2610 Canada Blvd

Total Page:16

File Type:pdf, Size:1020Kb

2610 Canada Blvd 2610 Canada Blvd. Glendale, CA 91208 FOR SALE CAROLINE GIM Expert Real Estate & Investment 562 861 4311 Direct [email protected] STEVE GIM Vice President NAI Capital Commercial Inc. 949.468.2333 Direct 562.822.0420 Mobile [email protected] CA DRE #01400546 Opportunity Overview: DAVID KNOWLTON, SIOR, CCIM NAI Capital Commercial, Inc and Expert Real Estate are proud to present a rare opportunity to own a beautiful Executive Vice President 1940’s Residential Duplex in desirable Glendale, CA. On the market for the first time in over 40 years, this NAI Capital Commercial, Inc. charming property features two spacious ; 2+2 and 2+1 units on 0.29 acres. The asset features original 949.468.2307 Direct hardwood floors and two fireplaces in each unit. In addition, there is plenty of onsite parking with a four‐car 949.887.7872 Mobile detached garage. Possible ADU garage conversion or completely redevelop into 4 units with the current R‐3050 Land Zoning Classification. Buyer to verify all information as part of their Due Diligence. [email protected] CA DRE #00893394 No warranty, express or implied, is made as to the accuracy of the information contained herein. This information is submitted subject to errors, omissions, change of price, rental or other conditions, withdrawal without notice, and is subject to any special listing conditions imposed by our principals. Cooperating brokers, buyers, tenants and other parties who receive this document should not rely on it, but should use it as a starting point of analysis, and should independently confirm the accuracy of the information contained herein through a due diligence review of the books, records, files and documents that constitute reliable sources of the information described herein. Logos are for identification purposes onlyandmaybetrademarksoftheir respective companies. NAI C apital C ommercial, Inc. C A DR E Lic. #02130474. Property Details Price: $1,841,500 Current Use: Duplex Residential 12,580 SF (74’ frontage x 170’ LOT SIZE ZONING Lot Description: depth) 12,580 SF R‐3050 allows up Building Size: 3,683 SF to four (4) units # of Stories: 2 Year Built: 1940 Year Renovated; 2016 (Upstairs Unit) APN: 5653‐012‐011 Two (2) miles south of 210 & Glendale Freeway 2610 Canada Blvd 2610 Canada Location: Interchange. Less than 1 mile to Oakmont Country Club and 3.5 miles to Glendale Galleria. Sale Terms GLENDALE, Due Diligence 14 days or sooner Period: CA 91208 Escrow Period: 30 days or sooner Financing: Cash to new loan . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Aerials 2610 Canada Blvd 2610 Canada GLENDALE, CA 91208 . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Description of Units Unit 2610 (Down) Kitchen with breakfast area Formal dining room Large living room with fireplace Den with fireplace Two master bedrooms Two full baths New tankless water heater Large outdoor patio Original hardwood floors Two (2) entries (rear entryway has space for washer/dryer) Unit 2620 (Up) Kitchen and bathrooms remodeled in 2016 Kitchen has modern gray tile flooring, white shaker cabinets, and slate gray Cesar Stone countertops 2610 Canada Blvd 2610 Canada Formal dining room Large living room with fireplace Two bedrooms One full bath 38‐gallon water heater installed 2015 Front patio GLENDALE, Original hardwood floors Two (2) entries (rear entryway has space for washer/dryer) CA 91208 Detached Garage Four car spots Small workshop area . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Property Photos 2610 Canada Blvd 2610 Canada GLENDALE, CA 91208 . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Property Photos Lower Unit 2610 Canada Blvd 2610 Canada GLENDALE, CA 91208 . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Property Photos Lower Unit 2610 Canada Blvd 2610 Canada GLENDALE, CA 91208 . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Property Photos Upper Unit 2610 Canada Blvd 2610 Canada GLENDALE, CA 91208 . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Property Photos Upper Unit 2610 Canada Blvd 2610 Canada GLENDALE, CA 91208 . