The Jungle Tales of Tarzan
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Tarzan's Yell
OFFICE FOR HARMONIZATION IN THE INTERNAL MARKET (TRADE MARKS AND DESIGNS) The Boards of Appeal DECISION of the Fourth Board of Appeal of 27. September 2007 In Case R 708/2006-4 Edgar Rice Burroughs, Inc. 18354 Ventura Boulevard Tarzana, California 91357 United States of America Applicant/Appellant represented by R.G.C. JENKINS & CO, 26 Caxton Street, GB - London SW1H 0RJ, United Kingdom APPEAL relating to Community trade mark application No 3 661 329 THE FOURTH BOARD OF APPEAL composed of D. Schennen (Chairman and Rapporteur), I. Mayer (Member) and F. López de Rego (Member) Registrar: N. Semjevski gives the following Language of the case: English DECISION OF 27 SEPTEMBER 2007 – R 708/2006-4 – TARZAN YELL (SOUND MARK) 2 Decision Summary of the facts 1 By an application received by the Office by regular mail on 11 February 2004, the applicant filed a Community trade mark application for the following goods and services: Class 9 - Electrical and electronic communications and telecommunications apparatus and instruments; optical, electro-optical, monitoring (other than in-vivo monitoring), radio, television, electrical control, testing (other than in-vivo testing), signalling, checking (supervision), radio paging, radio-telephone and teaching apparatus and instruments, telephones, mobile telephones and telephone handsets; paging apparatus, radio paging apparatus; radio telephone apparatus; computerised personal organisers, telecommunications apparatus and instruments; communications apparatus and instruments; apparatus and instruments for -
Author-As-Franchise-Product: Edgar Rice Burroughs Inc and Tarzan As Historical Branded Entertainment
53 Chapter 3 Author-as-Franchise-Product: Edgar Rice Burroughs Inc and Tarzan as Historical Branded Entertainment Matthew Freeman University of Nottingham, UK ABSTRACT This chapter explores the historical relationship between the branded media entertainment of Tarzan and the rise of consumer culture in the 1920s and 1930s. It argues that the transmedia licensing of this property across pulp magazines, comics, and radio reflected the growing embrace of brand-franchise logics throughout the business landscape of America at that time. I offer the metaphor of ‘stepping stones’ to understand the brand linkages between these different media products in which consumption of one product led to the consumption of another. More importantly, I analyse the function of Tarzan creator Edgar Rice Burroughs and his company, suggesting that his visibility as franchise-author played a crucial role in constructing these brand linkages between media products. Contextualised as part of the very different cultural landscape of 1920s and 1930s consumer culture, I demonstrate how an autho- rial name operated commercially as much as a corporatised component of the branded entertainment products of Tarzan as the Tarzan character himself. INTRODUCTION By 1975, Edgar Rice Burroughs, Inc., a family-owned corporation founded in March 1923, was reported to be earning in the region of $1 million annually from the sales of texts and products based on the fic- tional character Tarzan. ‘The world-wide gross of Tarzan products sold under license to us is at least $50 million a year,’ asserted Robert M. Hodes, the man in charge of the Tarzan empire at that time (The New York Times, 1975, p. -
First Sound Cachet” by Gladys West-Jones
The Making of the “First Sound Cachet” By Gladys West-Jones As a child growing up in the deep south of Natchez, Mississippi, I recall that there weren’t a lot of televisions in the black community, and the one we had was black and white. This was an era when playing outside, making up games, and smelling like sunshine were the epitome of being a kid. You see, I was a tomboy who loved the outdoors and climbing trees. I also loved watching TV, and one of my favorite shows was “Tarzan”. I never missed an episode. When I learned that the Edgar Rice Burroughs stamp was being issued, and that he was the creator of “Tarzan”, my motivation for making a cachet was as strong as a rabid dog. As my mentor, Florence “Via” Villaseñor, has taught me, before you make a cachet, you study your subject by doing a lot of research. So, that’s what I did. I wanted to capture in my cover the essence of Tarzan, the “King of the Jungle”. With all that I wanted to do, I realized that it would take more than one cover. I started with wanting to know all of the actors who played Tarzan on television and in the movies. I discovered that there were 23. So I decided to write about all of them including where they are today. Second, I wanted to know more about Edgar Rice Burroughs. Having just seen the movie “John Carter of Mars”, and hearing the advertisers say that it took Burroughs 100 years to produce, I wanted to know what else Burroughs had accomplished. -
