Walt Disneys Alice in Wonderland Free
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CAST of CHARACTERS Tweedlenee .QUEEN-G
AUCE IN WONDERLAND Adapted from the works of Lewis Carroll CAST OF CHARACTERS AUCE \v..l J ' MRS. MUMFORD, Alice's Governess .. TWEEDLEnEE .QUEEN-G~ DUCHI<SS ~ KNAVEOFHEARTS 1":j MAD HA'ITER 'B DORMOUSE ' • ACTI SCENE l:A ROOM IN ALICE'S HOUSE Rabbits Don't Carry Watches ................................ Mrs. Mumford & Alice Wonderland White Rabbit & Alice Journey To Wonderland The Company SCENE 2:V ARlO US LOCATIONS IN WONDERLAND WonderfuL .........•....•..................••.•..•.•..•.••.•..•.••••. Caterpillar Never Seen An Egg Like That Tweedledee, Tweedledum, Alice Lullaby Duchess, Queen. White Rabbit A Ball at the Palace Alice, Queen. White Rabbit. Knave, Caterpillar ACT II SCENE l:THE MAD HATTER'S GARDEN Four O'Cloclc Tea. ...............................................Mad Hatter & Dormouse Soon You'll See The Sun Alice, Caterpillar, Knave The Trial The Company SCENE 2:A ROOM IN ALICE'S HOUSE Watch.es (reprise) .................................................Alice Finale The Company ., THE UGHTS COME UP DOWNSTAGE AND WE SEE AUCE SEATED AT A DRESSING TABLE. TIIE MIRROR ON THE TABLE IS SHAPED VERY MUCH LIKE A LARGE HAND-MIRROR. AUCE IS A YOUNG GrRL SOMEWHERE BElWEEN THE AGES OF TEN AND TWELVE YEARS OLD AND IS DRESSED IN CLOTHES APPROPRIATE FOR A YOUNG GIRL UVING IN THE GENTRIDED ENGUSH COUNTRYSIDE OF THE LATE NINETEENTH CENTURY. UPSTAGE IN THE SHADOWS THERE ARE SHAPES WE CANNOT MAKE OUT Bur WllL LATER BE SEEN AS 1HE •MARKERS* OF •woNDERLAND.• WE HEAR VOICES UGHTLY CAlLING Our TO AUCE. SHE IS NOT SURE WHAT SHE IS HEARING. OFFSTAGE VOICE (singing) A1ice....Aiice AUCE What? Who called? OFFSTAGE VOICE (singing) THAT'S THE WAY, YOU SEE NEVER TO MISS•••• AUCE. -
Various Disney Classics Mp3, Flac, Wma
Various Disney Classics mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Children's / Stage & Screen Album: Disney Classics Country: US Released: 2013 Style: Soundtrack, Theme, Musical MP3 version RAR size: 1692 mb FLAC version RAR size: 1570 mb WMA version RAR size: 1324 mb Rating: 4.8 Votes: 145 Other Formats: WAV AU MMF VQF APE AIFF VOC Tracklist Timeless Classics –Mary Moder, Dorothy Who's Afraid Of The Big, Bad Wolf (From "Three 1-1 Compton, Pinto Colvig & Billy 3:06 Little Pigs") Bletcher Whistle While You Work (From "Snow White 1-2 –Adriana Caselotti 3:24 And The Seven Dwarfs") 1-3 –Cliff Edwards When You Wish Upon A Star (From "Pinocchio") 3:13 –Cliff Edwards, Jim 1-4 Carmichael & The Hall When I See An Elephant Fly (From "Dumbo") 1:48 Johnson Choir* 1-5 –Disney Studio Chorus* Little April Shower (From "Bambi") 3:53 –Joaquin Garay, José Olivier & 1-6 Three Caballeros (From "The Three Caballeros") 2:09 Clarence Nash 1-7 –James Baskett Zip-A-Dee-Doo-Dah (From "Song Of The South") 2:18 Lavender Blue (Dilly Dilly) (From "So Dear To 1-8 –Burl Ives 1:02 My Heart") A Dream Is A Wish Your Heart Makes (From 1-9 –Ilene Woods 4:35 "Cinderella") –Disney Studio Chorus* & All In The Golden Afternoon (From "Alice In 1-10 2:41 Kathryn Beaumont Wonderland") –Kathryn Beaumont, Bobby You Can Fly! You Can Fly! You Can Fly! (From 1-11 Driscoll, Paul Collins , Tommy 4:23 "Peter Pan") Luske & Jud Conlon Chorus* What A Dog / He's A Tramp (From "Lady And 1-12 –Peggy Lee 2:25 The Tramp") 1-13 –Mary Costa & Bill Shirley Once Upon A Dream (From "Sleeping -
Winter 2009 Vol. 18 No. 4 Disney Files Magazine Is Published by the Good People at I Look at This Edition of Disney Files Magazine, and I See a World of Laughter