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Income & Expenses 2610 Canada Blvd 2610 Canada GLENDALE, CA 91208 . David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Assessor’s Parcel Map 2610 Canada Blvd 2610 Canada GLENDALE, Zoning Overview CA 91208 R‐3050 (Moderate Density Residential) Zone. The R‐3050 zone is intended primarily as a zone for moderate density residential development with a minimum of three thousand fifty (3,050) square feet of lot area per dwelling unit or approved overlay zone uses, in conformance with the comprehensive general plan of the city. This zone is intended to act as a transition and buffer between low density residential land uses and more intensive development, and to stabilize well maintained neighborhoods that have been developed generally in harmony with the open space and other . amenities associated with low and moderate density residential land uses. David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct 949.468.2307 Direct 562 861 4311 Direct [email protected] [email protected] [email protected] CA DRE #01400546 CA DRE #00893394 Development Standards Minimum Area/Width N/A Residential Density Maximum 1 dwelling unit per 3,050 SF of lot area Floor Area Ratio Maximum 0.65 Lot Coverage (2) 50% maximum including all residential and accessory buildings Setbacks Required (2) See Section 30.11.070 for setback exceptions Street Front 25’ minimum 5’ minimum and an average of 8’ for the first residential floor; not less than 8’ and an average of 11’ for the second Street Side residential floor; and not less than 11’ and an average of 14’ for the third residential floor (see Diagram 2 in Figure 30.11.030) 5’ minimum and an average of 8’ for the first residential floor; not less than 8’ and an average of 11’ for the second Interior residential floor; and not less than 11’ and an average of 14’ for the third residential floor (see Diagram 2 in Figure 30.11.030)(1) Interior when abutting the ROS, R1R or R1 8’ minimum and an average of 11’ for the first residential floor; not less than 11’ and an average of 14’ for the zones (excluding chimneys, railings and second residential floor; and not less than 17’ and an average of 20’ for the third residential floor (see Diagram 3 in vents) Figure 30.11.030)(1) 2610 Canada Blvd 2610 Canada Height Limits (2) 12’, or 15’ where a minimum roof pitch of 3’ in 12’ is provided, pursuant to the definition of height set forth in this Accessory Buildings title Accessory Structures 15’ pursuant to the definition of height set forth in this title Minimum Permanently Landscaped Open GLENDALE, 30% of lot area. See Chapter 30.31 for additional requirements Space (2) Parking and Loading As required by Chapter 30.32 (Parking and Loading) Design Review As required by Chapter 30.47 (Design Review) CA 91208 Notes: (1) For additions to existing dwelling units where only one (1) dwelling unit exists on the lot and for which a building permit was issued prior to December 14, 1995, see Section 30.11.070. (2) For lot coverage, setback, height, and landscape open space requirements, see Section 30.30.050. David Knowlton, SIOR, CCIM Caroline Gim Steve Gim, Vice President Executive Vice President Expert Real Estate & Investment 949.468.2333 Direct
Recommended publications
  • Animated Stereotypes –
    Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes.
    [Show full text]
  • PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr
    PROGRAM NOTES Disney in Concert: Around the World Quincy Symphony Orchestra September 29, 2019 Quincy, IL Notes by Dr. Paul Borg We begin our season with a generous offering of music from the films of the Walt Disney Company [Walt Disney Productions until 1986]. When Walt Disney died in 1966, the corporation continued his inspired and successful animated-film output. Although not all of nearly 200 animations, live-action films, television series, documentaries, or videos are equally memorable, everyone today has heard many of the songs associated with the films, whether from viewing the films, listening to recordings, or in live concerts such as this one. In the late 1920s and 30s films had newly been furnished with recorded sound, giving motion pictures real-time spoken dialogue among the characters as well as music that could entertain with songs embedded in the storyline. Music could also be employed to enhance or evoke a particular emotion--think the spooky two-note shark approach in Jaws or the "screeching" of the knife in the shower scene of Psycho. Walt Disney and his brother Roy extended these sound element to animated cartoons, short at first (Steamboat Willie) and eventually feature length (Snow White and the Seven Dwarfs). Disney's intent to continue a series of fairy tale animations was interrupted by the Second World War, during which he and his collaborators produced a series of training and propaganda films, even using Donald Duck in some comical short sketches. After the war, Disney turned his vision to television and then his entertainment parks, starting with Disneyland in 1955.
