Disney Villains Trivia Printable

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Disney Villains Movie Trivia Game WHAT DOES URSULA WHAT DOES THE EVIL WANT FROM ARIEL IN QUEEN SPEAK TO THE LITTLE MERMAID? EVERY DAY? - HER VOICE - THE MAGIC MIRROR WHAT IS CAPTAIN WHICH DISNEY MOVIE HOOK'S PIRATE SHIP FEATURES MOTHER CALLED? GOTHEL? - RAPUNZEL - THE JOLLY ROGER WHAT IS ANOTHER WHO WAS THE FIRST NAME FOR DISNEY VILLAIN? CINDERELLA'S STEP MOTHER? - THE EVIL QUEEN - LADY TREMAINE thelifeofspicers.com WHAT IS THE NAME OF WHAT CREATURE IS ZEUS' BROTHER IN SHERE KHAN IN THE HERCULES? JUNGLE BOOK? - HADES - A TIGER WHAT RELATION IS WHAT IS JAFAR'S SCAR TO SIMBA IN THE FIRST WISH WHEN HE LION KING? TAKES THE LAMP FROM ALADDIN? - HIS UNCLE - TO BECOME SULTAN WHO IS THE VILLAIN IN WHAT ANIMALS ARE SI DISNEY'S FROZEN? AND AM IN LADY AND THE TRAMP? - PRINCE HANS - SIAMESE CATS WHAT IS CRUELLA DE WHO IS CAPTAIN VIL'S FAVOURITE ITEM HOOK'S SIDEKICK? OF CLOTHING? - HER FUR COAT - MR SMEE thelifeofspicers.com WHAT CREATURE IS WHO WAS THE FIRST MALEFICENT? MALE DISNEY VILLAIN? - A FAIRY - GASTON WHICH DISNEY VILLAIN WHICH ANIMAL DOES SAYS "OFF WITH THEIR CRUELLA DE VIL WANT HEADS"? TO KIDNAP? - DALMATION DOGS - THE QUEEN OF HEARTS WHAT ARE THE NAMES IN WHICH DISNEY FILM OF THE HYENAS IN THE CAN YOU SEE MADAME LION KING MOVIE? MEDUSA? - THE RESCUERS - SHENZI, BANZAI, ED ON WHICH ARM DOES WHAT DOES JAFAR CAPTAIN HOOK HAVE HAVE AS A PET IN HIS HOOK? ALADDIN? - HIS LEFT ARM - A PARROT thelifeofspicers.com WHAT FOOD DOES THE WHICH DISNEY MOVIE EVIL QUEEN OFFER DOES MALEFICENT SNOW WHITE? FEATURE IN? - AN APPLE - SLEEPING BEAUTY HOW MANY DOZEN WHAT DOES THE EGGS DOES GASTON WICKED STEPMOTHER EAT EACH DAY? TRY TO STOP CINDERELLA - FIVE DOZEN EGGS ATTENDING? - THE ROYAL BALL WHAT DOES MOTHER WHO IS GASTON'S GOTHEL PROMISE TO SIDEKICK? GET FOR RAPUNZEL? - LE FOU - A PRINT MADE FROM SEASHELLS WHAT IS URSULA'S IN WHICH DISNEY FILM NICKNAME IN THE WILL YOU FIND DR LITTLE MERMAID? FACILIER? - THE SEA WITCH - PRINCESS AND THE FROG thelifeofspicers.com.

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Fairy Tale Females: What Three Disney Classics Tell Us About Women
FFAAIIRRYY TTAALLEE FFEEMMAALLEESS:: WHAT THREE DISNEY CLASSICS TELL US ABOUT WOMEN Spring 2002 Debbie Mead http://members.aol.com/_ht_a/ vltdisney?snow.html?mtbrand =AOL_US www.kstrom.net/isk/poca/pocahont .html www_unix.oit.umass.edu/~juls tar/Cinderella/disney.html Spring 2002 HCOM 475 CAPSTONE Instructor: Dr. Paul Fotsch Advisor: Professor Frances Payne Adler FAIRY TALE FEMALES: WHAT THREE DISNEY CLASSICS TELL US ABOUT WOMEN Debbie Mead DEDICATION To: Joel, whose arrival made the need for critical viewing of media products more crucial, Oliver, who reminded me to be ever vigilant when, after viewing a classic Christmas video from my youth, said, “Way to show me stereotypes, Mom!” Larry, who is not a Prince, but is better—a Partner. Thank you for your support, tolerance, and love. TABLE OF CONTENTS Once Upon a Time --------------------------------------------1 The Origin of Fairy Tales ---------------------------------------1 Fairy Tale/Legend versus Disney Story SNOW WHITE ---------------------------------------------2 CINDERELLA ----------------------------------------------5 POCAHONTAS -------------------------------------------6 Film Release Dates and Analysis of Historical Influence Snow White ----------------------------------------------8 Cinderella -----------------------------------------------9 Pocahontas --------------------------------------------12 Messages Beauty --------------------------------------------------13 Relationships with other women ----------------------19 Relationships with men --------------------------------21
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Cinderella, Challenges to Living the Faith
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Representations of Crime in Disney Films, A
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Written by Dahlia D. Welsh
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Disney Cruise Line Stage Show Creates a Twist on Cinderella's
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Aging with Disney and the Gendering of Evil
