20000 Leagues
Total Page:16
File Type:pdf, Size:1020Kb
											Load more
										Recommended publications
									
								- 
												
												The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. - 
												
												Hollywood Movie Stars California History Section Display
CALIFORNIA STATE LIBRARY NOVEMBER-DECEMBER 2016 HOLLYWOOD MOVIE STARS CALIFORNIA HISTORY SECTION DISPLAY VISIT OUR CURRENT DISPLAY: MINING IN CALIFORNIA California History Section 900 N Street Room 200 9:30-4 Monday-Friday INTRODUCTION California has been a moviemaking powerhouse for over a century now! Get star- struck, and relive the glory days of yesteryear’s actors through our carefully curated selection of images, ephemera and books. If you want more infor- mation about our movie history resources, you can find them in the fol- lowing places: California State Library Catalog: Subject Searches: Motion picture actors and actresses California motion picture* Hollywood history California Information File II: Subject Searches: Motion picture actors and actresses California Motion picture* Hollywood history California Information File (In-house use): Subject Searches: Moving Pictures Counties: Los Angeles: Hollywood Drama: Actor Names California Image File (In-house use): Subject searches: Portraits: Actor Names Motion Pictures Contacting us: Web-form: Ask us a Question Email: [email protected] Enjoy our display! VISUALS Hoover, Art Company. 192AD. [Lena Basquette] (7 Views). Silent Movie Scene. 192AD. Hartsook, Photo. 192AD. Mary Pickford. VISUALS Blake, Orville T. 1929. Grauamaus [Sic] Chinese, Hollywood, CA. Graphic. Arthur Wenzel at Theater in Oakland. 1916. Graphic. Hoover, Art Company. 192AD. [Alice Terry] (2 Views). A Cecil B. DeMille Production: Fredric March in “The Buccaneer.” 1937. Graphic. VISUALS Farrell Collection. 1916. Mary Pickford in Hulda from Holland. Graphic. T&D. N.D. [Actor]. Graphic. Dobbins Collection. N.D. [Actress]. Graphic. VISUALS Portraits. N.D. Graphic. [Actors]. 1916. Graphic. Garrick Theater (Philadelphia, Penn.). c1913. [Advertisement]. Philadelphia: Garrick Theater. - 
												
												Exhibitors Herald (16 April 1927): Grauman's Chinese Theatre
18 BETTER THEATRES SECTION OF April 16, 1927 "Reflecting the Most Glorious Period in Architectural F antasy"- • Grauman's new Chinese theatre as viewed from Hollywood Boulevard, Los Angeles. The house is heing erected at a cost of $2,000,- 000. It will seat 2,200 on one floor. • , 1 rauman s • Something Di -Daring-.and, Apparently Charming VERITABLE crown jewel in H oll y Fronting on famed H ollywood boulevard lamps casting iridescent rays. An ornate A wood's diadem of magnifi cent and novel at Orchid avenue in the very heart of the and dainty pagoda garden house forms the architecture, Grauman's Chinese theatre, cinema capital of the world, all the mys box office. hailed as th e mos t ornate playhouse yet to tery of the Orient is suggested by its low The massive but delicately fabricated be dedicated to Thespi s, is co mpleted, ering minarets of burnished copper frown front of the theatre, reaching gel feet above ready to be elaborately furnished fo r a in g in si lent grandeur on one of the the forecourt, like a titanic pagoda shrine spectacular opening ea rly in May. bl1 siest thorough fa res of the universe. of the Chinese dynasties before the time The palatial edifice is a monument to the A solid facade of maso nry, 40 feet hi gh, of King Solomon, enhances the illusion genius of Sid Grauman, nationall y famed surmounted by four ornate obelisks, pre created in the court of entering another as an artifice r of magnificent playhouses sents the effect of a huge gate of entrance worId. - 
												
												In 1925, Eight Actors Were Dedicated to a Dream. Expatriated from Their Broadway Haunts by Constant Film Commitments, They Wante
In 1925, eight actors were dedicated to a dream. Expatriated from their Broadway haunts by constant film commitments, they wanted to form a club here in Hollywood; a private place of rendezvous, where they could fraternize at any time. Their first organizational powwow was held at the home of Robert Edeson on April 19th. ”This shall be a theatrical club of love, loy- alty, and laughter!” finalized Edeson. Then, proposing a toast, he declared, “To the Masquers! We Laugh to Win!” Table of Contents Masquers Creed and Oath Our Mission Statement Fast Facts About Our History and Culture Our Presidents Throughout History The Masquers “Who’s Who” 1925: The Year Of Our Birth Contact Details T he Masquers Creed T he Masquers Oath I swear by Thespis; by WELCOME! THRICE WELCOME, ALL- Dionysus and the triumph of life over death; Behind these curtains, tightly drawn, By Aeschylus and the Trilogy of the Drama; Are Brother Masquers, tried and true, By the poetic power of Sophocles; by the romance of Who have labored diligently, to bring to you Euripedes; A Night of Mirth-and Mirth ‘twill be, By all the Gods and Goddesses of the Theatre, that I will But, mark you well, although no text we preach, keep this oath and stipulation: A little lesson, well defined, respectfully, we’d teach. The lesson is this: Throughout this Life, To reckon those who taught me my art equally dear to me as No matter what befall- my parents; to share with them my substance and to comfort The best thing in this troubled world them in adversity. - 
												