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. -
The Tarzan Series of Edgar Rice Burroughs
I The Tarzan Series of Edgar Rice Burroughs: Lost Races and Racism in American Popular Culture James R. Nesteby Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree in Doctor of Philosophy August 1978 Approved: © 1978 JAMES RONALD NESTEBY ALL RIGHTS RESERVED ¡ ¡ in Abstract The Tarzan series of Edgar Rice Burroughs (1875-1950), beginning with the All-Story serialization in 1912 of Tarzan of the Apes (1914 book), reveals deepseated racism in the popular imagination of early twentieth-century American culture. The fictional fantasies of lost races like that ruled by La of Opar (or Atlantis) are interwoven with the realities of racism, particularly toward Afro-Americans and black Africans. In analyzing popular culture, Stith Thompson's Motif-Index of Folk-Literature (1932) and John G. Cawelti's Adventure, Mystery, and Romance (1976) are utilized for their indexing and formula concepts. The groundwork for examining explanations of American culture which occur in Burroughs' science fantasies about Tarzan is provided by Ray R. Browne, publisher of The Journal of Popular Culture and The Journal of American Culture, and by Gene Wise, author of American Historical Explanations (1973). The lost race tradition and its relationship to racism in American popular fiction is explored through the inner earth motif popularized by John Cleves Symmes' Symzonla: A Voyage of Discovery (1820) and Edgar Allan Poe's The narrative of A. Gordon Pym (1838); Burroughs frequently uses the motif in his perennially popular romances of adventure which have made Tarzan of the Apes (Lord Greystoke) an ubiquitous feature of American culture. -
Thinking Movement Moving Thought Programme.Pdf
THINKING MOVEMENT, MOVING THOUGHT 22 September 2017 9am – 6.30pm Labanarium presents this one day and movement and psychology. Will Wollen (University of Kent); symposium in collaboration with the Workshops, seminars, papers and Christopher Simpson (Northampton Centre for Performance Philosophy encounters in movement and thinking University) and Dr Paola Crespi which will focus on the relationships given by Cate Deicher CMA and Amy (Goldsmiths University London). between movement and philosophy Shapiro, PhD (Alverno College, U.S); LABANARIUM.COM Dr Paola Crespi Rhythm Will Help LECTURE Paola’s work has been published in Besides the more straightforward Workers international peer-reviewed journals aim of introducing Laban’s Dr Paola Crespi is a Visiting Research paper presentation such as Body & Society, Subjectivity, rhythmanalysis as found in both Fellow at the Topology Research 2 -3 pm Theatre, Dance & Performance his notes and his drawings to a Unit at Goldsmiths and a Lecturer at Ivy Theatre Training and online on the Theory, wider public, this intervention Anglia Ruskin University and at the Culture&Society website. Paola sits seeks to draw attention to the Thinking Movement, Moving Thought University of Suffolk. She holds a on the editorial board of Evental dialogue between cultural theory PhD in Media Studies (Goldsmiths), A one day symposium focusing on the relationships between movement, Aesthetics: An Independent Journal of and performance studies that the an MRes in Humanities and Philosophy and she is Section Editor material itself affords. Far from psychology and philosophy Cultural Studies (London for Cultural Studies and Critical Theory being restricted to the field of the Consortium) and a BA (Hons) in of the Open Journal of the Humanities. -
Walt Disney World Coin Press Checklist Fill in the Mickey Head Once You Have Collected Each Coin!
