Disney's Enchanted Purim Story Book
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Racism and Stereotypes: Th Movies-A Special Reference to And
People’s Democratic Republic of Algeria Ministry of Higher Education and Scientific ResearchResearch Larbi Ben M’h idi University-Oum El Bouaghi Faculty of Letters and Languages Department of English Racism and Stereotypes: The Image of the Other in Disney’s Movies-A Special Reference to Aladdin , Dumbo and The Lion King A Dissertation Submitted in Partial Fulfillment of the Requirements for the D egree of Master of Arts in Anglo-American Studies By: Abed Khaoula Board of Examiners Supervisor: Hafsa Naima Examiner: Stiti Rinad 2015-2016 Dedication To the best parents on earth Ouiza and Mourad To the most adorable sisters Shayma, Imène, Kenza and Abir To my best friend Doudou with love i Acknowledgements First of all,I would like to thank ‘A llah’ who guides and gives me the courage and Patience for conducting this research.. I would like to express my deep appreciation to my supervisor Miss Hafsa Naima who traced the path for this dissertation. This work would have never existed without her guidance and help. Special thanks to my examiner Miss Stiti Rinad who accepted to evaluate my work. In a more personal vein I would like to thank my mother thousand and one thanks for her patience and unconditional support that facilitated the completion of my graduate work. Last but not least, I acknowledge the help of my generous teacher Mr. Bouri who believed in me and lifted up my spirits. Thank you for everyone who believed in me. ii ا ا أن اوات ا اد ر ر دة اطل , د ه اوات ا . -
Disney Syllabus 12
WS 325: Disney: Gender, Race, and Empire Women Studies Oregon State University Fall 2012 Thurs., 2:00-3:20 WLKN 231 (3 credits) Dr. Patti Duncan 266 Waldo Hall Office Hours: Mon., 2:00-3:30 and by appt email: [email protected] Graduate Teaching Assistant: Chelsea Whitlow [OFFICE LOCATION] Office Hours: Mon./Wed., 9:30-11:00 email: [email protected] __________________________________________________________________________________________________ CATALOGUE DESCRIPTION Introduces key themes and critical frameworks in feminist film theories and criticism, focused on recent animated Disney films. Explores constructions of gender, race, class, sexuality, and nation in these representations. (H) (Bacc Core Course) PREREQUISITES: None, but a previous WS course is helpful. COURSE DESCRIPTION In this discussion-oriented course, students will explore constructions of gender, race, class, sexuality, and nation in the recent animated films of Walt Disney. By examining the content of several Disney films created within particular historical and cultural contexts, we will develop and expand our understanding of the cultural productions, meanings, and 1 intersections of racism, sexism, classism, colonialism, and imperialism. We will explore these issues in relation to Disney’s representations of concepts such as love, sex, family, violence, money, individualism, and freedom. Also, students will be introduced to concepts in feminist film theory and criticism, and will develop analyses of the politics of representation. Hybrid Course This is a hybrid course, where approximately 50% of the course will take place in a traditional face-to-face classroom and 50% will be delivered via Blackboard, your online learning community, where you will interact with your classmates and with the instructor. -
The Lion King Audition Monologues
Audition Monologues Choose ONE of the monologues. This is a general call; the monologue you choose does not affect how you will be cast in the show. We are listening to the voice, character development, and delivery no matter what monologue you choose. SCAR Mufasa’s death was a terrible tragedy; but to lose Simba, who had barely begun to live... For me it is a deep personal loss. So, it is with a heavy heart that I assume the throne. Yet, out of the ashes of this tragedy, we shall rise to greet the dawning of a new era... in which lion and hyena come together, in a great and glorious future! MUFASA Look Simba. Everything the light touches is our kingdom. A king's time as ruler rises and falls like the sun. One day, Simba, the sun will set on my time here - and will rise with you as the new king. Everything exists in a delicate balance. As king, you need to understand that balance, and respect for all creatures-- Everything is connected in the great Circle of Life. YOUNG SIMBA Hey Uncle Scar, guess what! I'm going to be king of Pride Rock. My Dad just showed me the whole kingdom, and I'm going to rule it all. Heh heh. Hey, Uncle Scar? When I'm king, what will that make you? {beat} YOUNG NALA Simba, So, where is it? Better not be any place lame! The waterhole? What’s so great about the waterhole? Ohhhhh….. Uh, Mom, can I go with Simba? Pleeeez? Yay!!! So, where’re we really goin’? An elephant graveyard? Wow! So how’re we gonna ditch the dodo? ZAZU (to Simba) You can’t fire me. -