												Walt Disney and Animation
Name: _________________________ Walt Disney and Animation Directions: Read the passage and answer the questions. Fascinating facts about Walt Disney, Inventor of the Multiplane Camera in 1936. From http://www.ideafinder.com/history/inventors/disney.htm AT A GLANCE: Walt Disney, inventor of the multiplane camera in 1936, is a legend and a folk hero of the 20th century. His worldwide popularity is based upon the ideas his name represents: imagination, optimism, and self-made success in the American tradition. Through his work he brought joy, happiness, and a universal means of communication. Inventor: Walter Elias Disney Criteria: First to invent. First to patent. Entrepreneur.. Birth: December 5, 1901 in Chicago, Illinois. Death: December 16, 1966 Nationality: American Invention: Multiplane Camera in 1936 Function: noun / still frame motion picture camera Definition: Disney’s invention of the multiplane camera brought better looking, richer animation and in 1937, Snow White and the Seven Dwarfs was the first full-length animated film to use the camera. Patent: 2,201,689 (US) issued May 21, 1940 Milestones: 1923 An aspiring cartoonist leaves for Hollywood 1924 Partnered with older brother Roy, and the Disney Brothers Cartoon Studio was officially born. 1928 First Mickey Mouse sound cartoon "Steamboat Willie" released on November 18, in New York. 1930 Mickey made his debut merchandising appearance on pencil tablets, books and comic strips 1936 Walt invents Multiplane Camera to improve the filming quality of his first picture film. 1937 First full-length animated film "Snow White and the Seven Dwarfs" was released. 1954 "Disneyland" anthology series premiered on network television. - 
												
												Program, Grauman's Chinese Theatre (Text Transcription)
Program, Grauman’s Chinese Theatre Hollywood, California [cover image: sketch of Grauman’s Chinese Theatre] [page 2, borders decorated with floral designs and Chinese characters] PROGRAMME Grauman’s Chinese Theatre offers “GLORIES OF THE SCRIPTURES” A Sid Grauman Presentation, on the Prologue for Cecil B. De Mille’s “THE KINF OF KINGS” By JEANNIE MACPHERSON Overture Grauman’s Chinese Symphony Orchestra, Arthur Kay conductor, Albert Hay Malotte at the mighty Wurlitzer Organ. Locale – the meeting place of the populace I. Twilight prayers of the common people. II. Dance of the Palms – Theodore Kosloff dancers III. Chant of the Israelite High Priests. “The Holy City” – High Priest Chandowsky. IV. The Boy Soprano – Stewart Brady. TABLEAUX A. Joseph and his Brethren. (Just after his sale into slavery). B. Daniel in the Lion’s Den. C. The Star of Bethlehem. D. The Nativity. E. The Flight Into Egypt. [notes at foot of page 2]: M. Ellis Read, house manager; Lester Cole, stage assistant to Mr. Grauman. Musical Score for “the King of Kings” personally created by Dr. Hugo Reisenfeld; Orchestrations by Otto Potoker. [page 3] “THE KING OF KINGS” CAST • Jesus, the Christ – H.B. Warner • Mary, the Mother – Dorothy Cummings • The Twelve Apostles o Peter – Ernest Torrence o Judas – Joseph Schildkraut o James – James Neill o John – Joseph Striker o Matthew – Robert Edeson o Thomas – Sidney D’Albrook o Andrew – David Imboden o Philip – Charles Belcher o Bartholomew – Clayton Packard o Simon – Roberts Ellsworth o James, the less – Charles Requa o Thaddeus – John T. Prince • Mary Magdalene – Jacqueline Logan • Caiaphas, High Priest of Israel – Rudolph Schildkraut • The Pharisee – Sam DeGrasse • The Scribe – Casson Ferguson • Pontius Pilate, Governor of Judaea – Victor Varconi • Proculla, wife of Pilate – Majel Coleman • The Roman Centurion – Montague Love • Simon of Cyrene – William Boyd • Mark – M. - 
												