Journal of Literature and Art Studies, February 2015, Vol. 5, No. 2, 114-127 doi: 10.17265/2159-5836/2015.02.004 D DAVID PUBLISHING Aging With Disney and the Gendering of Evil Nada Ramadan Elnahla Alexandria University, Alexandria, Egypt Walt Disney animated films are considered synonymous with wholesome family entertainment despite the inherent negative messages of gender, age, and power hierarchies behind them. This paper proposes to explore the aspect of age as intersecting with gender through the villainesses in six of Disney’s popular animated films: Snow White and the Seven Dwarfs (1937), Cinderella (1950), Sleeping Beauty (1959), The Little Mermaid (1989), Tangled (2010), and Frozen (2013). How Disney alters the actions of major and minor characters, and the construction of aging female characters and the key characteristics they exhibit during their fight for eternal youth, beauty, and social and political power will be analyzed, attempting to show how Disney is not a harmless substitute for a babysitter for children. Keywords: aging, ageism, feminism, Disney, animated films, villain Introduction In 1923, Walt Disney and his brother Roy pooled their money to set up a cartoon studio in Hollywood: The Disney Brothers’ Studio. It would take Disney 14 years before the first animated feature-length version of Snow White was released. The film’s phenomenal success at the time (earning eight million dollars on its initial release and winning a full-size Oscar statuette and seven miniature ones) signaled the beginning of a golden age of animation and a rising influence of the Disney movies, brand, and theme parks.
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A Sarjana Sastra Undergraduate Thesis
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Cinderella Movie Review & Film Summary (2015) | Roger Ebert
In Memoriam 1942 – 2013 | ROGEREBERT..COM Choose a Section REVIEWS CINDERELLA | Susan Wloszczyna March 13, 2015 | 63 The presence of a new “Cinderella,” the latest of a long line of TV and theatrical movies about the fairy-tale lass (and one lad, if you Print Page count Jerry Lewis in 1960’s “Cinderfella”), caused me to realize that there seems to be a change in the attitudinal wind when it comes Like to popular entertainment. Like 61 The cynical side winks, knowing smirks, throwback references and dead-pan jokes that are hallmarks of post-modern culture are 5 being ever so politely nudged aside by an emerging re-appreciation of old-fashioned sincerity and the pleasures of simply playing it straight. Basically, warmth is slowly becoming the new cool. One of the first signs of this turnabout might have been Tim Burton’s approach to last year’s “Big Eyes,” a biopic about Margaret Keane, the mid-century kitsch queen of the art world, and her struggle to regain credit for her work from her con-man husband. Given the inherent creepiness of Keane’s waif portraits, many expected Burton’s humorously sinister sensibilities to seep into the beatnik-era clash of low art and high drama. But save for a couple “Twilight Zone”-style dream sequences, the filmmaker adhered to telling the true story pretty much as it happened and focused on building sympathy for its main subject. This apparent sincerity revival went global when it arrived in the form of Lady Gaga’s Oscar-night performance of a medley of Rodgers and Hammerstein songs in honor of “The Sound of Music’s” 50th anniversary.
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CINDERELLA-Trivia-Printable-The
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Cinderella: “The Sweetest Story Ever Told” Makenzi Crouch in 1950, Walt
Cinderella: “The sweetest story ever told” Makenzi Crouch In 1950, Walt Disney Productions released their first full-length animated film after the end of the war—a gamble, and one that, had it failed, might have meant the end of Disney (“Cinderella,” Disney Archives: “Cinderella” Movie History). Fortunately for the company, Cinderella was a success. Unlike Disney’s Snow White and the Seven Dwarves, which was based on the Brothers Grimm variant, “Schneewittchen,” the Cinderella film was based on the variant produced by Charles Perrault in 1697: “Cinderella: or, The Little Glass Slipper” (Tatar 77). Like the slipper in Perrault’s title, these two Cinderella stories have much in common, despite the two hundred and fifty-three years that separate them; it is evident that it was Perrault’s tale that Disney had in front of them when they created their Cinderella. Because of this, it is this variant, with its fairy godmother, pumpkins, and midnight curfew, with which we are most familiar, rather than those variants with magical trees, fish, or golden slippers. And with these familiar elements come more: characters, whose presence is so constant and similar that we do not so much as think about them. Despite these similarities in plot structures and characters, Disney’s variant differs from the very beginning. Perrault presents us with a gentleman who marries for a second time, without explanation as to why, and whose only other appearance in the tale is when we are told that Cinderella cannot tell him that her stepmother is mistreating her, as he “would have only scolded her since he was totally under the control of his wife” (Zipes 450).
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