Walt Disney World Coin Press Checklist Fill in the Mickey head once you have collected each coin! Walt Disney World Coin Press Checklist Contents: Disney’s Animal Kingdom Disney’s Hollywood Studios Epcot Magic Kingdom Downtown Disney WDW Resorts & Nearby Locations These Presses are currently out for refurbishment. Last Updated: April 29, 2010 Walt Disney World Coin Press Checklist Fill in the Mickey head once you have collected each coin! Out of the Wild #1 Lion King 5 of 7, Rafiki Celebrate Culture South Africa Tarzan 7 of 8, Jane & Tarzan The Outpost Shop #1 Penny Presses Jungle Book 6 of 6, Share Khan Beastly Bazaar Safari Minnie Mouse Tarzan 4 of 8, Tantor Safari Pluto Lion King 3 of 7, Hula Timon Safari Goofy The Outpost Shop #2 Stink Bug Chester & Hester's Dinosaur Treasures #1 Tarzan 8 of 8, Jane Iguanodon Lion King 1 of 7, Simba Camtaurus Alioramus Rainforest Café #1 Hot Air Balloon, Orlando, FL Chester & Hester's Dinosaur Treasures #2 Mockingbird, Florida State Bird Tarzan 3 of 8, Terk Crab w/ Sunglasses, Orlando, FL Mickey with Fossil Alligator, Orlando, FL Lion King 6 of 7, Scar Restaurantosaurus #1 Dawa Bar Styracosaurus Lion Saltasaurus Hippopotamus Ankylosaurus Rhino Restaurantosaurus #2 Duka La Filimu #1 Tarzan 1 of 8, Tarzan & Jane Safari Mickey Duckosaurus Donald Safari Donald Dinosaur Skeleton Safari Goofy Wildlife Express Train Station #1 Duka La Filimu #2 Tarzan 2 of 8, Swinging Tarzan Safari Minnie Tarzan 5 of 8, Professor Safari Pooh Lion King 4 of 7, Pumba Safari Tigger Island Mercantile #1 Festival of The Lion -
TARZAN of the APES SERIES - Complete 25 Book Collection (Illustrated): the Return of Tarzan, the Beasts of Tarzan, the Son of Tarzan, Tarzan and the Jewels
mV6Rq (Read ebook) TARZAN OF THE APES SERIES - Complete 25 Book Collection (Illustrated): The Return of Tarzan, The Beasts of Tarzan, The Son of Tarzan, Tarzan and the Jewels ... Lion, Tarzan the Terrible and many more Online [mV6Rq.ebook] TARZAN OF THE APES SERIES - Complete 25 Book Collection (Illustrated): The Return of Tarzan, The Beasts of Tarzan, The Son of Tarzan, Tarzan and the Jewels ... Lion, Tarzan the Terrible and many more Pdf Free Edgar Rice Burroughs audiobook | *ebooks | Download PDF | ePub | DOC Download Now Free Download Here Download eBook #85650 in eBooks 2017-04-20 2017-04-20File Name: B0727RRBNH | File size: 57.Mb Edgar Rice Burroughs : TARZAN OF THE APES SERIES - Complete 25 Book Collection (Illustrated): The Return of Tarzan, The Beasts of Tarzan, The Son of Tarzan, Tarzan and the Jewels ... Lion, Tarzan the Terrible and many more before purchasing it in order to gage whether or not it would be worth my time, and all praised TARZAN OF THE APES SERIES - Complete 25 Book Collection (Illustrated): The Return of Tarzan, The Beasts of Tarzan, The Son of Tarzan, Tarzan and the Jewels ... Lion, Tarzan the Terrible and many more: 0 of 0 people found the following review helpful. Good readingBy Jim NussbaumerWell written - but dated of course. It is nice having all of the books in one place - but they sound a lot alike after a while.0 of 0 people found the following review helpful. Five StarsBy Edward TuckerNice to find them all in one place.0 of 0 people found the following review helpful. -
Kids Movie Trivia Questions #6
KIDS MOVIE TRIVIA QUESTIONS #6 ( www.TriviaChamp.com ) 1> What are the two boys hunting at the beginning of the movie, "The Sword and the Stone"? a. Moose b. Deer c. Duck d. Bears 2> In which movie would you see the character "Lightning McQueen"? a. The Black Cauldron b. Cars c. The Sword in the Stone d. Peter Pan 3> What is the name of the city in the movie, "Monsters Inc"? a. Monstropolis b. Scary Town c. Monster City d. Scareville 4> Seen in the movie "Toy Story," what kind of animal is Bullseye? a. Dragonfly b. Cat c. Turtle d. Horse 5> Who is the main villain in the Disney film "101 Dalmatians"? a. Montgomery b. Hades c. Buzz d. Cruella de Vil 6> What kind of fruit does the evil witch give to Snow White in Disney's first animated feature film, "Snow White"? a. Pear b. Apple c. Cherry d. Orange 7> What kind of creature does Jafar turn into in the film "Aladdin"? a. Snake b. Scorpion c. Dragon d. Spider 8> What kind of animal swallowed an alarm clock? a. Parrot b. Lion c. Warthog d. Crocodile 9> What color is Toothless? a. Black b. Yellow c. Red d. Green 10> What country is the setting for the movie "Brave"? a. Mexico b. America c. Russia d. Scotland 11> Who is the main villain in the 2010 Disney film "Tangled"? a. Medusa b. Gothel c. Quasimodo d. Maleficent 12> What is the name of the princess in the Disney movie "Frozen"? a. Jasmine b. -
De Edgar Rice Burroughs-I JOSE Gabrlel PEREIRA BASTOS LUIS SOCZKA *