												SCENE 6: VANYA WE LICKED POSTAGE STAMPS! We Didn't Have
SCENE 6: VANYA WE LICKED POSTAGE STAMPS! We didn't have answering machines. You had to call people back. (MASHA moves away.) , We ate Spam, just like the soldiers in World War II did. (to SPIKE) Have you heard of World War II? We played Scrabble and Monopoly. We didn't play video games, in some virtual reality, where we would kill policeman and prostitutes as if that was some sort of entertainment. The popular entertainment wasn't so insane back then. It was sometimes corny, but sincere. We all saw the movie "Davy Crockett" and wore coonskin caps. That may not sound sane, wearing those caps, but it was very innocent. And we all did it, there was a solidarity about it, unlike being alone in your room killing prostitutes in a video game. We followed The Adventures of Ozzie and Harriet. Which starred the real life Ozzie and Harriet Nelson.But "Adventures" was a strange word for the show because it was extremely uneventful. They did things like ...make popcorn in the kitchen. Or ...Iook for missing socks. In retrospect they seemed medicated. It was a stupid show, but it was calming. You didn't feel it was stirring people up and creating serial killers. I'm sorry I'm getting off the point. But my point is the 50s were idiotic but I miss parts of them. When I was 13 I saw Goldfingerwith Sean Connery as James Bond, and I didn't get the meaning of the character name of "Pussy Galore." Went right over my head. - 
												
												Disneyland, 1955: Just Take the Santa Ana Freeway to the American Dream Author(S): Karal Ann Marling Reviewed Work(S): Source: American Art, Vol
Disneyland, 1955: Just Take the Santa Ana Freeway to the American Dream Author(s): Karal Ann Marling Reviewed work(s): Source: American Art, Vol. 5, No. 1/2 (Winter - Spring, 1991), pp. 168-207 Published by: The University of Chicago Press on behalf of the Smithsonian American Art Museum Stable URL: http://www.jstor.org/stable/3109036 . Accessed: 06/12/2011 16:31 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press and Smithsonian American Art Museum are collaborating with JSTOR to digitize, preserve and extend access to American Art. http://www.jstor.org Disneyland,1955 Just Takethe SantaAna Freewayto theAmerican Dream KaralAnn Marling The opening-or openings-of the new of the outsideworld. Some of the extra amusementpark in SouthernCalifornia "invitees"flashed counterfeit passes. did not go well. On 13 July, a Wednes- Othershad simplyclimbed the fence, day, the day of a privatethirtieth anniver- slippinginto the parkin behind-the-scene saryparty for Walt and Lil, Mrs. Disney spotswhere dense vegetation formed the herselfwas discoveredsweeping the deck backgroundfor a boat ride througha of the steamboatMark Twainas the first make-believeAmazon jungle. guestsarrived for a twilightshakedown Afterwards,they calledit "Black cruise.On Thursdayand Friday,during Sunday."Anything that could go wrong galapreopening tributes to Disney film did. - 
												
												Goldwyn-Mayer Studios Inc., Paramount Pi
Before the Federal Communications Commission Washington, D.C. 20554 __________________________________________ ) Implementation of Section 304 of the ) Telecommunications Act of 1996 ) CS Docket No 97-80 ) Commercial Availability of Navigation Devices ) ) Compatibility Between Cable Systems and ) Consumer Electronics Equipment ) PP Docket No. 00-67 __________________________________________) PETITION FOR RECONSIDERATION OF THE MOTION PICTURE ASSOCIATION OF AMERICA, INC., METRO- GOLDWYN-MAYER STUDIOS INC., PARAMOUNT PICTURES CORPORATION, SONY PICTURES ENTERTAINMENT INC., TWENTIETH CENTURY FOX FILM CORPORATION, UNIVERSAL CITY STUDIOS LLLP, AND THE WALT DISNEY COMPANY Jon A. Baumgarten Bruce E. Boyden Proskauer Rose LLP 1233 Twentieth Street NW, Suite 800 Washington, DC 20036 (202) 416-6800 Counsel for the Petitioners February 27, 2004 Before the Federal Communications Commission Washington, D.C. 20554 __________________________________________ ) Implementation of Section 304 of the ) Telecommunications Act of 1996 ) CS Docket No 97-80 ) Commercial Availability of Navigation Devices ) ) Compatibility Between Cable Systems and ) Consumer Electronics Equipment ) PP Docket No. 00-67 __________________________________________) PETITION FOR RECONSIDERATION OF THE MOTION PICTURE ASSOCIATION OF AMERICA, INC., METRO- GOLDWYN-MAYER STUDIOS INC., PARAMOUNT PICTURES CORPORATION, SONY PICTURES ENTERTAINMENT INC., TWENTIETH CENTURY FOX FILM CORPORATION, UNIVERSAL CITY STUDIOS LLLP, AND THE WALT DISNEY COMPANY The Motion Picture Association of America, - 
												
