Pearson English Kids Readers
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Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland the Little Merm
FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! Activity 1: • Disney Pictionary: o Put Disney movies and character names onto little pieces of paper and fold them in half o Put all of the pieces of paper into a bowl o Then draw it for their team to guess Can add a charade element to it rather than drawing if that is preferred o If there are enough people playing, you can make teams • Here are some ideas, you can print these off and cut them out or create your own list! Cars Tangled Finding Nemo Wreck It Ralph Peter Pan Frozen Toy Story Monsters Inc. Snow White Alice in Wonderland The Little Mermaid Up Brave Robin Hood Aladdin Cinderella Sleeping Beauty The Emperor’s New Groove The Jungle Book The Lion King Beauty and the Beast The Princess and the Frog 101 Dalmatians Lady and the Tramp A Bug’s Life The Fox and the Hound Mulan Tarzan The Sword and the Stone The Incredibles The Rescuers Bambi Fantasia Dumbo Pinocchio Lilo and Stitch Chicken Little Bolt Pocahontas The Hunchback of Notre Wall-E Hercules Dame Mickey Mouse Minnie Mouse Goofy Donald Duck Sully Captain Hook Ariel Ursula Maleficent FRIDAY, APRIL 3RD – DISNEY DAY… AT HOME! The Genie Simba Belle Buzz Lightyear Woody Mike Wasowski Cruella De Ville Olaf Anna Princess Jasmine Lightning McQueen Elsa Activity 2: • Disney Who Am I: o Have each family member write the name of a Disney character on a sticky note. Don’t let others see what you have written down. o Take your sticky note and put it on another family members back. -
Finding Nemo
FINDING NEMO FILM OVERVIEW Directors: Andrew Stanton and Lee Unkrich. Screenwriter: Andrew Stanton, Bob Peterson and David Reynolds, based on an argument of Andrew Stanton. Production: Graham Walters. Mounting: David Ian Salter. Music: Thomas Newman. Country: USA. Year: 2003. Length: 100 min. Genre: Animation. Personality: Nemo, Marlin, Dory, Gill, Bloat, Peach, Gurgl, Bubbles, Nigel, Crush, Coral, Chum, Pearl, Bruce. SYNOPSIS The film tells the story of the incredible long journey in which two fish (Marlin and his son Nemo) are forced to separate from each other in the Great Coral Reef, as Nemo is captured by a diver. The poor fish ends up in a fish tank at a dentist’s surgery from where he can see Sydney Harbour. Marlin starts a dangerous trip together with Dory, a friendly but absentminded fish, who lacks short term memory and who will help him find his son. The cautious dad finally becomes a hero of a true epic story which aims to rescue his son. On the other hand, Nemo has devised a crazy plan to go back home safe and sound. FILM DIRECTORS Andrew Stanton was one of the four Lee Unkrich (co director) made his debut scriptwriters who were nominated for the as a co director in 1999 with the Disney/Pixar Oscars in 1996 for Toy story. He continued film Toy Story 2, which won a Golden Globe. his successful career in films for Pixar: A After this he co directed Monsters,Inc. Bug’s Life, Toy story 2, Monsters Inc. and Before these feature films, he cooperated with Finding Nemo. -
Light Pruning on Toy Story 4
Light Pruning on Toy Story 4 Vaibhav Vavilala [email protected] Pixar Animation Studios Culling lights in this shot dropped the light count from 8400 to 260, and render time from 98 hours to 48. ©Disney/Pixar. ABSTRACT constructed an object-to-light linking table in a prepass render, and Pixar films have recently seen drastically rising light counts via then used this table in-render to exclude certain lights from being procedural generation, resulting in longer render times and slower considered for a given piece of geometry. However, no automated interactive workflows. Here we present a fully automated, scalable, light culling system has existed in the RIS-era until now. and error-free light pruning pipeline deployed on Toy Story 4 that With regards to geometry culling, Pixar employs metrics pruning, reduces final render times by 15-50% in challenging cases, acceler- that removes out-of-frustum, occluded, or tiny objects in a scene ates interactive lighting, and automates a previously manual and to reduce memory usage and speed up renders. However, lights error-prone task. that meet the criteria for metrics pruning can easily contribute meaningful illumination, so such geometry-based techniques do CCS CONCEPTS not directly transfer to light culling. The Disney Hyperion renderer executes a pre-process before • Computing methodologies → Rendering. each render called Cache Points that locally computes important KEYWORDS lights for thousands of regions in a scene, reducing light selection cost and wasted light samples [Burley et al. 2018]. Our approach Rendering optimization, RenderMan, Universal Scene Description, instead caches lighting data in a cheap, low-resolution probe render, Katana, Light Path Expressions such that subsequent renders do not pay the cost of a pre-process. -
