The Wonderful World of Disney
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Here Comes Television
September 1997 Vol. 2 No.6 HereHere ComesComes TelevisionTelevision FallFall TVTV PrPrevieweview France’France’ss ExpandingExpanding ChannelsChannels SIGGRAPHSIGGRAPH ReviewReview KorKorea’ea’ss BoomBoom DinnerDinner withwith MTV’MTV’ss AbbyAbby TTerkuhleerkuhle andand CTW’CTW’ss ArleneArlene SherShermanman Table of Contents September 1997 Vol. 2, . No. 6 4 Editor’s Notebook Aah, television, our old friend. What madness the power of a child with a remote control instills in us... 6 Letters: [email protected] TELEVISION 8 A Conversation With:Arlene Sherman and Abby Terkuhle Mo Willems hosts a conversation over dinner with CTW’s Arlene Sherman and MTV’s Abby Terkuhle. What does this unlikely duo have in common? More than you would think! 15 CTW and MTV: Shorts of Influence The impact that CTW and MTV has had on one another, the industry and beyond is the subject of Chris Robinson’s in-depth investigation. 21 Tooning in the Fall Season A new splash of fresh programming is soon to hit the airwaves. In this pivotal year of FCC rulings and vertical integration, let’s see what has been produced. 26 Saturday Morning Bonanza:The New Crop for the Kiddies The incurable, couch potato Martha Day decides what she’s going to watch on Saturday mornings in the U.S. 29 Mushrooms After the Rain: France’s Children’s Channels As a crop of new children’s channels springs up in France, Marie-Agnès Bruneau depicts the new play- ers, in both the satellite and cable arenas, during these tumultuous times. A fierce competition is about to begin... 33 The Korean Animation Explosion Milt Vallas reports on Korea’s growth from humble beginnings to big business. -
The University of Chicago Looking at Cartoons
THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174 -
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. -
Who Framed Roger Rabbit a Jumpchain CYOA (V1) Welcome, Jumper, to Los Angeles
Who Framed Roger Rabbit A Jumpchain CYOA (V1) Welcome, Jumper, to Los Angeles. Here, cartoon characters- such as Mickey Mouse or Bugs Bunny- work as actors and entertainers, producing the classic cartoons that we all know and love. These cartoon characters- called “Toons”- live in their own part of town, which is fittingly named “Toontown”. But all is not right, and very soon events will transpire that threaten the very existence of Toons. Greed, Patty Cake, murder all threaten to bring Toontown to its knees. In a few days, one Eddie Valiant will be commissioned by R.K. Maroon, head of Maroon Cartoons, to investigate Roger Rabbit’s wife; Jessica Rabbit, a sensual Toon who dances at the Ink & Paint Club. Will you assist Eddie Valiant in his mission, or will you ensure the destruction of Toontown? Maybe you’ll do neither. But in any case… Here’s 1,000 CP to help you get situated. Origins: Roll 2d8+18 for your age. Gender stays the same; you can pay 50 CP to change both. Drop In: You know the drill; no new memories or a history in this world. You start outside of the ACME factory, where cartoon props and gag items like disappearing-reappearing ink are made. (0 CP) Drop In-Toon: That’s… different. You’re a Toon now, but you don’t have any new memories or a history. You might be able to get a job at Disney or Warner Bros if you’re funny enough. You might also be able to get your own strip in the funny pages, if it’s the non-moving cartoons you like. -
HE MAKES ME LAUGH Lyrics by Robert Berliner, Music by Aaron Kenny
WHO FRAMED ROGER RABBIT - Berliner & Kenny inspired by the Touchstone/Amblin film directed by Robert Zemeckis Original screenplay by Jeffrey Price & Peter S. Seaman, based on the work of Gary K. Wolf CONFIDENTIAL - All Rights Reserved HE MAKES ME LAUGH Lyrics by Robert Berliner, Music by Aaron Kenny Despite her being a Toon, JESSICA RABBIT’s glamour, sensuality, and killer curves—evoking the most provocative pinup models of the era—make her alluring to humans and Toons alike. Because she could have her pick of men, her marriage to ROGER RABBIT, a goofy little bunny in overalls, tends to turn heads and raise eyebrows. But ROGER gets JESSICA going in his own inimitable way, and she adores him for it. JESSICA SOME