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Global Brochure 4 .Pdf
A Day in the Life @ Global… About Global Summer Camps During the summer months Global Children’s Center offers outstanding summer Camps located in Montgomery County Public schools. Our Global Day Camps are offered to children who are in pre-k through 6th grade. All Global Day Camps are planned around weekly themes, include a wide array of activities, with one weekly trip to a local water park/ pool and either another field trip or a special guest related to the weekly camp theme. Global camps are designed for children to have fun while still learning during the summer months off from school. Global Camps are conveniently based at William B. Gibbs Jr., ES in Germantown, at Viers Mill ES in Silver Spring and at Beall ES in Rockville Maryland on MCPS school grounds to meet everyone’s needs. Summer Camps Include: • Weekly Theme based activities. • Weekly trip to Water Park/pool. • Weekly Theme related field trip or special guest. • Team-work, Leadership, & Good Sportsmanship. • Fun Themed Activities. • Theme related project Centers, arts & craft, & choice play. • Sports & Games. • A wide array of sports and craft/art activities are included at all of our camps and will mirror the weekly themes. Trip Safety and Accountability On scheduled field trip days, GCC campers will have to wear their 2012 summer camp shirts. Our campers are grouped by their age and abilities. We take attendance regularly and participate in sweep throughs, therefore your children are always accounted for while having fun. Our Global staff members always wear their global attire so that they can be easily identified by your child. -
Suggestions for Top 100 Family Films
SUGGESTIONS FOR TOP 100 FAMILY FILMS Title Cert Released Director 101 Dalmatians U 1961 Wolfgang Reitherman; Hamilton Luske; Clyde Geronimi Bee Movie U 2008 Steve Hickner, Simon J. Smith A Bug’s Life U 1998 John Lasseter A Christmas Carol PG 2009 Robert Zemeckis Aladdin U 1993 Ron Clements, John Musker Alice in Wonderland PG 2010 Tim Burton Annie U 1981 John Huston The Aristocats U 1970 Wolfgang Reitherman Babe U 1995 Chris Noonan Baby’s Day Out PG 1994 Patrick Read Johnson Back to the Future PG 1985 Robert Zemeckis Bambi U 1942 James Algar, Samuel Armstrong Beauty and the Beast U 1991 Gary Trousdale, Kirk Wise Bedknobs and Broomsticks U 1971 Robert Stevenson Beethoven U 1992 Brian Levant Black Beauty U 1994 Caroline Thompson Bolt PG 2008 Byron Howard, Chris Williams The Borrowers U 1997 Peter Hewitt Cars PG 2006 John Lasseter, Joe Ranft Charlie and The Chocolate Factory PG 2005 Tim Burton Charlotte’s Web U 2006 Gary Winick Chicken Little U 2005 Mark Dindal Chicken Run U 2000 Peter Lord, Nick Park Chitty Chitty Bang Bang U 1968 Ken Hughes Chronicles of Narnia: The Lion, PG 2005 Adam Adamson the Witch and the Wardrobe Cinderella U 1950 Clyde Geronimi, Wilfred Jackson Despicable Me U 2010 Pierre Coffin, Chris Renaud Doctor Dolittle PG 1998 Betty Thomas Dumbo U 1941 Wilfred Jackson, Ben Sharpsteen, Norman Ferguson Edward Scissorhands PG 1990 Tim Burton Escape to Witch Mountain U 1974 John Hough ET: The Extra-Terrestrial U 1982 Steven Spielberg Activity Link: Handling Data/Collecting Data 1 ©2011 Film Education SUGGESTIONS FOR TOP 100 FAMILY FILMS CONT.. -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
102 Dalmatians Mike Goodridge in LOS ANGELES
REVIEWS 102 Dalmatians Mike Goodridge IN LOS ANGELES Dir: Kevin Lima. US. 2000. 100min. Prod co: Walt Disney Pictures. Worldwide dist: Buena Vista/BVI. Prod: Edward S Feldman. Scr: Kristen Buckley, Brian Regan, Bob Tzudiker, A/on/' White, from a story by Buckley, Regan and the novel The One Hundred And One Dalmatians by Dodie Smith. DoP: Adrian Biddle. Prod des: Assheton Gorton. Ed: Gregory Perler. Music: David Newman. Main cast: Glenn Close, laon Gruffudd, Alice Evans, Tim Mclnnerny, Gerard Depardieu, Ian Richardson, Timothy West, Jim Carter. Walt Disney Pictures has blazed the trail in the area of brilliant animated movies that can be enjoyed by children as well as the accompanying parents (the Toy Story movies, Tarzan, Aladdin), but its live-action films traditionally have failed to duplicate that magic. 