An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School January 2013 Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films Heidi Tilney Kramer University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons Scholar Commons Citation Kramer, Heidi Tilney, "Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films" (2013). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/4525 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Monsters Under the Bed: An Analysis of Torture Scenes in Three Pixar Films by Heidi Tilney Kramer A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Women’s and Gender Studies College of Arts and Sciences University of South Florida Major Professor: Elizabeth Bell, Ph.D. David Payne, Ph. D. Kim Golombisky, Ph.D. Date of Approval: March 26, 2013 Keywords: children, animation, violence, nationalism, militarism Copyright © 2013, Heidi Tilney Kramer TABLE OF CONTENTS Abstract ................................................................................................................................ii Chapter One: Monsters Under -
TOY STORY 4 from Cinema to Classroom Watching the Film
Name: Class: TOY STORY 4 From Cinema to Classroom Watching the film... Bo Peep changes a lot between the original Toy Story and Toy Story 4. Let's think about how she changes and why. How would you describe Bo Peep in Toy Story 1 (or during the flashback)? How would you describe Bo Peep in Toy Story 4? What do you think made her change? Which version did you prefer and why? Name: Class: TOY STORY 4 From Cinema to Classroom Inspired by the film... Bonnie is nervous on her first day of Kindergarten. As a result, she makes Forky and he becomes her new favourite toy Why was Bonnie nervous about her first day in Kindergarten? Think of an unusual favourite toy you had and why you liked them Forky is made out of re-purposed rubbish. Design your own simple toy using recyclables you find in class or at home. Name: Class: TOY STORY 4 From Cinema to Classroom Making the film... WATCH: Behind the Scenes of Toy Story 4 (5 mins) https://www.youtube.com/watch?v=qbzWRzmDnLE Pick out 3 different people from the video - state their job and summarise what they did on the film The film makers talked a lot about scale - making sure the characters and the sets were all the right size. They did research and created concept art to make sure things were a good fit. Now it's your turn to become a concept artist! Create concept art for what a Toy Story scene would look like in your classroom. -
White Savior, Savagery, & Criminality in Zootopia
White Savior, Savagery, & Criminality in Zootopia Nagata 1 A White Savior, Savagery, and Criminality in the City of “Multitudinous Opportunity” in Zootopia Matthew Nagata California Polytechnic State University, San Luis Obispo White Savior, Savagery, & Criminality in Zootopia Nagata 2 Everyone comes to Zootopia thinking they can be anything they want, well you can’t. You can only be what you are. (Nick Wilde, 2016, Zootopia) The Disney company is distinguished for being the frontrunner in profit and popularity for animated movies worldwide. In 2016, Walt Disney Animation Studios released a film called Zootopia (Spencer, 2016). Not only did Zootopia win an Academy Award for best animated feature film, but the film also received a high score of 98% from the popular online movie review website RottenTomatoes, and made more than three hundred million dollars at the box- office (RottenTomatoes, 2016). The animated film is such a success that the Shanghai Disneyland theme park is getting its own Zootopia-land, which will be a replica of the city from the film that people will be able to walk-through and experience (Frater 2019). The Case of the Missing Animals Zootopia follows a small bunny named Judy Hopps who becomes the first bunny cop in Zootopia. Zootopia is a city in which animals of prey and those who are predators are able to put aside their hunting differences, and live together in harmony, until various predators start to go missing and become in touch with their more savage, “primal,” and violent instincts. Judy Hopps, along with a shady fox named Nick Wilde, take on the case of the missing animals. -
Finding Dory Activity Packet