Thursdays Schedule
Join us at St. Bronislava – Plover TNT (Thursday Night Thing) Family Fun Summer 2019 Movies on the Wall Join us in the west parking lot for Bring your lawn chairs, blankets, good old-fashioned friends and families. “drive-in” movie fun! Snack stand featuring free popcorn Pre-movie activities and goodies for sale. about an hour before dusk. Movies begin at dusk. All proceeds benefit St. Bron’s Youth Ministry Thursdays schedule July 11 – Smallfoot … Migo is a friendly Yeti whose world gets turned upside down when he discovers something that he didn't know existed -- a human. He soon faces banishment from his snowy home when the rest of the villagers refuse to believe his fantastic tale. Hoping to prove them wrong, Migo embarks on an epic journey to find the mysterious creature that can put him back in good graces with his simple community July 18 – Incredibles 2 … Everyone’s favorite family of superheroes is back in “Incredibles 2” – but this time Helen is in the spotlight, leaving Bob at home with Violet and Dash to navigate the day-to-day heroics of “normal” life. It’s a tough transition for everyone, made tougher by the fact that the family is still unaware of baby Jack-Jack’s emerging superpowers. When a new villain hatches a brilliant and dangerous plot, the family and Frozone must find a way to work together again— which is easier said than done, even when they’re all Incredible. August 1 – The Lion King … Simba idolizes his father, King Mufasa, and takes to heart his own royal destiny on the plains of Africa. -
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. -
Esther Through the Centuries (Blackwell Bible Commentaries)
Esther Through the Centuries Jo Carruthers Esther Through the Centuries Blackwell Bible Commentaries Series Editors: John Sawyer, Christopher Rowland, Judith Kovacs, David M. Gunn John Th rough the Centuries Ecclesiastes Th rough the Centuries Mark Edwards Eric S. Christianson Revelation Th rough the Centuries Esther Th rough the Centuries Judith Kovacs & Christopher Rowland Jo Carruthers Judges Th rough the Centuries Psalms Th rough the Centuries: David M. Gunn Volume One Exodus Th rough the Centuries Susan Gillingham Scott M. Langston Galatians Th rough the Centuries John Riches Forthcoming: Leviticus Th rough the Centuries Th e Minor Prophets Th rough the Mark Elliott Centuries 1 & 2 Samuel Th rough the Centuries Jin Han & Richard Coggins David M. Gunn Mark Th rough the Centuries 1 & 2 Kings Th rough the Centuries Christine Joynes Martin O’Kane Luke Th rough the Centuries Psalms Th rough the Centuries: Larry Kreitzer Volume Two Th e Acts of the Apostles Th rough the Susan Gillingham Centuries Song of Songs Th rough the Centuries Heidi J. Hornik & Mikael C. Parsons Francis Landy & Fiona Black Romans Th rough the Centuries Isaiah Th rough the Centuries Paul Fiddes John F. A. Sawyer 1 Corinthians Th rough the Centuries Jeremiah Th rough the Centuries Jorunn Okland Mary Chilton Callaway 2 Corinthians Th rough the Centuries Lamentations Th rough the Centuries Paula Gooder Paul M. Joyce & Diane Lipton Hebrews Th rough the Centuries Ezekiel Th rough the Centuries John Lyons Andrew Mein James Th rough the Centuries Jonah Th rough the Centuries David Gowler Yvonne Sherwood Pastoral Epistles Th rough the Centuries Jay Twomey Esther Through the Centuries Jo Carruthers © by Jo Carruthers blackwell publishing Main Street, Malden, MA - , USA Garsington Road, Oxford OX DQ, UK Swanston Street, Carlton, Victoria , Australia Th e right of Jo Carruthers to be identifi ed as the author of this work has been asserted in accordance with the UK Copyright, Designs, and Patents Act . -
The Green Sheet and Opposition to American Motion Picture Classification in the 1960S