Winter 2009 vol. 18 no. 4 Disney Files Magazine is published by the good people at I look at this edition of Disney Files Magazine, and I see a world of laughter. A world of Disney Vacation Club tears. A world of hope. A world of fears. (Well maybe not tears or fears, but stay with me.) P.O. Box 10350 I’m reminded that there’s so much that we share. That it’s time we’re aware. Sing it with me Lake Buena Vista, FL 32830 now. “It’s a small world after all.” To help celebrate the debut of Disney Vacation Club’s first California resort (cover and All dates, times, events and prices pages 2-4), we’ve reached beyond our home state of Florida to deliver a broader mix of news printed herein are subject to change without notice. (Our lawyers and perspectives than ever. This puppy’s so global and happy that it should’ve been delivered do a happy dance when we say that.) by a pack of singing dolls. (Stupid budget constraints.) Let’s begin our journey in the aforementioned Golden State, where D23, the official MOVING? community for Disney fans, recently hosted the first D23 Expo. Fans gathered. News broke. Update your mailing address Films premiered. Legends were crowned. (Or inducted. But we think there should’ve been online at www.dvcmember.com crowns.) And your Disney Files staff recorded the highlights for those unable to attend (pages 5-6). Perhaps you were too busy sailing on the S.S. Member Cruise to attend the MEMBERSHIP QUESTIONS? Expo. -
Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body. -
Through the Mirror Free
FREE THROUGH THE MIRROR PDF G. M. Berrow | 224 pages | 02 Oct 2014 | Hachette Children's Group | 9781408336601 | English | London, United Kingdom Through the Looking-Glass - Wikipedia From " Veronica Mars " to Rebecca take a look back at the career of Armie Hammer on and off the screen. See the full gallery. Biographical documentary of Lee Miller aka Elizabeth Miller,her early years in USA under her father's influence, later became a model turned artist and celebrated photographer, including her photojournalism during WWII, and her second marriage to British surrealism painter Roland Penrose postwar. Film is told through interviews with Miller's son, Antony Penrose. The various phases of Lee Miller's life and works are accounted and revealed by writer-director Sylvain Roumette, with the collaboration of Lee's son, Antony Penrose, Lee's Through the Mirror wartime journalist friend David Scherman, and Patsy I. Murray whom Lee brought in as the 'second mother' to Through the Mirror. Early in the film: "I longed to be loved, just once, somewhat purely and chastely, to have youth and innocence so. The film provided personal insights and fond reminiscences of their times with Lee from Antony, Scherman and Murray. And by the end, we can tell that Antony Penrose, with the help and understanding of Scherman, is resolved with his differences towards his mother. Anyone who appreciates photography, art, surrealism, Man Ray, woman influences, or simply a worthwhile documentary - do check out Through the Mirror film available on DVD. The "Portfolio" option gives a photo synopsis of the eight stages of Lee Miller's life. -
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. -
Motifs of Passage Into Worlds Imaginary and Fantastic
Motifs of Passage into Worlds Imaginary and Fantastic F. Gordon Greene Sacramento, CA ABSTRACT: In this paper I match phenomena associated with the passage into otherworlds as reported during out-of-body and near-death experiences, with imagery associated with the passage into otherworlds as depicted in classic modern fantasies and fairy tales. Both sources include sensations of consciousness separating from the body, floating and flying, passage through fluidic spaces or dark tunnels toward bright lights, and emergence into super natural worlds inhabited by souls of the deceased and by higher spiritual beings; and both describe comparable psychophysical initiatory factors. I intro duce a metaphysically neutral depth psychology to explain these parallels, examine two metaphysically opposed extensions to this depth psychology, and