ACTIVITY PACKET Created in partnership with the Educational Team isney•Pixar’s “Finding Dory” welcomes back to the big convinced his biological sonar skills are on the fritz; and Dscreen everyone’s favorite forgetful blue tang Dory Destiny (voice of Kaitlin Olson), a nearsighted whale shark. (voice of Ellen DeGeneres), who’s living happily in the reef Deftly navigating the complex inner workings of the MLI, with Marlin (voice of Albert Brooks) and Nemo (voice Dory and her friends discover the magic within their flaws, of Hayden Rolence). When Dory suddenly remembers friendships and family. that she has a family out there who may be looking for Directed by Andrew Stanton (“Finding Nemo,” “WALL•E”), her, the trio takes off on a life-changing adventure across co-directed by Angus MacLane (“Toy Story OF TERROR!”), the ocean to California’s prestigious Marine Life Institute and produced by Lindsey Collins (co-producer “WALL•E”), (MLI), a rehabilitation center and aquarium. In an effort to Disney•Pixar’s “Finding Dory” swims home on Digital find her mom (voice of Diane Keaton) and dad (voice of HD October 25 and on Blu-ray™ November 15. For Eugene Levy), Dory enlists the help of three of the MLI’s more information, like us on Facebook, https://www. most intriguing residents: Hank (voice of Ed O’Neill), a facebook.com/PixarFindingDory, and follow us on Twitter, cantankerous octopus who frequently gives employees https://twitter.com/findingdory and Instagram, https:// the slip; Bailey (voice of Ty Burrell), a beluga whale who is instagram.com/DisneyPixar. ACKNOWLEDGMENTS Contents The Walt Disney Studios would like to take this opportunity to thank the amazing teams that came together to develop the Finding Dory Activity Packet. -
The Role of Identity of an Animated Character in the Story Line
http://www.ierek.com/press ARChive Online ISSN: 2537-0162 International Journal on: The Academic Research Community Publication The International Conference : Cities’ Identity Through Architecture and Arts (CITAA) The Role of Identity of an Animated Character in the Story Line DOI: 10.21625/archive.v1i1.130 Soraia Mohamed Sobeih 1 1Associate Professor in the Animation and Book Arts Section Graphic Department, Faculty of Fine Arts, Helwan University Keywords Abstract Identity, Identity Crises, The identity of an animated character means who he really is, or what are the Animation, Animated Characters, Story Line. characteristics that would never change? How the character sees himself and how others see him? It includes shape, color, race, beliefs, and choices in life. The more the storyteller gives identity to his animated character, the more it is sound and convincing. In that sense, it touches the audiences’ hearts as they feel its pain or happiness. In other words, they are involved in the story and united with the character. As the story begins, characters and settings are presented before the audience to get an overview of the characters’ identity. Then, more elements are to show up, like the conflict, the problem that needs to be solved and the rising actions, which are series of events that lead to the high main point or the climax. It is considered as a turning point of the story after which the falling actions come. The falling actions are events and complications that start to loosen the plot. Gradually, the solution shows up as the story ends either happily or tragically. -
SKETCHY Characters
% Toy Story 3, which ran 103 minutes, was laid out on 49,651 storyboards. Storyboarding a career at Pixar / by Amy Laskowski SKETCHY Characters % Story artist Christian Roman starts by mapping a character’s movement, sometimes adding a gag or two to the script. PHOTOGRAPHS BY DEBORAH COLEMAN/PIXAR † A sequel like Toy Story 3 can be bur- dened with the mis- conception that it will be inferior to the original. Visitors to Pixar’s Emeryville, what movie Roman is currently Calif., campus who hope to catch a storyboarding (based on Pixar’s glimpse of the animation studio’s lineup of films, it could be The next killer project better prepare Good Dinosaurr or Finding Dory, to have their hopes dashed. The among others). Because he wasn’t studio is so secretive about work in allowed to show us his offiffi ce, progress that Bostonia reporters, Roman met with us in the neu- there to interview story artist tral space of a conference room, Christian Roman, were not allowed where several easels were pur- to go anywhere without an escort posely devoid of any hint of on- and were forbidden to discuss going or upcoming work. Summer 2014 BOSTONIA 47 Meanwhile, on the floor below, toys, you need to consider that the out the scenes complete with dialogue, a sun-splashed atrium displays the camera is down at their level,” he says. spoken by the artists. They even sing studio’s past glories, some plated in Drawing is the major part of the songs that accompany the on- 24-karat gold. -