The Green Sheet and Opposition to American Motion Picture Classification in the 1960s By Zachary Saltz University of Kansas, Copyright 2011 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ________________________________ Chairperson Dr. John Tibbetts ________________________________ Dr. Michael Baskett ________________________________ Dr. Chuck Berg Date Defended: 19 April 2011 ii The Thesis Committee for Zachary Saltz certifies that this is the approved version of the following thesis: The Green Sheet and Opposition to American Motion Picture Classification in the 1960s ________________________________ Chairperson Dr. John Tibbetts Date approved: 19 April 2011 iii ABSTRACT The Green Sheet was a bulletin created by the Film Estimate Board of National Organizations, and featured the composite movie ratings of its ten member organizations, largely Protestant and represented by women. Between 1933 and 1969, the Green Sheet was offered as a service to civic, educational, and religious centers informing patrons which motion pictures contained potentially offensive and prurient content for younger viewers and families. When the Motion Picture Association of America began underwriting its costs of publication, the Green Sheet was used as a bartering device by the film industry to root out municipal censorship boards and legislative bills mandating state classification measures. The Green Sheet underscored tensions between film industry executives such as Eric Johnston and Jack Valenti, movie theater owners, politicians, and patrons demanding more integrity in monitoring changing film content in the rapidly progressive era of the 1960s. Using a system of symbolic advisory ratings, the Green Sheet set an early precedent for the age-based types of ratings the motion picture industry would adopt in its own rating system of 1968. -
Raoul Walsh to Attend Opening of Retrospective Tribute at Museum
The Museum of Modern Art jl west 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart NO. 34 FOR IMMEDIATE RELEASE RAOUL WALSH TO ATTEND OPENING OF RETROSPECTIVE TRIBUTE AT MUSEUM Raoul Walsh, 87-year-old film director whose career in motion pictures spanned more than five decades, will come to New York for the opening of a three-month retrospective of his films beginning Thursday, April 18, at The Museum of Modern Art. In a rare public appearance Mr. Walsh will attend the 8 pm screening of "Gentleman Jim," his 1942 film in which Errol Flynn portrays the boxing champion James J. Corbett. One of the giants of American filmdom, Walsh has worked in all genres — Westerns, gangster films, war pictures, adventure films, musicals — and with many of Hollywood's greatest stars — Victor McLaglen, Gloria Swanson, Douglas Fair banks, Mae West, James Cagney, Humphrey Bogart, Marlene Dietrich and Edward G. Robinson, to name just a few. It is ultimately as a director of action pictures that Walsh is best known and a growing body of critical opinion places him in the front rank with directors like Ford, Hawks, Curtiz and Wellman. Richard Schickel has called him "one of the best action directors...we've ever had" and British film critic Julian Fox has written: "Raoul Walsh, more than any other legendary figure from Hollywood's golden past, has truly lived up to the early cinema's reputation for 'action all the way'...." Walsh's penchant for action is not surprising considering he began his career more than 60 years ago as a stunt-rider in early "westerns" filmed in the New Jersey hills. -
Beauty and the Beast
BEAUTY AND THE BEAST CHARACTER DESCRIPTIONS: BELLE (Stage Age: 18-30) Belle is the original fairy tale heroine–kind, gentle, and beautiful–but with an important 21st Century twist. She is a strong, intelligent, spirited and independent young woman. Belle is the moral conscience of the story, elevated by her thoughts and deeds. The maturity and depth of her character allow her to see the true beauty and spirit within The Beast, and to love him for it. This role requires a very strong singer who portrays innocence with her singing and speaking voice. MezzoSoprano: Low A-High F THE BEAST (Stage Age: 21-35) The Beast’s tortured soul is evident for all to see. He is paying the ultimate price for a moment of mean-spiritedness, and wishes beyond wishing that he could rectify his mistake. There is anger and menace in The Beast’s appearance and behavior, but increasingly we see his soft and endearing side as he interacts with Belle. It becomes clear that he is a loving, feeling, human being trapped within a hideous creature’s body. This role requires a very strong singer, and the actor must have a strong speaking voice and stage presence. Baritone: A–High F GASTON (Stage Age: 21-35) Gaston is the absolute antithesis of The Beast. Although he is physically handsome, he is shallow, completely self-centered, not very bright, and thrives on attention. However, when his ego is bruised he becomes a very dangerous foe for The Beast, Belle and Maurice. This role requires a strong singer and character actor who moves well. -