Análise estrutural-dinâmica de tTarzan of the ApesB de Edgar Rice Burroughs-I JOSE GABRlEL PEREIRA BASTOS LUIS SOCZKA * 1. INTRODUÇÃO Tentámos já demonstrar noutros lugares (Bastos e Soczka, 1976; Bastos, 1978) que os Este trabalho situa-se no âmbito de uma elementos essenciais para a definição das con- pesquisa mais vasta, em que nos propomos de- dições de uma análise estrutural-dinâmica do monstrar que: a) uma análise de texto consiste, discurso se encontram reunidos nos textos freu- em simultâneo, numa análise dos meios de ex- dianos iniciais (Freud, 1900, 1901, 1905, 1907, pressão que veiculam a significação (análise es- 1908, 1911, 1916, 1919). trutural) e numa análise das problemáticas psi- cológicas de elaboração dos conflitos e da busca de prazer, em relação às quais cada texto cons- 2. MATERIAL E MeTODO titui uma nova «cena» (análise dinâmica); b) a) Material uma artálise esruturai-dinâmica surge como elu- cidativa aos três níveis da sua sobredetermina- O material utilizado foi, neste caso, o ro- ção (individual, cultural e universal), permi- mance de Edgar Rice Burroughs (1875-1950). Tarzan of the Apes, escrito de 1-12-1911 a tindo, para além da interpretação do texto, es- 14-5-1912 e publicado pela primeira vez na tabelecer conhecimentos relativos ao@) seu(s) revista Ali-Story, de Outubro de 1912. Em 1914 autor(es), ti época e cultura em que se integram, foi publicado em livro, por A. L. McClurg & e levantar novos problemas às diversas áreas Co., de Chicago. da psicologia; e, c) uma análise deste tipo pode Na nossa análise socorremo-nos fumiamen- talmnte das edições portuguesas de 1971 e 1976 ajudar a propor hipóteses relevantes, ou a fun- (Tarzan dos Macacos, Portugal Press, Lisboa. -
Jugoslovenska Produkcija
JUGOSLOVENSKA PRODUKCIJA 1 1 Tarzan® owned by JUGOSLOVENSKA PRODUKCIJA Edgar Rice Burroughs Inc. All rights reserved. Dark Horse Comics® and the Dark Horse logo are trademarks of Dark Horse Comics, Inc., registered in various categories and countries. All rights reserved. Edgar Rice Burroughs’ Tarzan® copyright© 1982-1985, 2011 Darkwood d.o.o. Edgar Rice Burroughs, Inc. Bogdana Žerijića 17 All rights reserved. e-mail: [email protected] Tarzan™ owned by www.darkwood.co.rs Edgar Rice Burroughs, Inc. and Glavni i odgovorni urednik used by permission. SLOBODAN JOVIĆ Urednik copyright za srpsko izdanje MILOŠ JOVANOVIĆ ® 2011 Darkwood Štampa i povez SIMBOL, PETROVARADIN CIP - katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd ISBN 978-86-6163-042-2 COBISS.SR-ID 186499596 2 JUGOSLOVENSKA PRODUKCIJA Period između 1980. i 1990. godine u strip- Kao i uvek, kada postoje dileme, umešao se skom svetu Jugoslavije najčešće se označava slučaj da ukaže na put kojim se može ići. kao zlatno doba stripa. Ako i nismo sigurni u Prilikom jedne od svojih redovnih poseta takvu kvalifikaciju, slobodno možemo reći da je konvencijama i sajmovima stripa, urednik to bilo sjajno doba. Stripoteke Svetozar Toza Tomić se našao u Poneseni ekspanzijom produkcije, i što je još društvu kolega iz švedske izdavačke kuće At- važnije za njih, prodaje stripova, izdavači širom lantik. Tokom večere, šveđani su se požalili na Jugoslavije su, na ovaj ili onaj način, težili da teškoće koje imaju u produkciji stripa Tarzan. obogate svoj izdavački katalog. Tomić je šveđanima ponudio da Marketprint I dok su se neki okrenuli sigurnim stranim preuzme posao od španaca. -
The Biglittle Times®
THE BIG LITTLE TIMES® __________________________________________________ SUMMER EDITION BIG LITTLE BOOK COLLECTOR’S CLUB JUNE 2012 P.O. BOX 1242 DANVILLE, CALIFORNIA 94526 _______________________________________________________________________________________ JANE ARDEN AND THE VANISHED PRINCESS WHITMAN BETTER LITTLE BOOK #1498 (1938) BUCK ROGERS IN THE WAR WITH THE PLANT VENUS WHITMAN BETTER LITTLE BOOK #1437 (1938) Back Front Cover Cover Beginning this year, the Big Little Book Club is publishing its Big Little Times newsletter on a semi-annual basis. The issue is larger than previous issues. It contains more articles and lots more collecting information for Club Members to read and enjoy. The next issue will be in December • • • For this issue, Jon Swartz, Member #1287, has written an extensive article on the Buck Rogers Big Little Books and the many collectibles that were produced during the heyday of the comic strip and radio program. The history of the character, which began in 1928, reveals that he has never fully lost his appeal to subsequent generations. The pictures of premiums that accompany the article are from Jon’s extensive collection of Buck Rogers ephemera. • • • Walt Needham, Member #1102, has been a popular contributor of BLT articles for nearly 20 years. His carefully researched articles provide details that most collectors don’t know about the characters in the Big Little Books. In this issue Walt takes us on a journey through the world of Jane Arden, one of the earliest comic strip characters who exemplified the changing role of women in the American Society. Although Jane appeared in just one BLB, her comic book life lasted for many decades – from 1927 through 1968.