Masculinity, Fatherhood, and the Hardest Bodies in Pixar
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________ ______________ David S. Braught Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught Master of Arts Film Studies _________________________________________ Matthew Bernstein Advisor _________________________________________ Michele Schreiber Committee Member _________________________________________ Eddy Von Mueller Committee Member Accepted: _________________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies ___________________ Date In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. Braught M.A., Emory University, 2010 B.A., Emory University, 2008 Advisor: Matthew Bernstein, PhD An abstract of A thesis submitted to the Faculty of the James T. Laney School of Graduate Studies of Emory University in partial fulfillment of the requirements for the degree of Master of Arts in Film Studies 2010 Abstract In Light of Luxo: Masculinity, Fatherhood, and the Hardest Bodies in Pixar By David S. -
Attaining Tranquility Through Religion and Pixar Author(S): Mohammed‐Maxwel Hasan Source: Prandium ‐The Journal of Historical Studies, Vol
1 Attaining tranquility through religion and Pixar Author(s): Mohammed‐Maxwel Hasan Source: Prandium ‐The Journal of Historical Studies, Vol. 4, No. 1 (Fall, 2015). Published by: The Department of Historical Studies, University of Toronto Mississauga Stable URL: http://jps.library.utoronto.ca/index.php/prandium/article/view/25690 2 Attaining tranquility through religion and Pixar Mohammed‐Maxwel Hasan1 Welcome to the uncharted world of religion and Pixar! Pixar, an animation giant in the entertainment industry, is an influential example of offering "religious experiences" by enchanting viewers to a whole new world. In his book Film as Religion: Myths, Morals, and Rituals, John C. Lyden points out the interesting relationship between religion and film: “though we may see the powers of the new media, we often fear them and do not wish to recognize them as sharing in the same functions that historically have been accorded to religion.” Whether it's a world of talking toys, ants, or fish, Pixar's feature length films enrapture audiences in an ethereal context. In particular, the movies Toy Story, A Bug's Life, and Finding Nemo exhibit traits from theories of sacred space offered by Mircea Eliade and Jonathan Z. Smith. By examining the three Pixar movies through the lens of Eliade and Smith's theories, I propose that the animation films supplies an underlying need for human beings to attain inner tranquility in their lives. Mircea Eliade: The Sacred and the Profane Mircea Eliade was a prominent Romanian scholar, known for his phenomenological approach to the study of religion. His The Sacred and the Profane: The Nature of Religion contributed greatly to the field.2 Eliade wrote about the meaning of sacredness within the context of traditional religious beliefs and practices including space, time, nature, and human experience. -
Inside out Toy Story 3
Inside Out Toy Story 3 WORKSHEET A Toy Story 3 , the third and final film in the series that began with Toy Story in 1995 and continued in 1999 with Toy Story 2 , recently arrived in cinemas in dozens of countries around the world. It has already been a success. In the United States, for example, it has already taken more money at the box office than any other film in 2010. Worldwide, Alice in Wonderland is the only film that more people have paid to watch at the cinema so far in 2010. Like the first two films, Toy Story 3 is an animation from the Pixar studios, whose other films include Finding Nemo (2003), Wall-E (2008) and Up (2009). It is a typical Pixar animation because it is for adults as well as children, and has a lot of humour. Most of the main characters in the first two films were children’s toys that come to life when humans are not around, and in Toy Story 3 all of them are present again – such as Woody the cowboy, Jessie the cowgirl, Buzz Lightyear the astronaut, Slinky Dog, Hamm the piggy bank, and the dolls Ken and Barbie. The voices of most of the toys are also mostly the same as before: Woody’s, for example, is again provided by the famous American actor Tom Hanks. The main human character in the Toy Story films is Andy, the owner of most of the toys. He was a small boy in the first film, but now he is 17 and about to leave home to go to university.