    [Show full text]
  • Redefining Gender in Disney Films from the 20Th to 21St Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019
    Alshabasy 1 "A Whole New World": Redefining Gender in Disney Films from the 20th to 21st Century Shrien Alshabasy SUNY New Paltz Honors Thesis 2018-2019 Alshabasy 2 The Disney Dynasty is as familiar to American culture as apple pie. Sitting on land that is twice the size of Manhattan, the Disney Kingdom has expanded over the years to create a whole new world; a world seriously considered by cultural theorists like Baudrillard, as a simulacrum, a symbol so close to reality that it becomes hyperreality. Before water parks and resort hotels, before Disney bought out the land of orange groves and walnut trees in Anaheim, California, the Magic Kingdom began its conquest on American ideology. The Walt Disney Company started in 1923 as “The Disney Brothers Cartoon Studio,” and churned out films that embodied American ideals. Oftentimes, these films were set in 19th century rural America and featured an American hero -- usually Mickey Mouse, who could outwork and challenge any enemy big or small with his bravery. An embodiment of American ideals, Disney films became loved and endeared by audiences during morally depleting times, like the Depression years (“How Disney Came to Define What Constitutes the American Experience”). Audiences latched onto these ideals, seemingly stable, even when external factors were not. In 1938, Disney shifted gears into feature films with his vision of Snow White and the Seven Dwarfs. Although many had their doubts, after three years of work Snow White was released and it quickly became the highest grossing film of all time. Feature films became the money makers for Disney and the start of consumer fascination with Disney culture (“Disney Animation Is Closing the Book on Fairy Tales”).
    [Show full text]
  • Frozen out Pdf, Epub, Ebook
    FROZEN OUT PDF, EPUB, EBOOK Quentin Bates | 336 pages | 27 Jan 2011 | Little, Brown Book Group | 9781849013604 | English | London, United Kingdom Frozen Out PDF Book Frozen Fever Retrieved May 5, Archived from the original on August 10, Archived from the original on March 7, Archived from the original on March 13, Retrieved December 11, Archived from the original on June 7, Lee had to work through how to write Anna's personality; some of her colleagues felt Anna should be more dysfunctional and co-dependent. WDW Info. It went on to receive six Academy Award nominations the following year. Retrieved December 5, Hyrum Osmond, the supervising animator on Olaf, is quiet but he has a funny, wacky personality so we knew he'd bring a lot of comedy to it; Anna's animator, Becky Bresee , it's her first time leading a character and we wanted her to lead Anna. Alternate Versions. Viacom International Inc. Frozen soundtrack accolades Frozen II soundtrack. October 7, Film Music Reporter. Retrieved January 13, According to Lee, several core concepts were already in place, such as the film's "frozen heart" hook : "That was a concept and the phrase Portuguese Europe. Archived from the original on July 7, According to him, it lent a hyper-reality to the film: "Because this is a movie with such scale and we have the Norwegian fjords to draw from, I really wanted to explore the depth. Retrieved March 8, They don't want the truth. Films directed by Chris Buck. If you find yourself overwhelmed, try climbing on the rock stack in the middle of the cave and attacking at range.
    [Show full text]
  • Factualwritingfinal.Pdf
    Introduction to Disney There is a long history behind Disney and many surprising facts that not many people know. Over the years Disney has evolved as a company and their films evolved with them, there are many reasons for this. So why and how has Disney changed? I have researched into Disney from the beginning to see how the company started and how they got their ideas. This all lead up to what happened in the company including the involvement of pixar, and how the Disney films changed in regards to the content and the reception. Now with the relevant facts you can make up your own mind about when Disney was at their best. Walt Disney Studios was founded in 1923 by brothers Walt Disney and Roy O. Disney. Originally Disney was called ‘Disney Brothers cartoon studio’ that produced a series of short animated films called the Alice Comedies. The first Alice Comedy was a ten minute reel called Alice’s Wonderland. In 1926 the company name was changed to the Walt Disney Studio. Disney then developed a cartoon series with the character Oswald the Lucky Rabbit this was distributed by Winkler Pictures, therefore Disney didn’t make a lot of money. Winkler’s Husband took over the company in 1928 and Disney ended up losing the contract of Oswald. He was unsuccessful in trying to take over Disney so instead started his own animation studio called Snappy Comedies, and hired away four of Disney’s primary animators to do this. Disney planned to get back on track by coming up with the idea of a mouse character which he originally named Mortimer but when Lillian (Disney’s wife) disliked the name, the mouse was renamed Mickey Mouse.