GIRLS THINK ROMANCE NEEDS DIAMONDS, OR A MANSION, OR A YACHT: EVERY WEALTHY WORLDLY TREASURE, GUARANTEED. BUT THE WAY MY HUSBAND LOVES ME, WELL, IT ALWAYS HITS THE SPOT. ONLY HE CAN GIVE ME JUST THE THING I NEED... HE MAKES ME… LAUGH. HE MAKES MY LIPS SUCCUMB TO SILLINESS AND SMILES. HE’S GOT A GIFT THAT GETS ME ROLLING IN THE AISLES. AND WHEN WE’RE ALONE, HE’LL GET ME PRONE TO LAUGH, ‘CAUSE HE’S A MASTER OF THE FUNNY BONE. HE MAKES ME… OOH! OH, SURE I LOVE IT WHEN HE’S SENSITIVE AND SWEET, BUT WITH A KNOCK-KNOCK JOKE, HE KNOCKS ME OFF MY FEET. SO HE ISN’T SPENCER TRACY; STILL, HE GETS ME ALL EMBRACE-Y WHEN HE MAKES ME LAUGH. Who Framed Roger Rabbit—Berliner & Kenny—CONFIDENTIAL HE MAKES ME LAUGH HE GETS ME GIDDY AND AS GIGGLY AS A GIRL. -
Indices for Alley Sing-A-Long Books
INDICES FOR ALLEY SING-A-LONG BOOKS Combined Table of Contents Places Index Songs for Multiple Singers People Index Film and Show Index Year Index INDICES FOR THE UNOFFICIAL ALLEY SING-A-LONG BOOKS Acknowledgments: Indices created by: Tony Lewis Explanation of Abbreviations (w) “words by” (P) “Popularized by” (CR) "Cover Record" i.e., a (m) “music by” (R) “Rerecorded by” competing record made of the same (wm) “words and music by” (RR) “Revival Recording” song shortly after the original record (I) “Introduced by” (usually the first has been issued record) NARAS Award Winner –Grammy Award These indices can be downloaded from http://www.exelana.com/Alley/TheAlley-Indices.pdf Best Is Yet to Come, The ............................................. 1-6 4 Between the Devil and the Deep Blue Sea .................. 2-6 nd Bewitched .................................................................... 1-7 42 Street (see Forty-Second Street) ........................ 2-20 Beyond the Sea ............................................................ 2-7 Bicycle Built for Two (see Daisy Bell) ..................... 2-15 A Big Spender ................................................................. 2-6 Bill ............................................................................... 1-7 A, You’re Adorable (The Alphabet Song) .................. 1-1 Bill Bailey, Won’t You Please Come Home ............... 1-8 Aba Daba Honeymoon, The ........................................ 1-1 Black Coffee ............................................................... -
Das Nintendo-Schummelbuch
AÄ«i8®Ä' INHALTSVERZEICHNIS VORWORT 1 TAUSEND DANK 2 DER AUTOR 2 CAME BOY CHEATS 4 ADDAMS FAMILY 4 DEAD HEAT SCRAMB 14 ADVENTURE ISLAND 4 DR. FRANKEN 15 ADVENTURES OF LOLO 4 DR. FRANKEN II 15 AFTERBURST 4 DYNABLASTER 15 ALLEYWAY 4 ELEVATOR ACTION 15 BART VS THE JUGGERNAUTS 5 F-15 STRIKE EAGLE 15 BATMAN 5 FACEBALL 2000 |6 BATTLE BULL 5 FERRARI GRAND PRIX CHALLENGE |6 BATTLE PING PONG 6 FINAL FANTASY LEGEND II 17 BATTLETOADS 6 FLAPPY SPECIAL 17 BATTLE UNIT ZEOTH 6 FORTRESS OF FEAR i8 BEST OF THE BEST 7 GARFIELD i8 BILL £ TED’S EXCELLENT GARGOYLE’S QUEST 19 ADVENTURE 7 GODZILLA 19 BLASTER MASTER BOY 7 GOLF 20 BOMBERBOY 7 HUDSON HAWK 20 BOMBERMAN 8 HUMANS 20 BOOMERS ADVENTURE 8 JAMES BOND JR. 21 BUBBLE BOBBLE 9 KID DRACULA 21 BUGS BUNNY 10 KID ICARUS 21 BURAI FIGHTER 10 KING OF THE ZOO 21 BURAI FIGHTER DELUXE II KIRBY’S DREAMLAND 22 BURGER TIME DELUXE II KIRBY’S PINBALL LAND 22 CAPTAIN PLANET II KLAX 22 CAPTAIN SKYHAWK 12 KRUSTY’S FUNHOUSE 22 CASTLEVANIA 12 LEMMINGS 23 CASTLEVANIA II 12 LOCK’N’CHASE 23 CATRAP 12 LOONEY TUNES 24 CHESSMASTER 13 MEGA MAN 24 CHOPLIFTER II '3 MEGA MAN 2 24 CRAZY CASTLE 2 '3 MERCENARY FORCE 25 DEADALIAN OPUS 14 METAL GEAR 25 AAICKEY AAOUSE 25 TINY TOONS 2 40 MICKEY’S DANGEROUS CHASE 25 TOM 8 JERRY 40 NARC 26 TOP GUN 40 NINJA BOY 26 TOP GUN II 40 NINJA GAIDEN 26 TURRICAN 41 OPERATION C 26 ULTIMA 41 PARODIUS 26 WHO FRAMED ROGER RABBIT 41 PIPE DREAM 27 WIZARDS & WARRIORS - POWER MISSION 27 THE FORTRESS OF FEAR 41 PRINCE OF PERSIA 27 WORLD BEACH VOLLEY 42 PROBOTECTOR 28 WORLD CUP SOCCER 42 PUZZNIC 28 ZELDA - LINKS -
The Walt Disney Silly Symphony Cartoons and American Animation in the 1930S
