commercial-free digital book that came about from a fan's passion Also, special thanks to Mari Mancusi, author of Dangerous Secrets: the Story of Iduna and Agnarr, for taking the time to answer my questions about the lore and events presented in the book. The help was greatly appreciated! 1 Table of Contents Preface ........................................................................................................... 3 Chapter 1 – Arendelle and the Northuldra .................................................... 5 Chapter 2 – A Voice from the Unknown .................................................... 11 Chapter 3– The Spirits ................................................................................ 19 Chapter 4– Those Shut In and the One Shut Out ....................................... 28 Chapter 5– Magic's Core ............................................................................. 33 Chapter 6– A Bridge Has Two Sides ........................................................... 37 Afterword ................................................................................................... -
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. -
Favorite Disney Animated Movies.Xlsx
FAVORITE DISNEY ANIMATED MOVIES - VOTING BRACKETS First Round Second Round Sweet Sixteen Elite Eight Final Four Championship Final Four Elite Eight Sweet Sixteen Second Round First Round Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes 1 Beauty and the Beast 105 103 The Lion King 1 Beauty and the Beast 92 92 The Lion King 16 Return to Neverland 2 2 Home on the Range 16 Beauty and the Beast 75 83 The Lion King 8 Frozen II 63 79 The Many Adventures of Winnie the Pooh 8 Frozen II 17 18 The Many Adventures of Winnie the Pooh 9 Ralph Breaks the Internet 36 24 Bolt 9 Beauty and the Beast 63 58 The Lion King 5 The Princess and the Frog 23 75 Dumbo 5 Robin Hood 63 36 Dumbo 12 Robin Hood 83 29 Meet the Robinsons 12 Robin Hood 35 26Tangled 4 Cinderella 83 68 Tangled 4 Cinderella 49 73 Tangled 13 Brother Bear 22 37 Oliver & Company 13 Division One Beauty and the Beast The Lion King Division Two 6 Lady and the Tramp 87 57 Lilo & Stitch 6 Lady and the Tramp 73 43 Lilo & Stitch 11 Treasure Planet 18 48 The Aristocats 11 Lady and the Tramp 75 68 Mulan 3 Snow White and the Seven Dwarfs 90 89 Mulan 3 Snow White and the Seven Dwarfs 38 65Mulan 14 Make Mine Music 13 14 Fun and Fancy Free 14 Lady and the Tramp 21 24Mulan 7 Hercules 76 44 The Hunchback of Notre Dame 7 Hercules 51 52 The Rescuers 10 Ducktales the Movie: Treasure of the Lost Lamp27 60 The Rescuers 10 Bambi 36 38 Zootopia 2 Bambi 63 77 Zootopia 2 Bambi 60 53 Zootopia 15 The Black Cauldron 42 26 Piglet's Big Movie 15 CHAMPION 1 Aladdin 103 100 The Little Mermaid 1 Aladdin 95 78 The -
The Portrayal of Good Characteristics in American Animation Films Frozen (2013) and Frozen II (2019)– Rudy (Page.42-54) 42
The Portrayal of Good Characteristics in American Animation Films Frozen (2013) and Frozen II (2019)– Rudy (page.42-54) 42 The Portrayal of Good Characteristics in American Animation Films Frozen (2013) and Frozen II (2019) Rudy1, Sridinda S. S. Hutabarat2, Dewi Paskaria Silitonga3, Desy Manullang4, Yesika Saragih5 Universitas Prima Indonesia [email protected] Article History: Abstract. This study aims at revealing the portrayal of First Received: good characteristics depicted by Frozen (2013) and Frozen II (2013). Besides the main data from the films, reference 16/04/2021 sources in the form of books and journals were also used for analysis. Hall’s theory of representation was applied to analyze the data gathered for this study such as dialogs and Final Revised: the description of scenes from the films to identify good characteristics are represented through the films as well as 28/06/2021 to understand the concept of having good characteristics. The result of analysis showed that the animation films Available Online: observed in this study can represent good characters through seven values such as bravery, politeness, sacrifice, 30/06/2021 empathy, curiosity, confidence, and caring which can be perceived as fundamental elements in building character. Through this study, it expected that the findings can contribute to the development of the theory in humanities and education and it can provide better understanding to people about character building through American animated films. Keywords: American animation films, character, good characteristics http://jos.unsoed.ac.id/index.php/jes INTRODUCTION Nowadays learning can be done in various ways. One of the ways is to learn from media such as movies, newspapers, magazines, radios, etc. -
9781474410571 Contemporary