    [Show full text]
  • Chapter Template
    Copyright by Colleen Leigh Montgomery 2017 THE DISSERTATION COMMITTEE FOR COLLEEN LEIGH MONTGOMERY CERTIFIES THAT THIS IS THE APPROVED VERSION OF THE FOLLOWING DISSERTATION: ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION Committee: Thomas Schatz, Supervisor James Buhler, Co-Supervisor Caroline Frick Daniel Goldmark Jeff Smith Janet Staiger ANIMATING THE VOICE: AN INDUSTRIAL ANALYSIS OF VOCAL PERFORMANCE IN DISNEY AND PIXAR FEATURE ANIMATION by COLLEEN LEIGH MONTGOMERY DISSERTATION Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY THE UNIVERSITY OF TEXAS AT AUSTIN AUGUST 2017 Dedication To Dash and Magnus, who animate my life with so much joy. Acknowledgements This project would not have been possible without the invaluable support, patience, and guidance of my co-supervisors, Thomas Schatz and James Buhler, and my committee members, Caroline Frick, Daniel Goldmark, Jeff Smith, and Janet Staiger, who went above and beyond to see this project through to completion. I am humbled to have to had the opportunity to work with such an incredible group of academics whom I respect and admire. Thank you for so generously lending your time and expertise to this project—your whose scholarship, mentorship, and insights have immeasurably benefitted my work. I am also greatly indebted to Lisa Coulthard, who not only introduced me to the field of film sound studies and inspired me to pursue my intellectual interests but has also been an unwavering champion of my research for the past decade.
    [Show full text]
  • Neocolonialism in Disney's Renaissance
    Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire by Breanne Johnson A THESIS submitted to Oregon State University Honors College in partial fulfillment of the requirements for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior (Honors Scholar) Honors Baccalaureate of Science in Sustainability (Honors Scholar) Presented June 7, 2019 Commencement June 2019 AN ABSTRACT OF THE THESIS OF Breanne Johnson for the degree of Honors Baccalaureate of Science in Public Health: Health Promotion/Health Behavior and Honors Baccalaureate of Science in Sustainability presented on June 7, 2019. Title: Neocolonialism in Disney’s Renaissance: Analyzing Portrayals of Race and Gender in Pocahontas, The Hunchback of Notre Dame, and Atlantis: The Lost Empire. Abstract approved:_____________________________________________________ Elizabeth Sheehan The Walt Disney Company is one of the most recognizable and pervasive sources of children’s entertainment worldwide and has carefully crafted an image of childhood innocence. This wholesome image is contradicted by Disney’s consistent use of racist and sexist tropes, as well as its record of covertly using political themes in its media. Disney has a history of using its animated films to further a neocolonial ideology – an ideology that describes how current global superpowers continue to control the natural and capital resources of underdeveloped countries and to profit off of the unequal trading of these resources. The period of Disney’s history known as its animated Renaissance marked a clear return to the brand’s championing of American interventionism abroad.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Frozen and the Evolution of the Disney Heroine
    It’s a Hollywood blockbuster animation that is set to become one of the most successful and beloved family films ever made. And unlike much of Disney’s past output, writes MICHELLE LAW, this film brings positive, progressive messages about gender and difference into the hearts and minds of children everywhere. SISTERS DOIN’ IT FOR THEMSELVES Frozen and the Evolution Screen Education of the Disney Heroine I No. 74 ©ATOM 16 www.screeneducation.com.au NEW & NOTABLE & NEW P MY SISTERS DOIN’ IT FOR THEMSELVES 74 No. I Screen Education 17 ince its US release in November 2013, Disney’s latest an- imated offering,Frozen (Chris Buck & Jennifer Lee), has met with critical acclaim and extraordinary box- office success. It won this year’s Academy Awards for Best Animated Feature Film and Best Original Song (for ‘Let It Go’), and despite being released less than six months Sago, it has already grossed over US$1 billion worldwide, making it the highest-earning Disney-animated film of all time. At the time of printing, the film’s soundtrack has also spent eleven non- consecutive weeks at number one on the US Billboard charts, the most held by a soundtrack since Titanic (James Cameron, 1997). Following the success of Frozen – and Tangled (Nathan Greno & Byron Howard, 2010), Disney’s adaptation of the Rapunzel story – many are antici- pating the dawn of the second Disney animation golden age. The first was what has come to be known as the Disney Renaissance, the period from the late 1980s to the late 1990s when iconic animated films such asThe Little Mermaid (Ron Clements & John Musker, 1989) and Aladdin (Ron Clements & John Musker, 1992) – films that adopted the structure and style of Broadway musicals – saved the company from financial ruin.