102 Dalmatians, for example, is so dumb- ed down not only from the 1961 animated classic but even wards dogs in the first movie, but is let out on probation from the charmless 1996 live-action version, that it will delight thanks to a new therapy that has made her love dogs JHer pro- only the youngest of children. bation officer (Evans) owns several dalmatians and is highly That is where marketing comes in, and Disney's lavish suspicious of Cruella's investment in a dilapidated dogs' home campaign for this lame sequel-cum-remake should — unde- run by a kindly dog lover (Gruffudd). servedly — score a resounding hit at the box office worldwide. Of course, De Vil's new leaf does not last for long. She Families will flock to see the continuing adventures of Cruel- is soon up to her old tricks; stealing dalmatians to make her la De Vil, drawn by the hype and the unfulfilled promise of a perfect fur coat and enlisting French furrier (Depardieu) to fun-filled holiday adventure. -
Animation Article
1 Accommodating Avant-Gardism? Amateur Animation and the Struggle for Technique [published in translation as: ‘Eine Annäherung an den Avantgardismus? Amateur- animation und das Ringen mit der Technik’, in: Siegfried Mattl, Carina Lesky, Vrääth Öhner, Ingo Zechner (eds), Abenteuer Alltag. Zur Archäologie des Amateurfilms, Vienna, FilmmuseumSynema Publications: Vienna, 2015, pp. 28-42. ISBN: 978-3-901644-63-4. Although sometimes regarded as an exceptional pursuit within a cine culture exhibiting such strong roots in still photography and amateur dramatics, animation has represented a persistent strand of non-professional filmmaking in Britain, since the emergence of “small-gauge” technologies, and the consolidation of an organised amateur movement in the 1920s. The distinctive nature of such interest was recognised early by movement insiders, and soon marked by the creation of dedicated “classes” within developing competition spheres,1 in the provision of customised technical devices and services by commercial suppliers,2 and by the emergence of reflection and critique within related hobby literatures.3 By the early 1930s, animation had 1 Notes announcing the first “Amateur National Convention” of small-gauge filmmaking organisations, identify a specific class for “A cartoon film lasting not more than 5 minutes,” adding suggestively that “cut-outs may be used, provided the cartoon effect is achieved.” See Anon., “The National Convention,” Amateur Films 1 (1929) 10, p. 222. 2 Several companies emerged in the post-war decades to supply animation equipment and materials for the amateur market, such as Filmcraft, established by well-known enthusiast, David Jefferson. Specialist devices and services for the would-be animator abound: see, for example, Alan Cleave, “Cartoon Animation For Everyone,” [part one] Movie Maker 5 (1971) 11, p. -
The Camp Rock Audition Packet
Audition Packet Directed by James H. Williams Assistant Director: Amy King / Musical Director: William Rogers / Producer: Betsy Reason Audition Dates: Tuesday, June 5, and Wednesday, June 6, 2018, at 7 p.m., open to ages 13-20 The show is presented by special arrangement with Music Theatre International ABOUT THE BELFRY THEATRE In July of 1965, a collection of Noblesville residents who enjoyed gathering to read plays decided it was time to take their passion to the next step. That summer, Mrs. Anne Braswell, Mr. and Mrs. Frank Campbell, Mrs. and Mrs. Robert Kraft, Mr. and Mrs. John Kyle, Mrs. Shirley Pritchard and their leader, the Rev. John Burbank formed the Hamilton County Theatre Guild. The Belfry Theatre is a friendly, welcoming place where those who wish to express their acting or other creative skills meet those who enjoy and appreciate quality productions of comedies, musicals, and dramas. Our goal is to attract and develop good actors and production personnel and showcase their talents in exceptional productions that will enrich and entertain our prospective audiences. We welcome diversity. ABOUT APPRENTICE PLAYERS The Belfry Theatre is proud of its tradition of promoting the performing arts to our youth in an effort to encourage and nurture future generations of thespians. Initiated by founding member, the late Betty Lou Kyle, The Belfry has been producing the Apprentice Players shows since its pilot season. DIRECTORS FOR THIS PRODUCTION Director: James H. Williams Assistant director: Amy King Musical director: William Rogers Choreographer: Amber Phlipot Producer: Betsy Reason -James H. Williams directed The Belfry’s “How to Succeed in Business without Really Trying,” a musical, last spring; and Mud Creek Players’ “Clue: The Musical.” He is an Eagle Scout, Assistant Scout Master Troop 303 Fishers, and has been The Belfry Apprentice Players assistant director for several years. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