Exploration in Imagination: The Walt Disney Silly Symphony Cartoons and American Animation in the 1930s By Kendall Wagner In the 1930s, Americans experienced major changes in their lifestyles when the Great Depression took hold. A feeling of malaise gripped the country, as unemployment rose, and money became scarce. However, despite the economic situation, movie attendance remained strong during the decade.1 Americans attended films to escape from their everyday lives. While many notable live-action feature-length films like The Public Enemy (1931) and It Happened One Night (1934) delighted Depression-era audiences, animated cartoon shorts also grew in popularity. The most important contributor to the evolution of animated cartoons in this era was Walt Disney, who innovated and perfected ideas that drastically changed cartoon production.2 Disney expanded on the simple gag-based cartoon by implementing film technologies like synchronized sound and music, full-spectrum color, and the multiplane camera. With his contributions, cartoons sharply advanced in maturity and professionalism. The ultimate proof came with the release of 1937’s Snow White and the Seven Dwarfs, the culmination of the technical and talent development that had taken place at the studio. The massive success of Snow White showed that animation could not only hold feature-length attention but tell a captivating story backed by impressive imagery that could rival any live-action film. However, it would take nearly a decade of experimentation at the Disney Studios before a project of this size and scope could be feasibly produced. While Mickey Mouse is often solely associated with 1930s-era Disney animation, many are unaware that alongside Mickey, ran another popular series of shorts, the Silly Symphony cartoons. -
Disneyland® Park
There’s magic to be found everywhere at The Happiest Place on Earth! Featuring two amazing Theme Parks—Disneyland® Park and Disney California Adventure® Park—plus three Disneyland® Resort Hotels and the Downtown Disney® District, the world-famous Disneyland® Resort is where Guests of all ages can discover wonder, joy and excitement around every turn. Plan enough days to experience attractions and entertainment in 1 both Parks. 5 INTERSTATE 4 5 2 3 6 Go back and forth between both Theme Parks with a Disneyland® Resort Park Hopper® 1 Disneyland® Hotel 4 Downtown Disney® District Ticket. Plus, when you buy a 3+ day ticket before you arrive, you get one Magic Morning* 2 Disney’s Paradise Pier® Hotel Disneyland® Park early admission to select experiences 5 at Disneyland® Park one hour before the Park opens to the general public on select days. 3 Disney’s Grand Californian Hotel® & Spa 6 Disney California Adventure® Park *Magic Morning allows one early admission (during the duration of the Theme Park ticket or Southern California CityPASS®) to select attractions, stores, entertainment and dining locations at Disneyland® Park one hour before the Park opens to the public on Tuesday, Thursday or Saturday. Each member of your travel party must have 3-day or longer Disneyland® Resort tickets. To enhance the Magic Morning experience, it is strongly recommended that Guests arrive at least one hour and 15 minutes prior to regular Park opening. Magic Morning admission is based on availability and does not operate daily. Applicable days and times of operation and all other elements including, but not limited to, operation of attractions, entertainment, stores and restaurants and appearances of Characters may vary and are subject to change without notice. -
10-Yard Fight 1942 1943
10-Yard Fight 1942 1943 - The Battle of Midway 2048 (tsone) 3-D WorldRunner 720 Degrees 8 Eyes Abadox - The Deadly Inner War Action 52 (Rev A) (Unl) Addams Family, The - Pugsley's Scavenger Hunt Addams Family, The Advanced Dungeons & Dragons - DragonStrike Advanced Dungeons & Dragons - Heroes of the Lance Advanced Dungeons & Dragons - Hillsfar Advanced Dungeons & Dragons - Pool of Radiance Adventure Island Adventure Island II Adventure Island III Adventures in the Magic Kingdom Adventures of Bayou Billy, The Adventures of Dino Riki Adventures of Gilligan's Island, The Adventures of Lolo Adventures of Lolo 2 Adventures of Lolo 3 Adventures of Rad Gravity, The Adventures of Rocky and Bullwinkle and Friends, The Adventures of Tom Sawyer After Burner (Unl) Air Fortress Airwolf Al Unser Jr. Turbo Racing Aladdin (Europe) Alfred Chicken Alien 3 Alien Syndrome (Unl) All-Pro Basketball