    [Show full text]
  • Analysis on the Influence of Female Characters in Disney Films Mo Xu1,*
    Advances in Social Science, Education and Humanities Research, volume 571 Proceedings of the 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021) Analysis on the Influence of Female Characters in Disney Films Mo Xu1,* 1Culver Academies, Culver, Indiana, 46511America *Corresponding author. Email: [email protected] ABSTRACT Walt Disney Studios is the biggest film production company at present. Disney has been established for over 80 years, during which period it has played a vital role in social impact on women. Disney undergoes several significant changes when it comes to feminism depiction in their movies. Subtle feminism can be seen in influential films such as Tangled, Mulan and Frozen. In this article, the author will analyze the female roles in Disney films through different eras, aiming to explore the various styles of Disney's feminist films and its social influence, as well as the popular expectations led by different roles. What is more, the author will discuss the way they made effects on society’s gender roles. Additionally, the subtle feminist messages in specific highly influential movies such as Tangled, Mulan, and Frozen will also be released. In conclusion, throughout the decades, Disney films and characters have produced different impacts on society’s female roles and stereotypes, which is worth further study for the development of the film industry, even the whole society. Keywords: Disney animation, Walt Disney, Animation, Tangled, Sleeping Beauty, Mulan, Feminism, Frozen 1. INTRODUCTION 2. DISNEY’S ANIMATED FEMALE Disney is one of the largest entertainment CHARACTERS IN DIFFERENT ERAS companies in the world, and it owns lots of Disney was founded in 1923 by Walt and Roy unforgettable films and TV channels.
    [Show full text]
  • How Are Gender Roles Enabled and Constrained in Disney Music, During Classic Disney, the Disney Renaissance, and Modern Disney?
    Someday my Prince Will Come: How are gender roles enabled and constrained in Disney Music, during Classic Disney, the Disney Renaissance, and Modern Disney? By Lauren Marie Hughes A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2016 Approved by _______________________________ Advisor: Dr. James Thomas _______________________________ Reader: Dr. Kirsten Dellinger _______________________________ Reader: Dr. Marvin King © 2016 Lauren Marie Hughes ALL RIGHTS RESERVED ii DEDICATIONS To my parents, there are no words for how thankful I am for you. I don’t know how I would have succeeded in life without your love, support, and encouragement. To Nora, Sam, Maureen, and Mary Kate, thank you for being such an inspiration. I can only hope to make you all as proud as you make me. To Chance, thank you for being there for me through all of the highs and lows of this project. I am so lucky to call you mine. iii ACKNOWLEDGMENTS To JT, thank you so much for lending your time to this project for the last year and a half, thank you for having a passion for the project that left me encouraged after every meeting, and thank you for always ensuring me that I could do this and do it well, even when I was ready to call it quits. You are awesome. To Dr. Dellinger and Dr. King, thank you so much for taking an interest in my thesis and being on my thesis committee. I am so privileged to have such outstanding people on my team.
    [Show full text]