CONTEMPORARY HOLLYWOOD ANIMATION 66543_Brown.indd543_Brown.indd i 330/09/200/09/20 66:43:43 PPMM Traditions in American Cinema Series Editors Linda Badley and R. Barton Palmer Titles in the series include: The ‘War on Terror’ and American Film: 9/11 Frames Per Second Terence McSweeney American Postfeminist Cinema: Women, Romance and Contemporary Culture Michele Schreiber In Secrecy’s Shadow: The OSS and CIA in Hollywood Cinema 1941–1979 Simon Willmetts Indie Reframed: Women’s Filmmaking and Contemporary American Independent Cinema Linda Badley, Claire Perkins and Michele Schreiber (eds) Vampires, Race and Transnational Hollywoods Dale Hudson Who’s in the Money? The Great Depression Musicals and Hollywood’s New Deal Harvey G. Cohen Engaging Dialogue: Cinematic Verbalism in American Independent Cinema Jennifer O’Meara Cold War Film Genres Homer B. Pettey (ed.) The Style of Sleaze: The American Exploitation Film, 1959–1977 Calum Waddell The Franchise Era: Managing Media in the Digital Economy James Fleury, Bryan Hikari Hartzheim, and Stephen Mamber (eds) The Stillness of Solitude: Romanticism and Contemporary American Independent Film Michelle Devereaux The Other Hollywood Renaissance Dominic Lennard, R. Barton Palmer and Murray Pomerance (eds) Contemporary Hollywood Animation: Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown www.edinburghuniversitypress.com/series/tiac 66543_Brown.indd543_Brown.indd iiii 330/09/200/09/20 66:43:43 PPMM CONTEMPORARY HOLLYWOOD ANIMATION Style, Storytelling, Culture and Ideology Since the 1990s Noel Brown 66543_Brown.indd543_Brown.indd iiiiii 330/09/200/09/20 66:43:43 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. -
The Walt Disney Company France and Canal+ Announce Strategic Distribution Agreement
THE WALT DISNEY COMPANY FRANCE AND CANAL+ ANNOUNCE STRATEGIC DISTRIBUTION AGREEMENT DEAL EXTENDS THE LONGSTANDING PARTNERSHIP TO INCLUDE DISNEY+ Paris, December 16, 2019: Disney France and the Canal+ Group announced today a new a strategic distribution agreement which will provide Canal+ subscribers with access to a unique offering of films, series and documentaries from the world's leading entertainment company. The deal includes: • Distribution by Canal+ of a wide array of The Walt Disney Company’s most popular branded television channels across numerous genres including DISNEY CHANNEL & DISNEY JUNIOR as well as NATIONAL GEOGRAPHIC & NATIONAL GEOGRAPHIC WILD, VOYAGE & FOX PLAY. • Canal+ premium channels will air the first run broadcasts of Disney, Marvel, Star Wars, Pixar, 20th Century Fox, Blue Sky and Fox Searchlight movies. In 2019 to date, The Walt Disney Studios delivered 5 of the 10 most popular films in France including The Lion King and Avenger’s End Game as well as Frozen II, Toy Story 4 and Captain Marvel. All of these films will air on Canal+. • In tandem with the DISNEY+ direct-to-consumer launch in France, Canal+ will become the exclusive local Pay-TV partner to offer the new streaming service to its 8 million subscribers and will further extend the reach of Disney+ through 3rd party distribution partners such as ISPs. Maxime Saada, Chairman of CANAL+ Group said, “We are very excited to team up with The Walt Disney Company to bring our subscribers the amazing content from the world’s premier entertainment company. This is an ambitious deal under which CANAL+ becomes the exclusive third-party local distributor of Disney’s much-awaited streaming service Disney+, among PayTV and ISP operators, as well as Disney’s incredible line-up of movies, series and animated content via our own premium channels. -
In Stereotypes? an Intersectional Analysis of Frozen Anna S
Education Sciences & Society, 2/2019, ISSN 2038-9442 Are Disney Characters ‘Frozen’ in Stereotypes? An Intersectional Analysis of Frozen Anna S. Rogers* Abstract This paper analyzes changes and continuities in the popular princess characters created by Walt Disney Studios, specifically in the 2013 movie Frozen. The analysis focuses on five themes suggested by an intersectionality framework: the historical and geographical contexts of Disney characters; the controlling images that are revealed; the power relations among the characters; the macro and micro conditions of Disney movies; and the intersection of gender, sexuality, race, and class in the portrayed characters. The main finding is that the traditional Disney princess has made way for a new and more modern princess character that seems to transcend the conventional stereotype of former characterizations. Yet, closer inspection of the Frozen movie also shows that a new stereotype has developed that depicts a princess as someone who merely thinks she is independent, but who often still needs to rely on a man. Keywords: Popular culture, Disney, Frozen, Princess, Feminism, Intersectionality. Introduction The aim of this study is to examine the popular princess character created by Walt Disney Studios. Exploring various Disney princess movies, this paper will specifically focus on an in-depth analysis of the Disney movie Frozen that was released in 2013. Arguably rivalled only by the classic Snow White movie of 1937, Frozen is among the most successful movies portraying a princess character (Cohen, 2014; Konnikova, 2014). The movie has generated more than a billion dollars in revenue and involves a global multi-billion dollar industry, including a multitude of merchandise products, a popular music soundtrack, and the sequel Frozen II releases in November 2019. -
Q2-2020 Earnings Report
FOR IMMEDIATE RELEASE May 5, 2020 THE WALT DISNEY COMPANY REPORTS SECOND QUARTER AND SIX MONTHS EARNINGS FOR FISCAL 2020 BURBANK, Calif. – The Walt Disney Company today reported earnings for its second fiscal quarter ended March 28, 2020. Diluted earnings per share (EPS) from continuing operations for the quarter decreased 93% to $0.26 from $3.53 in the prior-year quarter. Excluding certain items affecting comparability(1), diluted EPS for the quarter decreased 63% to $0.60 from $1.61 in the prior-year quarter. EPS from continuing operations for the six months ended March 28, 2020 decreased 73% to $1.44 from $5.42 in the prior-year period. Excluding certain items affecting comparability(1), EPS for the six months decreased 38% to $2.14 from $3.45 in the prior-year period. Results in the quarter and six months ended March 28, 2020 were adversely impacted by the novel coronavirus (“COVID-19”) pandemic. “While the COVID-19 pandemic has had an appreciable financial impact on a number of our businesses, we are confident in our ability to withstand this disruption and emerge from it in a strong position,” said Bob Chapek, Chief Executive Officer, The Walt Disney Company. “Disney has repeatedly shown that it is exceptionally resilient, bolstered by the quality of our storytelling and the strong affinity consumers have for our brands, which is evident in the extraordinary response to Disney+ since its launch last November.” Results for the current quarter and six months reflect the consolidation of TFCF Corporation (TFCF) and Hulu LLC (Hulu), which the Company started consolidating on March 20, 2019. -
Disney Syllabus 51320CANVAS
Tufts Summer Session I - 2020 S. E. King [email protected] ENG 0191–A The Childhood Canon and Disney children guessed, but only a few, and down they forgot as up they grew –e. e. cummings Syllabus Wk. 1: Nursery Rhymes Revisited MAY 21(TH) INTRO: TROPES, TYPES, ARCHETYPES AND STEREOTYPES VIEW: MICKEY MOUSE MONOPOLY: DISNEY, CHILDHOOD AND CORPORATE POWER https://vimeo.com/ondemand/12335 (preview) Access: Tufts Library: Kanopy (stream) DUE: TAKE NOTES ON VIDEO; 3 TALKING POINTS Wk. 2: Fairy Tales, Freud and Feminism MAY 26(T) WICKED STEPMOTHERS AND CHARMING PRINCES READING: THE BROTHERS GRIMM (SELECTIONS) BRUNO BETTELHEIM, THE USES OF ENCHANTMENT (SELECTION) WARNER, FROM THE BEAST TO THE BLONDE (SELECTION) MOVIE: SNOW WHITE RESEARCH: CINDERELLA(LIVE ACTION); TANGLED DUE: TWO PAGE JOURNAL APPLYING READINGS TO FILM VIEWED MAY 28(TH) BOYHOOD, MOTHERHOOD, AND “THE RIDDLE OF EXISTENCE” READING: J. M. BARRIE, PETER PAN FILM: PETER PAN (ORIGINAL DISNEY ANIMATED VERSION) RESEARCH: NEVERLAND; LIVE ACTION VERSIONS OF PP; OR HOOK DUE: TALKING POINTS ON THE PETER PAN PARADIGM (GENDER ROLES/GENDER FLUIDITY) Wk. 3: Revising the Classics JUNE 2(T) SAVING MARY POPPINS READING: P. L. TRAVERS, MARY POPPINS [ AND ARTICLES ON CANVAS] DUE: DIRECTED JOURNAL ON MARY POPPINS (PROTO-FEMINISM AND MARXISM LITE) June 4(TH) WELL DONE OR RATHER STUPID? MOVIE: MARY POPPINS (ORIGINAL DISNEY LA/ANIM.) RESEARCH: SAVING MR. BANKS; MARY POPPINS RETURNS READING: NYT OP-ED: https://www.nytimes.com/2019/01/28/movies/mary-poppins-returns-blackface.html DUE: JOURNAL: MEANINGFUL CHANGES IN THE SCREEN ADAPTATION (CLASS, GENDER) Wk. 4: Parental Discretion Advised JUNE 9(T) KIDDIE COLONIALISM AND DISNEY CONTROVERSIES READINGS: MME. -
At the Movies Frozen II