Ruth and Esther: Wise Living Far from Home
Jan/Feb 2017 Ruth and Esther: Wise Living Far from Home ALSO: THE GREatEST STORIES EVER TOLD Friends: Can you imagine having your wallet and phone stolen while visiting in a foreign country? Your identification, passport, cash, bank cards—gone!—and with no means to call for assistance. Imagine being left with nothing but the clothes on your back, lost in a place where you couldn’t even read the signs. I, as a middle-aged white guy, might have the privilege of at least being recognized as a clueless tourist. People might show hospitality to me out of pity. But what if I were part of a despised class of citizens? What if people assumed I were a thief or a homeless person? Being powerless in a foreign land can be both frightening and dangerous. In January, Arie Leder explores the stories of two biblical women who navigate that cliff-edge of being powerless in a foreign land. They act wisely and rely on God’s strength in distressing situations. Then in February, Art Schoonveld turns our attention to the parables of Jesus, showing how Christ illuminated the kingdom of God with real-life stories. These are the greatest stories ever told. May you be refreshed, refocused, and renewed in God’s Word! —Steven Koster To d aJan/Feb 2017 y refresh, refocus, renew TODAY (USPS 185-140), Volume 67, Number 1, published bimonthly by ReFrame Media, a division of Back to God Ministries International, at 6555 West College Drive, Palos Heights, IL 60463. Periodicals postage paid at Palos Heights, Illinois, and at additional mailing offices. -
Disney Dazzle (12:40 – Track 1 on Practice CD 2016)
Disney Dazzle (12:40 – track 1 on practice CD 2016) Be Our Guest Be our guest, be our guest, Put your service to the test. Tie your napkin ‘round your neck, chérie and we provide the rest. Soup du jour! Hot hors d’oeuvres! Why, we only live to serve. Try the grey stuff, it’s delicious! Don’t believe me? Ask the dishes! (spoken) They can sing! They can dance. After all Miss, this is France! And dinner here is never second best. Go on, unfold your menu, take a glance And then you’ll be our guest, oui (spoken), our guest, be our guest. Beef ragout! Cheese soufflé! Pie and pudding “en flambé!” We’ll prepare and serve with flair a culinary cabaret. You’re alone and you’re scared but the banquet’s all prepared. No one’s gloomy or complaining while the flatware’s entertaining. We’ll tell jokes. I do tricks with my fellow candle sticks. (all spoken) And it’s all in perfect taste. That you can bet! Come on and lift your glass. You’ve won your own free pass to be our guest. Be our guest. Be our guest, please. Be our guest. Belle Bonjour! (5x – spoken) There goes the baker with his tray, like always, the same old bread and rolls to sell. Ev’ry morning just the same since the morning that we came to this poor provincial town, Good morning Belle! Bonjour. Good day. How is your fam’ly? Bonjour. Good day. How is your wife” I need six eggs. -
Disney Songs Musical Elements
1 Classroom Online Resource Document (CORD) Follow the Conductor: An Introduction to Musical Elements Gelareh Naseri [email protected] Gluck Fellows Program of the ARTS University of California, Riverside 2 Follow the Conductor: An Introduction to Musical Elements By learning about five main musical elements in this one-hour workshop, students learn to listen to music in a different way: more actively and more consciously. Also, identifying these elements in different pieces of music can lead them to appreciate and enjoy music more than before. Through related activities, students learn about these five musical elements: Beat, Meter, Tempo, Dynamics, and Pitch. The main activity in this workshop is finding these musical elements in Disney cartoon songs (while they are being played on a screen) and moving arms or clapping or singing following the conductor (the instructor). A list of all YouTube active listening examples (A to I) is given on page 4. Here are five musical elements that students learn about: 1. Beat (The pulse in music): Students move their body according to the beat of the music that they are listening to. Active video listening example: A 2. Meter (Duple and Triple): Students learn to move their arms and conduct a duple (or triple) meter and count up to two (or three). Then, they listen to two Disney songs, and find out if it is better to count up to two (for a duple meter song), or up to three (for a triple meter song) for each song. Active video listening examples: B and C (duple meter); D and E (triple meter) 3 3.