consider several implications of a transcendental perspective. Introduction The prospect of a fantastic journey leading into realms of super natural wonder has always fired the human imagination and probably always will. Such a journey may involve a voyage to remote islands or continents hidden in uncharted seas, a trek off the edge of the Earth's flat surface, a descent into the gloomy underworld below, an ascent into the starry heavens above, or a passage through a magical portal into dimensions unseen. Whatever the pathway, the possibility of such a fantastic journey speaks irresistibly to some deep facet of human nature, this is a facet possessed of a longing that must be appeased, if not fulfilled, in the realm of human imagination, if not in that of some extra mundane reality. Mr. Greene is a free-lance writer whose principal interests have been parapsychology, religion, and metaphysics. -
WOO HOO! Time to Par-Tay!!!
A Newsletter Exclusively for Disney Enthusiasts VOLUME 19 NO. 2 SUMMER, 2010 WOO HOO! Time to Par-tay!!! There will also be a selection of limited edition merchandise This year is the 55th anniversary of Disneyland Resort, and D23 available for purchase at the event. is celebrating this milestone year with the premiere of Destina- tion D: Disneyland ’55, a brand-new, two-day event that illumi- Here is the current lineup for Destination D: Disneyland ’55 nates the fascinating history behind Disney’s flagship park. FRIDAY, SEPTEMBER 24, 2010 Destination D: Disneyland ’55 will take D23 Members on a mesmerizing journey through Mickey Mouse Club 55th Anniversary the design, creation, debut and magical his- Join original Mouseketeers including Sharon Baird, tory of the world’s first Disney theme park. Doreen Tracey, Bobby Burgess, Karen Pendleton, The event will offer two full days of special Sherry Van Meter (Alberoni), Tommy Cole, Cubby presentations, panels, screenings and guest O’Brien and Mary Geoff (Espinosa) for a magi- speakers that give fans an inside view of cal walk down memory lane as they recall their this fascinating era in Disney history and favorite behind-the-scenes stories from the classic let them meet and talk with key figures in Disneyland attraction Mickey Mouse Club Circus. Disneyland’s history. Future Destination D events will explore other important aspects Weird Disney of Disney’s amazing creative legacy. Follow- From the startling visuals of the 1930s Fanchon ing its premiere in September, Destination & Marco “Mickey Mouse Idea” vaudeville shows D will alternate annually with the enor- to Disneyland’s “Kap the Kaiser Aluminum Pig” mously popular D23 Expo. -
Anido FILM1 30E
FILM 1/30e No.1 The Exhibition of Mr. Mukuo Takamura Mukuo at his Studio (Photo:T.Namiki) The retrospective exhibition of Mr. Takamura Mukuo, who had passed away 3 year ago, was held at the Museum in Machida. This April under the auspices of his family. He the leading person in background painters of Japanese animation field produced numerous wonderful works. Though they offered free- entrance, it was rich in content. There were more than 100 background paintings drawn by him, from his early works such as "Marco", "Gosch, the Cellist", "The Dagger of Kamui", to his posthumous works like "Sailor Moon". They gave us the full picture of his career as a background designer for 30 years. They were enough to remind almost 600 fans, who visited exhibition at his talent. Mr. Mukuo first helped ANIDO directlywith the article on "Marco" in FILM 1/24, No. 23. The background of "Gosch, the Cellist" most of which were was so great that I can never forget that drawn by him. During its production, I worked as an animator. Even after that, I took a part in advertisement. He helped us a lot, like making a guest appearance when we held screenings, joining the discussion for the animation magazine, drawing background of the pictures for badges and other goods, and so on. It's very sad to say Mr. Mukuo had already passed away. But I believe that we, people in Japanese animation field, will never forget his earnest attitude toward creation. ANIDO is now planning to publish the book of his wonderful works. -