Determinants of Motion Picture Box Office and Profitability: An
RMS (2007) 1:65-92 DOI 10.1007/s11846-007-0003-9 ORIGINAL PAPER Determinants of motion picture box office and profitability: an interrelationship approach Thorsten Hennig-Thurau Æ Mark B. Houston Æ Gianfranco Walsh Received: 13 October 2006 / Accepted: 11 December 2006 / Published online: 27 March 2007 Ó Springer-Verlag 2007 Abstract Introduction Producing and marketing motion pictures is notoriously risky, with only three out of ten movies breaking even and one becoming profitable at the box office. Extending knowledge on the factors that influence a movie’s box-office and on the interrelations between these factors can be seen as major contribution to aid in lowering the number of failures in the motion picture industry. The major aim of this study is to distinguish direct and indirect effects between potential success drivers and motion picture success by understanding the interrelationships among different determinants of movie success. Methods Hypotheses are developed with regard to the relationships among a number of factors that have been shown to impact motion-picture box office as well as movie profitability. Applying path analysis, which allows a simultaneous testing of factor interrelations, the hypotheses are subsequently tested against a sample of 331 movies. Results and conclusion The factors considered in the analysis explain a remarkable amount of a movie’s success. The findings improve the movie industry’s understanding of motion picture success because for the first time interrelationships between the var- ious factors are considered, which enables the separation of direct and indirect (i.e., Communicated by Ralf Ewert. T. Hennig-Thurau (&) Bauhaus-University of Weimar, Bauhausstr. -
D23 Presents Treasures of the Walt Disney Archives, Opening July 6 at the Ronald Reagan Presidential Library & Museum
D23 PRESENTS TREASURES OF THE WALT DISNEY ARCHIVES, OPENING JULY 6 AT THE RONALD REAGAN PRESIDENTIAL LIBRARY & MUSEUM The Official Disney Fan Club Showcases the Largest-Ever Exhibition of Iconic Props, Costumes, Artwork and Artifacts from the Walt Disney Archives BURBANK, Calif. – April 16, 2012 – D23 PRESENTS TREASURES OF THE WALT DISNEY ARCHIVES, which encompasses more than 500 historic artifacts from nearly nine decades of Disney history, opens at the Ronald Reagan Presidential Library & Museum on July 6, continuing through April 2013. Presented by D23: The Official Disney Fan Club and the Ronald Reagan Presidential Foundation and Library, D23 PRESENTS TREASURES OF THE WALT DISNEY ARCHIVES is the largest exhibition ever curated by the Walt Disney Archives, at 12,000 square feet. From Oswald the Lucky Rabbit and Mickey Mouse to Captain Jack Sparrow and Captain America, the exhibition features more than 500 artifacts, at least half of which have never been seen by the public— including models, props, costumes, set pieces, and artwork from throughout Disney history. “Ronald Reagan and Walt Disney were longtime friends, two optimists who shared an unwavering belief in the essential goodness of the American way of life,” said Bob Iger, chairman and CEO, The Walt Disney Company. “We’re proud to partner with the Reagan Library and the National Archives to showcase Disney’s rich entertainment legacy. This extraordinary exhibit will offer visitors an unprecedented look into Disney’s history and celebrate the connection between these two American -
Copy of Camp Rock Camp Script
Camp Rock Camp Script By: Jillian Parks 1 Character Descriptions CAMPERS- Excited to perform, happy to be there; at first skeptical of CLAIRE and DEREK, but eventually want to help them ROCKY REYNOLDS- Talent scout, big deal, big name; eccentric, bubbly, friendly, but also knows that she has a job to do CLAIRE and DEREK- Genuinely well-meaning, but severely underprepared, start to get overwhelmed, but willing to join in and work hard in order to make it work JR. CAMPERS- Sassy, frustrated after being kicked out of the competiton, but total pros in regard to their craft; if they can’t win, someone else might as well 2 (CAMPERS sit or stand pretending to tune their instruments, organized