Alpha Mission Amagon American Gladiators Anticipation Arch Rivals - A Basketbrawl! Archon Arkanoid Arkista's Ring Asterix (Europe) (En,Fr,De,Es,It) Astyanax Athena Athletic World Attack of the Killer Tomatoes Baby Boomer (Unl) Back to the Future Back to the Future Part II & III Bad Dudes Bad News Baseball Bad Street Brawler Balloon Fight Bandai Golf - Challenge Pebble Beach Bandit Kings of Ancient China Barbie (Rev A) Bard's Tale, The Barker Bill's Trick Shooting Baseball Baseball Simulator 1.000 Baseball Stars Baseball Stars II Bases Loaded (Rev B) Bases Loaded 3 Bases Loaded 4 Bases Loaded II - Second Season Batman - Return of the Joker Batman - The Video Game -
Missouri State Archives Finding Aid 5.20
Missouri State Archives Finding Aid 5.20 OFFICE OF SECRETARY OF STATE COMMISSIONS PARDONS, 1836- Abstract: Pardons (1836-2018), restorations of citizenship, and commutations for Missouri convicts. Extent: 66 cubic ft. (165 legal-size Hollinger boxes) Physical Description: Paper Location: MSA Stacks ADMINISTRATIVE INFORMATION Alternative Formats: Microfilm (S95-S123) of the Pardon Papers, 1837-1909, was made before additions, interfiles, and merging of the series. Most of the unmicrofilmed material will be found from 1854-1876 (pardon certificates and presidential pardons from an unprocessed box) and 1892-1909 (formerly restorations of citizenship). Also, stray records found in the Senior Reference Archivist’s office from 1836-1920 in Box 164 and interfiles (bulk 1860) from 2 Hollinger boxes found in the stacks, a portion of which are in Box 164. Access Restrictions: Applications or petitions listing the social security numbers of living people are confidential and must be provided to patrons in an alternative format. At the discretion of the Senior Reference Archivist, some records from the Board of Probation and Parole may be restricted per RSMo 549.500. Publication Restrictions: Copyright is in the public domain. Preferred Citation: [Name], [Date]; Pardons, 1836- ; Commissions; Office of Secretary of State, Record Group 5; Missouri State Archives, Jefferson City. Acquisition Information: Agency transfer. PARDONS Processing Information: Processing done by various staff members and completed by Mary Kay Coker on October 30, 2007. Combined the series Pardon Papers and Restorations of Citizenship because the latter, especially in later years, contained a large proportion of pardons. The two series were split at 1910 but a later addition overlapped from 1892 to 1909 and these records were left in their respective boxes but listed chronologically in the finding aid. -
Frame by Frame—Shot by Shot—Is to Drain It of Its Narrative Content
Conclusion The Labor of Looking That’s how it was in the dream; I was nothing but seeing. —Walter Benjamin1 SEEING DOUBLE I begin my conclusion in medias res, with a description of the beginning of Chuck Jones’s Sniffles Bells the Cat (Warner Bros., 1941), which itself begins in medias res. The cartoon opens with a trio of mice sprinting leftward across the screen. The camera tracks laterally to keep them in the frame, but eventually the mice outpace it. Undeterred, it continues on its leftward track, traveling for more than a second past a seemingly unending stretch of wall (two horizontal bands of blue wallpaper and light brown paneling) and floor (a horizontal band of hardwood, its constitu- tive panels perpendicular to the wall). At last a fourth mouse enters the frame, and he too soon overtakes the camera, slipping out of view. The camera proceeds with its horizontal movement, and another two seconds elapse before a fifth and final figure catches up with it: the large house cat from whom the mice are fleeing. The subsequent shot places us inside the home of the mice, a floor-level hole in the wall, with a mouse’s-eye-view through its rounded doorframe at the larger room beyond (fig. 5.1). Given that much of the frame is shrouded in darkness, a surprising amount of the room is visible: the leg of a (human-size) chair peeks out just to the left of the opening, and another human-size chair and table are in the distance. In addition, the reflection in a mirror hanging above the table displays the meeting of ceiling and walls in the opposite corner of the room.