												Walt Disney Imagineering Research & Development, Inc. Request For
Walt Disney Imagineering Research & Development, Inc. Request for Experimental STA ELS File No. 0469-EX-ST-2018 NARRATIVE STATEMENT Pursuant to Section 5.3(a) and (e) and Section 5.61 of the Federal Communications Commission’s (“FCC”) rules, 47 C.F.R. §§ 5.3(a) & (e); 5.61 (2016), Walt Disney Imagineering Research & Development, Inc. (“Disney”) hereby respectfully requests experimental special temporary authority (“STA”) commencing June 1, 2018, to conduct proof-of-concept testing of authorized Part 15 ultra-wideband (“UWB”) equipment within Disney’s park premises at Anaheim, California. Operation of authorized devices on a mobile basis is permitted without an STA. An STA is needed only to test such devices at fixed locations. See generally 47 C.F.R. § 15.519 (2016). Grant of this request would allow Disney to complete the tests it commenced under the STA issued to it under Experimental Licensing System (“ELS”) File No. 1225-EX-ST-2017, call sign WL9XMN. That STA allowed the company to collect initial data to assess the performance and functionality of the equipment, but Disney was unable to complete such tests due to certain limitations. Specifically, Disney’s operations were limited by its access to the the premises. The park has its own schedule for entertainment, maintenance and construction, and the testing had to be scheduled around those activities. In particular, the test operations were limited by the crowd levels during the Thanksgiving and Christmas holiday seasons. Moreover, the ability to conduct tests under the existing STA was affected by the schedules of test personnel, many of whom also work on other projects, or the lack of additional equipment to replace test devices in need of repair. - 
												
												P-234 W.E. Jones Theatre Collection, 1916-1933
P-234 W.E. Jones Theatre Collection, 1916-1933 Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: 1916 – 1933 Extent: 1 letter box; 1 oversize box, 1 folder Language: English Abstract: W.E. Jones was a theatre manager in San Diego and Los Angeles who was associated with several theatres between 1916 and 1933 particularly the Pickwick and Superba in San Diego, and the Superba and Largo in Los Angeles. The W.E. Jones Theatre Collection is comprised of individual photographs as well as a scrapbook of clippings and photographs which focus on stage sets and lobby displays for various films—mainly Universal films of 1920. There are a few photos of other theatres such as the Cameo and the Rampart for which an association with W.E. Jones could not be determined. Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: W.E. Jones Theatre Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: P-26 Motion Picture Collection GC 1146 Theater Programs Collection, ca. 1893-1958 GC 1155ov Theater in Los Angeles Scrapbook, 1886-1924 Seaver Center for Western History Research P-234 Historical Note: Little information could be found regarding any of the theatres pictured in the collection except that they existed between 1916 and 1933. The Superba Theatre in Los Angeles was located at 518 S. Broadway, which later became the site of the Roxie Theatre in 1932. - 
												
												The Walt Disney Company and Pixar Inc.: to Acquire Or Not to Acquire?
9-709-462 REV: JANUARY 15, 201 0 J U A N A L C Á CER DAVID COLLIS M A R Y F U R E Y The Walt Disney Company and Pixar Inc.: To Acquire or Not to Acquire? In November 2005, Robert Iger, the newly appointed CEO of the Walt Disney Company, eagerly awaited the box office results of Chicken Little, the company’s second computer-generated (CG) feature film. He knew that, for Disney as a whole to be successful, he had to get the animation business right, particularly the new CG technology that was rapidly supplanting hand-drawn animation.1 Yet the company had been reliant on a contract with animation studio Pixar, which had produced hits such as Toy Story and Finding Nemo, for most of its recent animated film revenue. And the co-production agreement, brokered during the tenure of his predecessor, Michael Eisner, was set to expire in 2006 after the release of Cars, the fifth movie in the five-picture deal. Unfortunately, contract renewal negotiations between Steve Jobs, CEO of Pixar, and Eisner had broken down in 2004 amid reports of personal conflict. When he assumed his new role, Iger reopened the lines of communication between the companies. In fact, he had just struck a deal with Jobs to sell Disney- owned, ABC-produced television shows—such as “Desperate Housewives”—through Apple’s iTunes Music Store.2 Iger knew that a deal with Pixar was possible; it was just a question of what that deal would look like. Did it make the most sense for Disney to simply buy Pixar? Walt Disney Feature Animation Walt Disney Feature Animation began with the production of Snow White and the Seven Dwarfs in 1934.