Alice's Adventures in Disneyland
© Markus Lång 2006 This review was first published in Lewis Carroll Review, issue 32 (January 2006), pp. 8–12. Alice’s Adventures in Disneyland Alice in Wonderland: The Masterpiece Edition Produced by Walt Disney Adapted from the books of Lewis Carroll Production supervised by Ben Sharpsteen Musical score by Oliver Wallace Directed by Clyde Geronimi, Hamilton Luske and Wilfred Jackson DVD video (2 disks), region 1 Video format: NTSC Audio: English (stereo and mono), French, Spanish Subtitles: English (hard of hearing) Runtime: 75'08" Buena Vista Home Entertainment 2004, $ 29.99 http://www.disneydvd.com/ alt Disney had always been interested in WLewis Carroll’s Alice books. The animat- ed feature Alice in Wonderland (1951) is his chef- d’œuvre in this respect, but he had been mak- ing Alice-entitled silent short films already in the 1920s in which live action is combined with black- and-white animation; this shows how eagerly he always wanted to transcend the inexorable bor- der between reality and fantasy. There is also a Mickey Mouse cartoon from 1936, Thru the Mirror, in which some Carrollian motives appear. These short films show that Disney was not so interested in replicating “exactically” Carroll’s story line but in examining if and how some of his ideas could be applied to animation. From the early 1930s on, the Disney cartoons developed a distinct and marked animation style, partly dictated by the demands of the animation medium: clear- cut, caricature-like characters, evenly coloured areas and black contours. When one has to draw and colour manually 24 images for a second of film, this is the easiest way to do it; and Walt Disney refined the drawing process to an indus- try, even planning his studio buildings in Burbank so that the movie in preparation could proceed as if on a conveyor belt. -
1 Alicia a Través Del Tiempo Y El Arquetipo John Alberto Espitia
1 Alicia a través del tiempo y el arquetipo John Alberto Espitia Rodriguez Tutora: Sandra Patricia Rendón Restrepo Facultad de Diseño Gráfico Universidad Santo Tomás Bogotá, D.C. 2017 ii Dedicatoria Dedico este proyecto en primera instancia a mi madre, quien desde siempre ha estado conmigo, apoyándome incondicionalmente en todos los momentos de triunfo y tristeza, siendo la parte más importante en mi vida y gracias a ella, he podido sacar fuerzas en los momentos más duros. A mi padre, quien me ha dado todas las herramientas necesarias para llegar a este punto. A mis abuelas, quienes han sido una parte fundamental en mi vida, y me han brindado todo de sí para estar conmigo. Por convertirse en mis maestras, sustentos y segundas madres, y a quienes les debo todo y aún más, por ser uno de los pilares más importantes de mi vida. A mi hermana, que a pesar de las muchas discusiones que pueden llegar a haber entre nosotros, el cariño y admiración que siento por ella es inmenso. Desde el momento en que llegó se ha convertido en una parte necesaria de mí vida, y estoy eternamente agradecido por contar con la compañía de una persona tan sensible, carismática y alegre como lo es mi hermana. Finalmente a todos los compañeros, profesores y amigos, con quienes he podido compartir en esta etapa de mi vida, he aprendido y crecido como persona gracias a todos ustedes y este momento en el que me encuentro no sería lo mismo sin todas las risas, llanto y recuerdos que he podido tener con cada uno de ustedes. -
Boxoffice Barometer (April 15, 1963)
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