into little groups, and overall nervous but excited) CAMPER 1 I know we’ve practiced all summer, but this is the real deal! CAMPER 2 Yeah, if we mess up now… it’s over. CAMPER 3 Thank you, Charlie Brown CAMPER 2 I’m just saying, this is a big deal. CAMPER 4 I’ll say. THE Rocky Reynolds (pauses to do best Rocky Reynolds impression) “is looking for someone to rock my socks off!” CAMPER 5 Ok, that was scary accurate. CAMPER 4 It’s a gift CAMPER 6 We’re all a little jittery, so let’s channel that nervous energy into a constructive musical outlet! (Dead silence from the CAMPERS) Just start singing. WE ROCK ALL 'Cause we rock We rock, we rock on 3 We rock, we rock on CAMPER 7 Come as you are You're a superstar World in your pocket and you know it CAMPER 8 You can feel that beat Runnin' through your feet CAMPER 9 Heart's racing faster Rock 'n' rollin' CAMPER 10 -
U.S. Marines Return to Thank Alma Mater NY Times’ Bai Criticizes ‘Empty’ 2012 Campaigns
2012 DINING AND ENTERTAINMENT GUIDE INSIDE the independent newspaper of Washington University in St. Louis since 1878 VOLUME 134, NO. 16 MONDAY, OCTOBER 22, 2012 WWW.STUDLIFE.COM CABARET PUMPKINS FOOTBALL Part two of the What to do with Bears pick up Q&A with the your Jack-o- second win musical’s cast lantern leftovers of the season (Cadenza, pg 8) (Scene, pg 7) (Sports, pg 3) U.S. Marines return to thank alma mater NY Times’ Bai criticizes ‘empty’ 2012 campaigns MICHAEL TABB EDITOR-IN-CHIEF The chief political corre- spondent for New York Times Magazine does not usually have to deal with people refusing to answer his questions. In front of an audience of about 70 students and commu- nity members Thursday evening, journalist and writer Matt Bai said that in this election cycle, politicians have started to over- come the media that exists to keep them in check. He concedes that some of the blame lies with the media and how it has evolved over the past few decades but insists that it is a problem that needs to be resolved moving forward. According to Bai, his author- ity on political coverage is the reason so many people have come up to him asking not sim- ply which candidate will win but what any of it means in an MICHAEL TABB | STUDENT LIFE election that is so remarkably 2009 graduates and Ist Lts. Michael Haft and Harrison Suarez present Chancellor Mark Wrighton with a United States flag Saturday afternoon to thank him for all “empty.” the University has done for them. -
Mickey's Trailer
Mickey’s Trailer and Environmental Thought Disney Cartoons and Countryside Goddard, Joseph Published in: American Studies in Scandinavia Publication date: 2016 Document version Publisher's PDF, also known as Version of record Citation for published version (APA): Goddard, J. (2016). Mickey’s Trailer and Environmental Thought: Disney Cartoons and Countryside. American Studies in Scandinavia, 48:2(2016:2), 43-60. https://rauli.cbs.dk/index.php/assc/article/view/5360 Download date: 23. Sep. 2021 American Studies in Scandinavia, 48:1 (2016), pp. 43-60. Published by the Nordic Association for American Studies (NAAS). Mickey’s Trailer and Environmental Thought: Disney Cartoons and Countryside Joe Goddard University of Copenhagen Abstract: The influence of popular cartoons on environmental cognition is explored in this essay through readings of Mickey’s Trailer, a 1938 cartoon directed by Ben Sharpsteen for Walt Disney. Other materials considered include Ford Motor Compa- ny’s 1937-38 film coproduced by Wilder Pictures, Glacier International Park, which promotes motor-tourism and automobile ownership, and Ben Sharpsteen’s other work for Walt Disney. The article also examines the ideas of physical and “illusional” zoning in the city, especially the way that they were applied in the mid-twentieth century. Physical zon- ing involved separating incompatible land uses, whereas illusional zoning entailed seeing what you wanted to see. What does Mickey’s Trailer say about how people can live, and can it inform where people choose to live? The essay muses that apprecia- tions of nature and the environment are influenced by popular culture. Keywords: Walt Disney, Mickey’s Trailer, Cartoons, Popular Culture, Environmental Ideas “Oh boy, Whatta day,” exclaims Mickey Mouse from the front step of his small house as Disney’s 1938 short cartoon Mickey’s Trailer opens.1 Mickey is wearing a nightshirt and a nightcap, and rubs his hands in ex- pectation.