At the Movies Frozen II GATHER SUPPLIES Disney’s Frozen II is the sequel to their enormously successful Frozen film six years earlier. Sisters Anna and Elsa, along with Olaf, Sven, and Kristoff, embark on an adventure to save the kingdom of Arendelle. • None Along the way, our heroes encounter a mysterious spirit, magical forest, and people from a bygone era. They also learn the truth about the past and attempt to atone for the sins of their ancestors. Frozen II explores themes of sacrifice, faith, love, spirituality, and reconciliation. ICEBREAKER: ARE YOU TALKING TO ME? Christians often talk about being “called” by God. It’s rarely as DID YOU KNOW? simple as God appearing and saying, “Hey you! Go do this thing for me.” (See: 1 Samuel 3) In this activity, young people will try to make The official teaser trailer it easier for them to hear someone calling them. was viewed over 116 million times in the first 24 hours, 1. Partner up and have each person identify their distinct call making it the most viewed sound. This could be a short melody, a distinct whistle, or teaser video ever. another sound. Make sure each person knows their partner’s call sound. 2. Have one person from each pair go to another place in the church, far away from where you’re meeting. All of these people should go together and not tell their partners where they’ve landed. 3. One by one, the “callers” who left the room should make their partner’s call sound. Their partner should reply with the same sound as they walk around and try to find their partner. -
Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency
religions Article Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency Trude Fonneland The Arctic University Museum of Norway and Academy of Arts (UMAK), UiT-The Arctic University of Norway, P.O. Box 6050, N-9037 Langnes Tromsø, Norway; [email protected] Received: 4 August 2020; Accepted: 19 August 2020; Published: 21 August 2020 Abstract: This paper explores the religion-making potential of a particular secular institution, namely the Walt Disney Studios. Focusing on the animation film Frozen II that was launched in November 2019, the current article enters into debates about the manner in which indigenous religion is part of the commodity presented—how religion is produced, packaged, and staged. In the article I argue that contemporary media-scapes can be seen as agents of religion-making, of religious circulation, and renewal. As such, religion, as it is expressed in Frozen II, is outlined and produced by a particular media-form and shaped as a popular cultural formation. Further discussions about cultural appropriation are highlighted, focusing on how Disney’s reach out for cooperation with the Sámi community can generate new cultural policies and practices. Keywords: Frozen II; indigenous religion; religion-making; appropriation; collaboration 1. Introduction Frozen II had its world premiere at the Dolby Theatre in Hollywood on 7 November 2019, was released in the United States by Walt Disney Studios on 22 November 2019, and is ranked as one of the highest grossing animated movies of all time.1 The sequel to the 2013 film Frozen provides a reunion with the famous royal sisters Elsa and Anna and their friends, the high-spirited snowman Olaf, the reindeer Sven and the ice harvester and deliverer, Kristoff who together embark on a journey from their kingdom Arendelle. -
A Queer Analysis of the Metaphors in Disney's
INTO THE UNKNOWN: A QUEER ANALYSIS OF THE METAPHORS IN DISNEY’S FROZEN FRANCHISE by Molly Farris A thesis submitted to the faculty of The University of North Carolina at Charlotte in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies Charlotte 2020 Approved by: ______________________________ Dr. Jason Edward Black ______________________________ Dr. Jon Crane ______________________________ Dr. Stephanie Norander ii ©2020 Molly Farris ALL RIGHTS RESERVED iii ABSTRACT MOLLY FARRIS. Into the unknown: A queer analysis of the metaphors in Disney’s Frozen franchise. (Under the direction of DR. JASON EDWARD BLACK) This thesis examines Frozen and Frozen II for its queer themes communicated through metaphors. After examining the queer metaphors in both films, the project examines online public discussions about the Disney franchise to determine if these opinions reflect the argument of the films as queer. Metaphoric criticism is used to rhetorically analyze the messages within the films to determine their meaning before elaborating on historical connections to the metaphors. This thesis argues the need to queer dominant readings of artifacts by displaying one possible interpretation of these Disney films. Furthermore, this thesis concludes that more transformative fairy tales and more inclusive character development are important to the genre. iv ACKNOWLEDGMENTS I would like to express my deep gratitude to various people for their contribution to this project. First, I want to thank Dr. Jason Edward Black, my research advisor and committee chair, for his constant encouragement, tireless work ethic, and continuous inspiration to study something I am passionate about. I cannot imagine anyone else who would be willing to work through my crazy ideas and turn them into a reality better than him.